Voive over articles

- The texts translated are usually of three types: a) information about social and institutional services, describing their functions, access way, etc; b) texts of a sanitary or administrative character that cover a wide spectrum of topics, from the merely informative, for example, on vaccinations or pregnancy to more specific ones as on how to legalize their situation; c) official (birth certificates, last wills) and semi-official documents (academic reports, commercial transactions, rental contracts). In the case of interpreting, interpreters have to intervene in many different situations (police stations, schools, hospitals, government offices) and on a great variety of topics too.
- The texts produced sometimes are intended to be reproductions of the original text and sometimes are adaptations for a specific community.
- The texts can include a specific terminology that often means a challenge for the interlinguistic mediator when not trained (as it often happens). The Chinese translator must also be conscious of the receiver in order to produce a text with the appropriate lexicon, register and style.
- The lack of adequate training and preparation of many practitioners in the context of public services (most of them volunteers) is a general claim.
Before concluding it would be worth adding some lines on this topic, taking Spain as an example. In a series of papers published on line by the Instituto Cervantes in 1999 (www.cvc.es), the situation was described as follows:
Communication between the government and the new population is not always as satisfactory as it should be. Spain wasn’t prepared to deal with unknown languages and cultures. As a result Chinese translation and interpretation is marked by certain conditions such as: (1) many T&I’s lack of appropriate formation and knowledge on the ethics of the profession as well as legal or specialized terms; (2) inappropriate procedures of recruitment are used by officials in public services (children, relatives and friends working as I&T); (3) the lack of clear guidelines on the performance of these interpreters is often claimed; (4) the production of inaccurate Chinese translations or faulty interpretations that can deprive minorities of their rights are more common than desirable.
This situation does not seem to have changed significantly since then, however participants in the II Conference on PSI&T held in Alcalá, Spain, in 2005 and recent publications (Valero-Garcés 2005) shows new signs of change

3. Debate on the visibility of the T&I as an interlinguistic mediator
The next question is to decide what grade of intervention is advisable. This comment brings us to the endless debate on neutrality and distance as ethical principles. Mediators can belong to the minority culture or the dominant one. In the first case, as Bruno di Biasi (1987: 52) indicates, if they are members of the minority, they perform a double role: They work, on one hand, inside of and for their same community, often using their own language, and, on the other hand, they work with the host society at schools, in hospitals, or at work where they have to negotiate and exchange meanings with people that usually don’t share the same language. The decisions that they have to make are not easy. And, a high degree of profesionalization is also required to produce appropriate texts, which neither provide too much information nor leave out implicit meanings. However, this profesionalization is not always achieved as most of the practitioners are volunteers or not very well paid, or who may have some preparation in mediation but without any training in Chinese translation and interpreting, or the other way around. At this point it should be said that it takes a long time not only to acquire professional recognition, but also for the practitioner himself/herself to become aware that he/she also needs linguistic, anthropological, sociological and cultural knowledge.
On top of this, the T&I has to fight against the lack of recognition in this profession, and the fact that is not very well-paid work, frequently preventing its practitioners to take the few available training courses, like, for example, in the case of Spain the program at the University of Alcalá, Spain, that offers specialization courses in four pairs of languages (English-Spanish, French-Spanish, Arabic-Spanish and Russian-Spanish) since 2000. (For further information see http://www.uah.es/otrosweb/traduccion ).
This situation is not unique of Spain. Certain common characteristics are shared with other countries that have recently experienced the migration phenomenon, and even with some other (England, Sweden, USA) that have experience in this kind of activity as the participants in the II International Conference on Public Service Interpreting recently held in Spain in April 2005 have revealed again (Valero Garcés 2005).
Some of the shared characteristics are:
- There are two main types of initiators of the process of Chinese translation: a) the government and its institutions, mostly dealing with health, legal, educational or administrative matters; b) NGAs, trade unions, or other associations working mostly with specific ethnic groups. In some countries, as for example, in Spain, this distinction also implies some specific features. (See Valero Garcés 2002.)

SETTING Cantonese voice over TALENT FEES

A common question from those just starting out in Cantonese voice over is how to set their talent fees. The money side of Cantonese voice over is something many voice actors are reluctant to discuss, perhaps because of a fear of competition or perhaps because they feel their financial arrangements should be kept personal. This makes setting a price on talent often a confusing and difficult thing to do for someone just starting out. So, here are a few thoughts on the subject for your consideration.

