Évente több millió percnyi magyar változat hagyja el a kisebb-nagyobb szinkronstúdiókat, hogy segítsen a nézőknek néhány óra boldogságot okozni. Ám arról talán kevesebben tudnak, hogy milyen volt a magyar szinkron születése, és gyermekkora.
Dallos Szilvia, akinek neve és hangja bizonyára mindenki számára ismerős lehet, meglepő vállalkozás keretében mutatja be a magyar szinkron hőskorát. UTÓSZINKRON címmel egy drámát alkotott, hogy azon keresztül beszéljen a kezdetekről.
Iglódi István vezetésével a Budapesti Kamaraszínház művészei május 22-én mutatják be ezt a szokatlan történetet az újságíróknak és az érdeklődő nézőknek.
A Magyarszinkron.hu kis csapata lehetőséget kapott, hogy szinte az első perctől kezdve végig kövesse a darab kialakulását, a történet életre keltését.
Húsvét után érkezünk meg a Shure stúdióba, amely csak a próbák helyszínét adja, a premier a Tivoli Színházban lesz. A színpadon egy képzeletbeli szinkronstúdióban éppen zajlik a munka. Kertész Péter, Szélyes Imre, Kaszás Mihály, Haás Vander Péter dolgozik egy nehezebb jelenet leszinkronizálásán. Díszletek még nincsenek, a színészek is saját ruháikban játszanak, de az érzés ismerős. Az ötvenes években járunk, amikor még jóval lassabban készült a szinkron. Órákig is eltarthatott, amíg egy tekercset felvettek, hiszen sem a technika, sem a színészi gyakorlat nem volt olyan, mint a mai időkben. És persze az állami vezetés is jobban figyelt arra, hogy az egyszerű nézők mit hallanak majd, amikor moziba mennek.
Nyertes Zsuzsa, a kiváló naiva alakítja azt az elvtársnőt, akinek a színészek és a stáb megregulázása a feladata. Iglódi tanár úr csendben figyeli a jelenetet, nem szól közbe, hiszen a művészei már ismerik a szükséges instrukciókat. A következő képben azonban, már igazit egy picit a megtervezett mozgáson. A rendezői székből felállva egy előjátssza azokat a mozdulatokat, amelyeket elvár. Csendben, alig hallhatóan beszél, így mindenkinek nagyon oda kell figyelnie arra, hogy mit mond, és kinek mit kell csinálnia. Majd újra elölről veszik ugyanazt a színpadképet, kiegészítve az új instrukciókkal. Bő egy órával a kezdés után rövid szünetet jelez a rendező, és a színészek szétszélednek friss levegőt szívni.
A még mindig ugyanolyan szép szőke színésznő Nyertes Zsuzsa e rövid szünetben osztotta meg gondolatait a darabról.
– Még nagyon az elején vagyunk, így sok minden képlékeny, változó – mondta. Sas elvtársnő főleg az első felvonásban vesz részt erőteljesebben, amikor kialakul a történet. Kicsit komika és drámai főhős is egyben, hiszen egy nagy butaságot kell ráerőltetnie a színészekre, anélkül, hogy ezzel kárt okozna az embereknek. Persze hithű kommunistaként nem jut eszébe szembeszegülni a pártakarattal, és talán még hisz is a sikerben. A karakter még alakul, változik, de remélem, hogy sok örömet fog okozni a nézőknek.
Lévay Viktória egy fiatal színésznő bőrébe bújik bele, aki sodródik az árral.
– Klárika egy fiatal színésznő, aki még nem rajzolódott ki pontosan előttem. Nehéz eldönteni, hogy okos vagy inkább butácska. Ami kiderült számomra az az, hogy odavan a filmezésért.
– Szerinted melyik irányba húz inkább?
– Ez attól is függ, hogy melyik a szórakoztatóbb; nyílván az a viccesebb, ha buta színésznőt játszik az ember, aki jó helyen jó nagy badarságokat nyög be, és jókat lehet rajta nevetni. De a szöveg is formálja, ami nem kifejezetten mutatja azt, hogy olyan nagyon buta lenne.
– Az Utószinkron pellengére állítja a kommunista rendszert és ideológiát.
– Mindig izgalmas egy olyan korban játszani, amiben nem éltünk, de az ember szívesen belehelyezkedik. Sokat segít, ha megjönnek a jelmezek, a frizura, mert könnyebb lesz majd abba a korszakba beleképzelni magunkat. Inkább izgalmasnak és jópofa játéknak tartom, mint nehéznek.
Nagyon kíváncsi vagyok, hogy a közönség mennyire lesz vevő erre a politikai karikatúrára, mert sok bőrt lehúztak már erről és sok jó és vicces alkotás született a korszakról.
