Anime Voice Actors Wiki
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Japanese Voice Actors
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Voice acting in Japan is an industry where actors provide voice-overs as characters or narrators in media including anime, video games, audio dramas, commercials, and dubbing for non-Japanese films and television programs.
In Japan, voice actors (声優 , seiyū ) and actresses have devoted fan clubs due to a crossover with the idol industry, and some fans may watch a show merely to hear a particular voice actor.
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Broadcast companies and talt agcies oft have their own troupes of vocal actors. Magazines focusing specifically on voice acting are published in Japan, with Voice Animage being the longest running.
The term character voice (abbreviated CV) has be commonly used since the 1980s by such Japanese anime magazines as Animec [ja] and Newtype to describe a voice actor associated with a particular anime or game character.
A voice actor (声優 , seiyū ) provides voice-overs for characters and narration for various types of media, including anime, video games, audio dramas, live-action stunt and puppet shows, and commercials. A voice actor also provides dubbing for non-Japanese television programs and films. The initial term for voice actors in Japan was koe no haiyū (声の俳優 ), but was later shorted to a compound word to make the word seiyū (声優 ). While several voice actors
Voice Acting In Japan
Voice acting has existed in Japan since the advt of radio. It was only in the 1970s that the term seiyū tered popular usage because of the anime Space Battleship Yamato. According to a newspaper interview with a voice talt manager, Since the Yamato boom, the word 'seiyū' has become instantly recognised; before that, actors and actresses who introduced themselves as seiyū were oft asked, 'You mean you work for Seiyu supermarket?'
The earliest Japanese animation would predate the introduction of audio in film by at least a decade. Much like their live-action contemporaries during this period, screings would have musical accompanimt and ofttimes include a bshi (narrator). The bshi would fulfill a role similar to ones in the Japanese puppet theater and magic lantern shows, where the narration would fill in dialogue and other story elemts. With the introduction of sound in film, voices were oft pulled from the available staff. For example, in Bkei tai Ushiwaka animator Kzō Masaoka cast himself and his wife as the titular Bkei and Ushiwaka, respectively.
In 1925, the Tokyo Broadcasting Company (predecessor to the NHK, Japan's public broadcasting system) started radio broadcasts. In that same year, twelve studts who were specialising in voice-only performances became the first voice actors in Japan wh a performance of a radio drama was broadcast. They referred to themselves as seiyū, but in those days the term radio actor (ラジオ役者 , radio yakusha ) was used by newspapers to refer to the profession.
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In 1941, NHK oped a training program to the public to prepare actors to specialise in radio dramas. This was called the Tokyo Ctral Broadcasting Station Actor Training Agcy (東京中央放送局専属劇団俳優養成所 , Tōkyō Chūō Hōsō Kyoku Szoku Gekidan Haiyū Yōsei Sho ). Th in 1942, the Tokyo Broadcasting Drama Troupe debuted its first performance. This was the second time that the term seiyū was used to refer to voice actors.
There are several theories as to how the term seiyū was coined. One theory is that Oyhashi Tokusaburo, a reporter for the Yomiuri Newspaper, coined the term. Another theory is that Tatsu Ooka, an tertainmt programming managing producer for the NHK, came up with it.
At first, voice actors, like those at the Tokyo Radio Drama Troupe and similar companies specialised in radio dramas; with the advt of television, the term took on the additional meaning of one who does dubbing for animation. Television broadcasting aside, wh radio was the leading mass medium, actors who played in radio dramas were not without their fans; for example, actors in the Nagoya Radio Drama troupe who played the lead love interest roles oft received many fan letters.
Behind The Voice Actors
Starting in the 1950s, a rise in the popularity of radio dramas as well as foreign television and film created many new opportunities for voice actors.
Among these new broadcasts were several radio dramas, such as the 1952 drama Kimi no Nawa (Your Name), which would receive several adaptations on film, television, and stage due to its popularity.
Actors that were famous for their roles in dubbing and radio were used for their star power to voice similar characters in several anime productions. For example, Yasuo Yamada, who was famous for his Japanese dub of Clint Eastwood, was chos to voice Lupin III for the Lupin the Third series.
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In 1961, during the early days of commercial television broadcasting, the Five-Company Agreemt (Gosha Agreemt) caused the supply of Japanese movies that were available to Japanese television stations to dry up. As a result, in the 1960s many foreign dramas and other foreign programming was imported and dubbed into Japanese language for television broadcast.
At first, the NHK subtitled most foreign shows; however, shows dubbed in the Japanese language soon became the standard. At the ctre of the first voice acting boom were actors like Nachi Nozawa, who dubbed the same foreign actors, in Nozawa's case Alain Delon, Robert Redford, and Giuliano Gemma. Because of problems with pay guarantees arising from the Gosha Agreemt, cinema actors were prevted from dubbing foreign movies for television. Television actors were also prevted from dubbing because of a similar agreemt. This caused studios to turn to actors from the radio age and actors from the Shingeki style of acting. Around this time dubbing of foreign animation was done by Rakugo story tellers, Asakusa comedians, and the like, and voice actors were called dubbing talts if they specialised in dubbing, while those giving voice to a character wt under the name of ateshi. It is during this gold age for dubbing that the Tokyo Actor's Consumer's Cooperative Society was founded. Later, Haikyo voice acting managers left and oped their own managemt agcies. Voice actors in Japan also voiced anime.
The first dubbed show broadcast in Japan was an episode of the American cartoon Superman, on October 9, 1955, on KRT (today TBS), and the first non-animated dubbed show broadcast was Cowboy G-M, again by KRT, in 1956. Both were dubbed live; the first show to be broadcast with pre-recorded dubbing was The Advtures of Television Boy (テレビ坊やの冒険 , Terebi Bōya no Bōk ) on April 8, 1956.
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During the late 1970s, Akio Nojima, Kazuyuki Sogabe, Akira Kamiya, Tōru Furuya and Toshio Furukawa were the first to unite into a band, Slapstick, and perform live. Many other voice actors released their own albums. At around 1979 the first anime magazines began to be published. The th editor-in-chief of Animage, Hideo Ogata, was the first to publish editorials on the ongoing transformation of voice actors into idols.
Following his lead, the other magazines created seiyū corners with information and gossip about voice actors; this was one of the main causes of young anime fans yearning to become voice actors.
This period also saw a gradual split of anime voice actors from their roots in theater. With the rise of voice actor specific training cters and audio-only productions, voice actors could start their careers working full time without any association to a broadcasting theater company. The term seiyu emerged to describe these voice actors who focused solely on voicing for anime productions.
Anime Voice Over Wiki
In 1989, the voice actors of the five main stars of the animated television show Ronin Warriors (Nozomu Sasaki, Takeshi Kusao, Hiroshi Takemura, Tomohiro Nishimura and Daiki Nakamura) formed an all-male singing group called NG5. The group was featured as the subject of a special documtary program on MBS.
During this period, voice acting production companies also began to provide specialised courses at on-site training schools specifically for training in animation dubbing.
The 1960s and 1970s booms were ctered on media, such as the TV. In the 1990s, a new boom ctred on more personal ways of communication, such as radio shows, Original Video Animation, television quizzes, public evts and the Internet, gave way to the publication of the first dedicated voice acting magazines, Seiyū Grand Prix [ja] and Voice Animage. Voice actors acquired many new fans thanks to the radio, and their CD sale figures increased. Concerts began to be held in the bigger halls. While the second boom also saw the voice actors become DJs, this time the recording houses backed the voice actor radio shows
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