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Cinema: art becoming movement

How can an actor reconcile his material detail memory, necessary to learn in detail complex scripts, while keeping, at the same time, a full spontaneity and naturalness in motion?

The sign Fluid appears to be, in this case, totally essential; however, though this is the sign of pliability, spontaneity, fluid discourse, it is also a sign of a disposition to global intuitive learning which is, however, undifferentiated, so that people with Fluid above average can “fall into haphazardness, approximation, superficiality”(B, 104)

Therefore, an actor’s handwriting should exhibit a “moderate Fluid”, as the sign Fluid itself does not favor material memory nor careful detail observation, both qualities needed to focus on outer reality, therefore also on the characters to be rendered, in order to obtain a deeper psychological effect.

For such reason, an actor cannot easily reconcile inside himself these two qualities, both essential for his work: material memory (that implies also careful detail observation) and a perfect naturalness in expression, because they refer to psychological traits which are in total contrast.

Graphologically, it can be observed how actors can put an end to such a contrast, which should be only apparent, given the highest results some great movies performers come to.

Moreover, going deeper, it can be observed how far an actor can go in playing his role, that is, if either bringing to life characters different from himself, or keeping in his playing some unchanged features which belong to his personality instead.

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