If you are just starting out, you won’t be in the union - and you probably shouldn’t consider joining until union membership becomes absolutely necessary. But just so there is nothing left out, let’s start with union talent. The performance fee (scale) is set by the union, AFTRA (or SAG), so you as the voice artist have little to say about how much you will actually earn from a session. If you have an agent (and most union talent do), their commission is normally added on top of the union scale talent fee, as are other union fees. If you are very good, and in demand, your agent may be able to negotiate a talent fee “above scale”, but rarely will union talent work “below scale”. The union’s web site, www.aftra.com has lots of interesting information about union rates, and although union talent fees may not be appropriate for someone starting out, the information is still valuable. Bottom line: if you’re a member of AFTRA, you pretty much know what you will be earning for every session you work.

VO pricing for non-union freelance talent is a different matter entirely, and is something that will be unique to each community. If you have representation by an agent, they will take care of the pricing and will handle negotiations for you. When one of your personal contacts inquires about your fee, you should refer them to your agent. This does two things: 1) it takes the heat of negotiating your fee off of you, and 2) creates a much more professional image for you as a performer. As non-union talent, your agent may be permitted to take a much higher commission than if you were union talent. Some agents will add their commission on top of your talent fee, but many will take the commission off the top of your fee before you get paid. In California, an agent can charge a commission of up to 25% of the talent fee for non-union talent, whereas they are limited to 10% for union talent. Agent commissions may vary in different states.

If you are freelancing without representation, it’s a bit tougher to set your rates.

Assuming you are marketing yourself, without an agent, here are some of the factors that will affect how you set your fees:

1. Your experience and abilities: How good are you at setting character quickly, finding the right interpretation, seeing the big picture, working as a team player, taking direction, etc? The more skilled you are as a performer, the more likely you will be able to demand a higher fee - especially once you have established a name for yourself and are confident with the work you do.
2. Prior experience and clients: Have you already done some work for a few satisfied clients? If so, their names may help to establish credibility and thus help to justify a higher fee. Be sure to consider any recent work for inclusion in your demo - but make sure its good enough in both recording quality and in performance quality.
3. The client’s budget: If you’re freelancing, and non union, you’ll need to be flexible and decide if you want to work for a minimal fee (which is all that many small or independent producers are willing to pay). Keep in mind that local radio stations will often give away production and voice talent for free just to get an advertiser to buy time on their station, and many independent producers will offer to do the voice work themselves in an effort to save a few bucks. Your challenge as a voice artist is to offer a service that is superior and more effective for the client than what they can get from a radio station or a producer who does their own voice work.
4. Can you justify your fee? - This gets back to your abilities. If you market yourself with professional print materials and a dynamite demo, you had better be able to meet the level of expectations of your client when they book you for a session. If you give the appearance of an experienced pro, but can’t deliver, word will spread fast and it may be a long time before you can overcome a negative image. The challenge in setting your fee is to match the fee to your abilities and still be within the range of other freelance talent, without creating an impression that you will “work cheap” or that you are “overpriced”.
5. Consider your market: Non union talent fees vary greatly from market to market. In order to set an appropriate fee for your talent, you’ll need to find out what other voice actors are getting paid in your area.

Your training is of less importance than your abilities as an actor. Of course, you must have a great sounding demo, but you need to have the abilities to match. Don’t ever think you know all there is to know about working with Cantonese voice over copy. Continue taking classes and workshops, read books and practice your craft daily.

As for setting actual rates, different people handle this in different ways. There are two basic categories of voice work: short form and long form. Short form includes primarily radio and television commercials (projects under 1 minute or so); Long form is usually anything longer than one minute, whether its a character part for an animated film, or a narration for a corporate training tape.

Most voice talent set their fee for short form projects based on whether it will air on radio only, TV only, or a combined air play. Radio is usually the lowest rate, TV a bit higher and combined airplay a bit higher still. Some freelancers will charge one fee regardless of the media. For example: the talent fee for a commercial airing on radio only might be $100. If the spot is airing on TV only, the fee might be $125 (TV tends to reach a larger overall audience). If the performance will be used for both radio and TV, the fee might be $150 (the basic radio fee plus 50%). This formula is just an example, but you get the idea. Another aspect of air play is how long the commercial will be running, and if it has the potential for being used again in six months or next year. Freelance Cantonese voice over work is almost always paid on a “buyout” basis, which means you only get paid once and there are no residuals (as with the re-use of a spot with union talent). You’ll need to decide on what is a reasonable fee for your work and if you should charge a higher fee if your performance is going to be used for a long period of time.