Nem akarok nagy titkot elárulni, de az előadás vége meglepő fordulatot vesz majd. Ha jól komédiázzuk végig a történetet, akkor nagyot fog csattani. Hogy mindebből mennyire érzik ki a nézők, hogy milyen vészjósló időszak volt ez az emberek számára, és miként reagálnak rá, az mindenképpen érdekes lesz.
Közben a szünet véget ér, és a színészek visszamennek a színpadra. A rendezői utasítás szerint ismét átveszik az első két képet.
Ahogy említettük a helyszín egy képzeletbeli szinkronstúdió, ahol a szinkronrendező, egy szovjet filmet instruál. Három művész áll a mikrofonok előtt. Kaszás Mihály a fiatal, Szélyes Imre a renitens, és Kertész Péter a megalkuvó figurája. A felvétel nehezen megy, mert olyan szavakkal kell megküzdeniük, mint a „basszmaccs”, vagy azzal, hogyha a képen zötyögnek a szereplők, akkor nekik is zötyögniük kellene, persze csak hangban. A színészek küzdenek a feladattal, és néha egymással is. Haás Vander Péter, mint rendező, a képzeletbeli stúdió, képzeletbeli rendezői fülkéjéből instruál, és ha kell rendet is teremt. A munka lassan és keservesen ugyan, de halad. Jön Sas elvtársnő (Nyertes Zsuzsa), aki a pártvezetés kéréseit tolmácsolja, és közben kikezd a fordítót alakító Varga Zoltánnal is. Elvtársnőként persze neki mindent szabad.
Iglódi István ezután a következő képre tér rá, és ekkor kiderül, hogy miről is szó majd a történet.
Körtvélyessy Zsolt, mint Nagyon Fontos Sóskúti elvtársként feltálalja a színészeknek a szokatlant. Egy színdarabot kell élőben leszinkronizálniuk. A feladat szokatlan, és a megvalósítása a lehetetlennel egyenlő, de ellentmondásra nincs lehetőség. Bank Tamás alakításában Bence Imre olvasztár is beleszól a szinkronba, mivel a pártvezetés őt szemelte ki Sztálin elvtárs magyar hangjának.
A jelenetet többször is meg kell ismételni, mert fontos a pontos és megfelelő időzítés. Nemcsak a mondatoknak, de a mozdulatoknak is minden pillanatban a helyükön kell lenni, ahhoz, hogy a siker a végén tökéletes legyen.
Majd ismét egy rövid szünet következik. A színészek pihennek, készülnek a délelőtti próba végére.
– Most kezdődött meg a darab próbaidőszaka, szinte mindenki példánnyal a kezében dolgozik, így én is még kicsit távol vagyok ettől a szereptől – osztotta meg velünk gondolatait Varga Zoltán.
– Milyen lesz szerinted az UTÓSZINKRON politikai vetületének a mai fogadtatása?
– Azt gondolom, hogy sokféle személyiség nézi a színházat, akiknek különböző reakciója lehet. Van, akit nem érint meg ez az időszak. De a fiatalokra, akik kevesebbet tudnak a korszakról, újdonságként hathat, lehet egyfajta üzenete számukra. Azt tudni kell, hogy a dráma némiképp elrajzolt képet fest az 50-es évekről; karikatúraszerű hatást kelt, ami magát a darab humorát adja.
Kertész Péter szerint is érdekes lesz a fiatalabb generáció véleménye, hiszen az-az időszak, amelyben a darab játszódik, már a történelem részét képezi.
– Ugyan évtizedek óta szinkronizálok, de ilyen fajta pártszigorral nem találkoztam – mesélt a régi időkről. Dallos Szilviával, a darab írójával, régóta ismerjük egymást. Ez egy picit segít a történet értelmezésében, hiszen könnyebb vele beszélni egy-egy pillanat hátteréről. Kíváncsian várom, hogy hogyan fog a történet megelevenedni a színpadon.
Ugyanígy áll Haás Vander Péter is, akinek a figuráját Vasnak hívják.
– Vas János szinkronrendező, a magyar szinkron legendás rendezői közé tartozik, bár lehet, hogy a névazonosság csak a véletlen műve – válaszolt ezirányú kérdésünkre a márciusban Jászai-díjjal kitüntetett művész. Nem ő a minta a szerep megformálásánál, de valószínű, hogy több általam ismert és nagyrabecsült rendezőtől fogok ötleteket „lopni”.
Közben a próba tovább halad. Iglódi tanár úr kérésére a színészek még egyszer eljátsszák az első kép történéseit, most már figyelembe véve az összes instrukciót. A tanár úr csendben figyel, halkan hozzászól még egy-egy mozdulathoz, kihúz néhány mondatot a szövegből, és újra meg újra megismétel egy-egy jelenetet. Amikor úgy érzi, hogy ez a színpadkép kiforrott és nagyjából úgy zajlik, ahogy tervezte, befejezettnek nyilvánítja a munkát, és útjára engedi szereplőit.
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