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Vocational Graphology Notes

It must be said that cinema – being the representation of the collective psychic world of aspirations, desires, values, common feelings, and so on – is a fast changing field, so that what was required to an actor in the past to become an expressive art symbol is not necessarily still valid nowadays. For instance, accurate but just a little static performances, cannot be proposed anymore, as the movies show a progressive acceleration in dialogues, lines, scenes complexity, therefore requiring actors an increasing capacity to fit in relational situations more and more immediate and complex.

Graphologically, its effect is selecting more and more instinctive actors, in which natural expression becomes essential, as seen in Redford’s writing.

In his book “Mental characteristics and professional vocation from graphology ” Moretti writes briefly about the actor’s profession.
The signs required for acting are Clear, Triple Width, Fluid (p. 346) and they can be observed, for instance, in Newman’s handwriting; however, this is not the most often found combination presently. Whereas the psychological requirements for drama, i.e. Short cut, Fluid, Bold, all of them above 5/10 (p. 350), can be found in many modern actors. Here we really should appreciate Moretti’s  foresightedness as, how it can be easily checked by a quick autograph search on Internet (www.famous-autographs.com, www.historyforsale.com) such aptitudes, unthinkable in Moretti’s time when the acting performance was much slower, have become necessary to stand nowadays speed. And it is much more surprising to notice how these very same characteristics of boldness and short cut style are becoming visible in professions previously considered perfectly static, such as modeling: in this field too several women show, in a small but still interesting percentage, strong signs of an inner restlessness and no sign of self-imposed external control, typical of the sign Accurate.

Therefore, the static beauty of the mythical Brigitte Bardot (Accurate Study) could not stand the pace and needs of modern cinema:

Portrait: Brigitte Bardot

and Audrey Hepburn could hardly manage it as well, though her writing is more fluid: she actually needs a softer environment to fit her  (Curve-Round), whereas she would feel really uneasy facing the often abrupt passages typical of modern cinema.

Handwriting: Audrey Hepburn

David Niven too, notwithstanding his exceptional mind and irony qualities, exhibits a width between words showing his need for control; therefore, this diminishes his capacity to insert himself spontaneously and fast into complex relational situations:

Handwriting: David Niven

Generally, the numerous actors writings analyzed suggest the following remarks:

  • The signs Fluid /Connected are essential, showing spontaneity and persistence in expression;
  • Material detail memory, in most cases, depends on triple narrowness (Narrow Letters, Narrow between Letters and between Words at different degrees), often with C Angles or wrapped up forms, that is, defenses of the Ego not perceivable at a first sight (Michelle Pfeiffer, Glenn Close, Sophia Loren, Alain Delon, to mention some, show such combination);
  • Rushing, Short cut, Bold, Impatient, Thrown Away handwritings are a significant percentage of younger famous actors (ex. Penelope Cruz, Patrick Swayze).

For both men and women in the cinema, the psychological combination  foreseen by Moretti for drama with aptitudes, somehow, similar to those necessary to pilots: readiness, cold-headedness and boldness, ruled by prudence. “Readiness to see obstacles and dangers , in order to avoid them, erase them, overcome them, face them is a result of quick intuition.(Methodically Uneven)” “and  of quick reasoning. Cold-headedness is the result of the learning of circumstances in their extreme laconicity ” (Essential), “of cutting short and determination about what must be done” (Short Cut, Bold)  (Att, 334)

However, clearly not all actors working in the same film can have such characteristics without coming into conflict.

From this further psychological remark – which belongs to the movie world – come out those winning couples made of two actors, both main characters but with complementary personalities, such as Newman/Redford, which embody, in a sense, one the qualities of a calm interpretation (Clear, Triple width, Essential) and the other the qualities of drama (Short Cut, Fluid, Bold): in such a couple both, having fun together, can be nurtured by their very difference.