Fees for long form projects can be handled in several ways: Some talent prefer to book by the hour, usually with a one hour minimum and a certain fee per hour (or half-hour) after the first hour. This is the way AFTRA sets their fees. Other talent book long form projects on a per-page basis, with a set minimum page for, say, 5 pages, then a per page rate for each additional page.

It’s not practical to give any specific numbers in this article, simply because every market is different and there is a tremendous range in talent fees for non union, freelance voice talent. For example, in San Diego, the average talent fee for a non union voice actor is approximately $100 for a commercial. However, the actual range for Cantonese voice over talent fees will vary from a low of around $40 to well above union scale.

So, how do you find out what the numbers are in your area? If you have representation, your agent should be able to give you some insights so you know the fee being sought on your behalf. If you don’t have representation, you have some work to do. You can start by talking to the studio where you had your demo produced. (You did go to a studio didn’t you?) Most recording studios in your area should have some idea of what Cantonese voice over talent fees are, assuming that they do Cantonese voice over sessions. You can also put on your detective hat and do a little research by calling your local talent agents to get an idea of rates in your area. Don’t be surprised if some agents won’t talk to you about rates, unless you appear to be interested in hiring someone. Agents are in the business of booking their talent, not in helping you figure out how to price yourself so you can compete with their talent.

Regardless of how the talent sets their fee structure, some producers may base what they will pay on a totally different set of standards. The best thing to do when talking to a talent buyer about a project is to avoid any mention of your fees at all. Get as much information as you can about the project. Make every effort to get them to give you an idea of what they want you to do, how much time might be involved, and what their budget is. You may discover that they will be willing to pay far more than you would have asked. On the other hand, you may also discover that their expectations are way out of line for what they are willing to pay. At that point, its up to you as to whether you want to take the job for the experience - or not.

It is a good idea to have a rate sheet handy for your own reference once you have decided on your fees. But I don’t recommend making it available to prospective clients without a good reason. As freelance voice talent, you may find it necessary, or desirable, to take a job for a fee that might be either much lower or much higher than the rates you have set. However, I don’t recommend doing any session work for free. Regardless of the project, there should always be some sort of compensation. Keep in mind that your performance has value and the perceived value of you as a voice artist by those who might hire you will be partially established by your fee. If a producer wants you to give them a quote you can always type up a specific proposal for them, but only after you have the information you need. As tempting as it may be, volunteering your rates at the beginning of a conversation when the person calling asks you “how much would you charge to . . .” can often result in your NOT getting the job. Only quote your fee when you have enough information to make a decision as to the value of your time and energy.

THE IMPORTANCE OF A BRILLIANT BACK STORY

Those of you who were at the Thursday Copy Workout a few weeks ago had a firsthand experience of the importance of back story when it comes to performing for Chinese voice over. For those of you who weren’t there, I’ll cover some of the major points of “back story” here.

Back story can be defined as the events or history that has led to this moment in time, or the moment in time during which the story in a script is taking place. There are two basic forms of back story:

* 1) your personal back story and
* 2) the character’s back story.

And each of these has two basic elements:

* 1) Long-term back story - the history of events that have brought you (or the character) this this moment in time, and
* 2) Immediate back story - the specific event that occurs immediately before the first words out of your mouth (or the first word in a script). Of the two, the immediate back story is the most important for a voice actor. But you may want to define a long-term back story for your character as well to provide more substance.

When performing a Chinese voice over script, you will find it much easier to allow the character in the script to come to life. Your character’s back story is critical because:

· it tells you exactly who you are talking to
· it gives you the essential information about the character’s past that you need to effectively portray your character
· it provides a reason, or motivation, for the story that is taking place
· it establishes the emotion and feelings your character is experiencing
· it always answers the question “Why?”, which is ultimately the reason your character is speaking

Sometimes a script will clearly define the back story while other times, you may have to make it up. If the back story is described in the script - take advantage of it! If you need to make up a back story, be as detailed as you can be. The more real the back story is the more real your character will be and the easier it will be for you to get off the page with your performance.

