Les voix des héroïnes de Geraldine Chaplin dans le cinéma de Carlos Saura ou la mise en lumière d’une collaboration artistique

Abstract : Geraldine Chaplin opened the way for the apparition of the feminine in Carlos Saura's filmography, in a dichotomous rôle which relies to a great extent upon the voice in that, depending on the different films, the actress's voice is dubbed or not. The dubbed voice, which is artificial due to the presence of Chaplin's real voice in certain films, could have proved a stumbling block to the recognition of her talent by demonstrating the helplessness of an actress faced with a film-maker who controls the creation of a character via the sound editing process. However, Chaplin asserts herself in the cinematographic text of the works from La Madriguera – a film she co-wrote and in which she retains her own voice – onwards, bestowing a new maturity upon the duality of her character. Chaplin's voice, which is necessary to the assertion of her persona, reveals her body, her capabilities as an actress and ushers in a new form of film-writing. By assuming all the different functions of the voice – in, over, as a reader and as a narrator...- she becomes fully cinematographic and produces enunciative frictions which, whilst revealing a collaboration (far from free of contrasts) between actress and film-maker, escort the film-writing of these works towards their accomplishment.
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La Voix, Arnaud Duprat de Montero. Les voix des héroïnes de Geraldine Chaplin dans le cinéma de Carlos Saura ou la mise en lumière d’une collaboration artistique. Entrelacs, Laboratoire de Recherche en Audiovisuel - l'Université Jean Jaurès de Toulouse 2, 2014, La Voix, pp.1-12. ⟨10.4000/entrelacs.912⟩. ⟨hal-01809165⟩

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