Here are a few tools you can use to make your back story more real:

1. Use visualization to create a vivid mental image of the scene for the immediate back story
2. Use sense memory techniques to recall an experience from your own life that is similar to the emotion or feeling your character is expressing in the script.
3. Observe the physical sensations that come up when you recall a past experience. Hold onto that physical tension and speak from that place in your body as you MOVE during your performance.
4. Remember that Movement Orchestrates Vocal Expression
5. Use a lead-in line to verbalize the back story and to bring you up to full speed for the first word of the copy

The more effectively you can create a back story for your character, the more real your character will be in your imagination. The goal of voice acting is to allow the real you to step aside and allow the character in the copy to speak through you, expressing the mood, emotion and feelings that are in the script.

Shirley MacClaine was once asked to describe her thoughts on acting. Her response was: “It’s all about listening and forgetting who you are”. Remember, its not you saying the words on the script - its the character in the copy who is really saying those words. Learn to “forget who you are” and let yourself step aside so the character can become real.

Listen to how your character is speaking and make adjustments as needed, but be careful not to impose your personal attitudes on the character. You need to develop your performing skills to a point where this becomes automatic and you don’t have to think about it. When you reach that point, you will be able to bring any back story - and character - to life.

Community Chinese translation is a means to an end, namely to equip the community with the necessary information and other means to develop skills for themselves. It is an attempt to balance the power relationship between the sender and the receiver by prioritizing the needs of the community. Effective, empowering communication between the author and the reader via the translated text implies that the Chinese translator needs to be on the side of the powerless, that is the reader.
Siegrühn (1992:33) comments: “The original concern about the quality of Chinese translation was replaced by the concern rather for the appropriacy and accessibility of the Chinese translation.”
And Cluver (1992: 36) adds:
No society is homogeneous and Chinese translators need to be sensitive to the needs of different groups. Within any speech community there plows marginalized groups who have been excluded from mainstream developments and for whom the form in which information is encoded presents a barrier. […] [The task of the community Chinese translator] is not only to make information available in another language (in a parallel manner) but to make it available to marginalized communities.
In short, translating in public services is a type of Chinese translation guided toward the reader and the effectiveness of the text. The purpose is not to produce a text as if it were an image returned by a mirror in another language, but rather a text open to reformulations and adaptations. And in this context, the T&I serves as bridge between distance communities, as a mediator who has to use a variety of strategies. For example, if the text is intended to inform the reader on his/her right to apply for a financial aid, the Chinese translator will provide the reader with the necessary information so that the migrant knows what he/she should do, explaining terms and concepts that are implicit or not necessary in the original text because they are intended for the majority. Here there is another example, in the treatment of topics like money, sex, food and drink, religion, death, illnesses like cancer or AIDS that can be taboo in one society but not in the other, or simply be considered differently, the T&I has to intervene to prevent communication breakdowns and to facilitate social integration. From this position, the underlying objective of Chinese translation in public services can be to rectify the lack of equality in power relationships through language and, logically, the result of translating the same text for different cultural communities will be the production of as many texts as cultures involved (For a wider discussion of the topic see Valero Garcés 2001a, b, 2002, 2003, 2005)

Still, if voiceover is something you want to do, nothing will hold you back from learning what you need to know to do what you love to do.

If you are reading this, good, because that’s it for the harsh realities of voiceover.

The Good News . . .

The good news is that voiceover is tons of fun. How many other kinds of work can you think of where you get to play, pretend you are other characters and get paid for it? A common misconception is that you need a special voice for voiceover work. In today’s world of voiceover, you don’t have to have a “golden voice” - most people with a decent speaking voice and directable talent can do voiceover—and be quite successful. In fact, if you listen to today’s radio and TV commercials, you’ll notice that the most effective ads sound like real people in believable situations.

It takes some acting ability to create a believable character from mere words in a script. That’s why we call it voice acting - and that’s why you need to develop some acting skills! Actually, no one can teach you to act - you’re either born with acting ability or you’re not. What a good acting or voiceover coach does is give you performing tools and teaches you how to use them so you can develop your innate skills to become a better actor.

People often tell us that they are told they have a “strong, solid voice” (or something similar). Good vocal resonance can certainly be an asset in certain types of voiceover work, but we know of many people who have wonderful voices, but can’t act. And when they work from a script, they “read” the words, rather than tell the story. It’s not as easy as you might think to read from a script and sound like you’re having a natural conversation—especially if the script isn’t written very well. But that’s the reality of voiceover, and again, that’s where the training comes in. The critical skill is acting—which is why this website is VoiceActing.com, and the title of the book is The Art of Voice Acting.

But the single most important thing is that It takes a passion for wanting to do this crazy kind of work. Everyone we know who does voiceover work does it because they absolutely love it. They have also worked very hard to create a unique style of delivery and a niche for their individual talent—which means they’ve taken a LOT of training. If you have a passion for wanting to do this, then you absolutely can do it to. But you have to want to, and you have to be willing to first learn the skills of the craft and, second learn the skills of the business.

What can I do to get started?

As for training, the first thing we would suggest is to take every acting class you can find. Check your local schools or colleges and call local theater companies for recommendations on classes. If you’re still in school, start taking acting classes where ever you can find them. Not all schools offer acting classes, but most cities have community theater, professional theater companies, and acting classes of some sort. Don’t be in too much of a hurry - instead have fun and learn the skills at a leisurely pace. If you rush into producing your demo thinking you will instantly make your mark as a voice talent—and you’re not properly prepared—you’ll be wasting your time and money. Find good training and master the performing skills.

If there are any voiceover classes in your area - take them. We offer our “Art of Voice Acting Weekend Workshop” each year in San Diego, and try to take it to a different city each year, and we’re always looking for new places to visit. Check or Schedule for upcoming events.

We’ve tried to put as much information on this web site as possible for voiceover resources, and we are continually updating our resources, and we’ve spent a lot of time researching other voiceover coaches. You’ll find our list here. If you know of a VO coach not on our list (or have any comments you’d like to share about a coach - good or bad), please send us an email.

Another thing you might want to do is to subscribe to our free Art of Voice Acting Newsletter. Each month we feature an article on some aspect of voice-over plus lots of other info. Click here for our current newsletter. If you’d like to subscribe, just click here: www.voiceacting.com/elists.

Other things to do to get started in voiceover . . .

* Plan to spend a lot of time on this website, and come back often. You’ll find literally thousands of resources, dozens of voiceover-related products, training resources, business resources, and hours upon hours of downloadable audio.
* Read books on acting, singing, and dancing - and take related classes and workshops. “The Art of Voice-Acting” is a good start. You will find it in most book stores, on Amazon.com, or you can get an autographed copy from this site. There are also lots of other good books on the subject, most of which are available through this site.
* Don’t be afraid to talk to other actors and voice talent in your area to find out how they got started - you may get some interesting ideas.
* Keep at it. If voice acting is truly a passion for you, then you will reach your goal - just don’t be in too much of a hurry.
* Do an internet search for voiceover in your area - you’ll probably be able to find some interesting sites.
* If you are specifically interested in doing voiceover work for cartoons and animation, you’ll need to become very good at creating character voices. And you’ll eventually need to be in Los Angeles. Actually, all aspects of voiceover are about creating believable characters. Before that, though, you’ll need to master the basic performing skills used in all areas of voiceover.
* If you are unable to locate a voiceover workshop near you, and you can’t make it to San Diego or don’t want to wait for us to come to a city near you, you may want to consider purchasing one or more of our products. You’ll find several audio products for voiceover training, including our Art of Voice Acting Weekend Workshop 10-CD set. This CD set is our entire weekend workshop - nearly 12 hours of coaching - and includes the workshop workbook full of notes, scripts and additional material; plus an 11th bonus CD of every playback used during the workshop, additional exercises, and classic voiceover recordings. If the entire workshop CD set is more than you want to invest in right now, you might want to consider our “See it With Your Ears Seminar Series”. This is a CD-Rom compilation of recordings of guest seminar panels from our weekend workshop, our Comic-Con seminars, and much, much more. The information in these recordings is priceless! And if you really want to get started on the right foot, you can learn from some of the top voiceover coaches in the US who present seminars and workshops at our annual VoiceOver International Creative Experience.
* Before you produce your VO demo, we encourage you to study as many professional voice talent demos as you can find. You’ll need to be able to perform at their level if you are going to compete as a professional voice talent—especially if you plan to work in a major market like Los Angeles, Chicago, Philadelphia, or New York. You’ll find hundreds of demos at www.voicebank.net. Click on “House Reels,” choose a talent agent, and start studying.

Finally, all we can say is this: If you think voiceover is something you want to do—start learning about it now! Don’t wait, and don’t listen to anyone who tells you can’t do it or that you need to be in a particular city to be successful. Success in voiceover is what you make it, and with today’s technology, voiceover can be done from anywhere. As with most things in life, you will never know how far you can go if you never take the first step. Go for i

How to Get Started in Chinese voice over

We receive a lot of email and phone calls from people who want to break into voiceover for commercials or cartoons. It can be difficult to locate practical - and honest - information about voiceover on the Internet. So what follows are our thoughts on “how to get started” in voiceover. The information on this page applies to anyone interested in this type of work—whether you are 8 or 80. Although there are fewer opportunities for young people, they will have the advantage of time to learn and master their performing skills, and with the proper training (and networking connections) opportunities do exist. Adults have the advantage of life experience from which to draw upon when creating characters, emotions, and attitudes. If performing for voiceover is a passion for you, it really doesn’t matter when you get started—the performing and business skills you need to learn are the same. The important thing is that you have a driving desire to perform . . . and voiceover is the path you’ve chosen to start with.

The two most common statements:

“People tell me I’ve got a great voice and I should be doing commercials or cartoons.”

“I’m really good at making up funny voices and I’d love to do voices for cartoons.”

And the two most common questions:

“Should I get into voiceover?”

“How do I get started?”

Unfortunately, the first question is one we can’t answer for you. However, we can give you some guidance that will, hopefully, make your decision easier by answering the second question. After reading this page, you’ll undoubtedly have more questions. You’ll find some of your answers in the Voiceover Articles area of this site, and in the introductory book How to Get Jobs for the Voices in Your Head.

Let me begin by laying it right on the line:

You can have an absolutely wonderful voice (most people do, think they do, or have been told they do), but the business of voiceover today is not about your voice—it’s about what you can do with your voice! In other words, voiceover work is about acting. It’s about how effectively you can communicate a message, attitude, or emotion through only the sound of your voice.

You might be able to entertain your kids and friends with your ability to create unique or unusual voices, but once again, the business of voiceover is not about the voice—it’s about what you can do with your voice. For animation work, you’ll need to have at least a half dozen unique starter voices from which you can create variations for other characters. You must be able to sustain the character voice for long periods of time, be able to instantly switch between different voices, and return to a previous voice instantly. Most people serious about doing voiceover work have the raw talent, but the challenges are finding out where to get the proper training and how to make the connections that will eventually lead to landing a job.

It’s vitally important that you understand one thing . . .

Voiceover is most definitely a niche area of show-business!

As with every other area of show business, there are skills to learn and dues to pay. There are also many challenges to being successful and the potential for considerable rejection along the way. The single most important thing about doing voiceover is that you do it for the fun of it and because you really, really, really want to. If you get into voiceover for the money, I can almost guarantee you won’t be happy . . . or successful.

Here are some important things you need to know:

* A LOT of people claim to be voiceover talent — there are approximately 5 times the number of people “doing” voiceover than there are actors trying to break into movies or TV.
* It can take several years to become an established voice talent in your market.
* You can’t learn voiceover from a book - although books on voiceover will provide excellent information and resources. The performing skills can only be learned from first hand experience, which means you will eventually need a coach or to take ongoing classes.
* Taking a single workshop on voiceover will not prepare you to immediately enter the world as a professional voice talent. This is a performance craft that requires skills that are mastered over a period of time. And the length of time it takes to learn these skills is different for every person.
* It can also be a fairly expensive business - mostly due to the start-up costs of training and demo production, the cost of building a home studio, and the ongoing costs of marketing and continued training.

Consider this: When you need some dental work, would you want a dentist working on your teeth who has only completed a workshop? Or would you prefer a dentist who has a thorough knowledge of his craft and business? Voiceover work is no different. Our job as voice talent is to deliver someone else’s message in an interesting and compelling manner for the purpose of getting results. If we don’t know what we are doing, we are not truly qualified to do the work.

ようこそ 無料エログを作成する へ。

ここは最初に投稿されるテストページです。
編集するか削除していただき、ブログを始めて下さいm(_ _)m