Post by ayoungspirit on Apr 17, 2016 10:36:46 GMT -5
Here is a new draft for Charles Dance, based on my earlier stumbling attempt, and, due to a lack of time, which I intend to update in the following days, notably with pictures. Feel free to mention any missing elements or weakness of structure at any point of modification.
The central tenant still is to uncover the breadth behind the first impression, notably by contrasting the "manic" expression with the seelie "giggle". However, since I am displacing his type from TeNi to NiTe, I will probably have to rework the text so as to give a fair share to the skillful articulation which initially threw me off.
Edit : now that the illustrations are completed, the post will be updated on the main site sometimes tomorrow.
Edit 2 : The article has been uploaded here.
_______________________________________________________________________
At first sight, Charles Dance may boast quite an intimidating presentation. His seemingly effortless charisma has in fact become instrumental in conveying a variety of shady characters throughout a prolific acting career. Nevertheless, it might be hasty to conclude that this outward appearance should warn the audience toward the individual's instinctive personality. A more thorough observation, supported by vultology, might expose in turn that the disposition could be less tributary to a consistant irate mood than it would be to the expression of specific cognitive processes.
Indeed, the contraction of the muscles around the eye sockets which accompanies the pairing of Ni and Se often results in the brow being pulled up toward the outer side, while the upper eyelids stay relaxed and lowered, hovering over a steady stare. Likewise, the pairing of Fi and Te may manifest through a constant tension from the upper lip to the sides of the nose, which overlaps with expressions suggestive of displeasure or contempt. When Te is prevalent on Fi, the emotional effusion associated with this contraction tend to be stifled under the cheeks, which can result in an overall stern composure.
Thus, what might be perceived as somewhat of a "manic" expression, in this case drawn toward the audience by a piercing glare, can prove to be a default look for the NiTe/Vedain type.
Link to figure 1
Figure 1 : A range of severe, yet typical countenances
The further breakdown of filmed interviews should help us substantiate this assessment, while pointing out some nuances in the personal development of the individual.
In this occasion, it becomes quickly apparent that Charles Dance is most frequently balancing between a lengthy gaze downward and to the side, "zoning out", and a fixated look on his interlocutor, with occasionally a quick glance upward.
Link to figure 2
Figure 2 : Eyes movements are conducting the face from the side to the front
Meanwhile, the line of thought shared through the speech seems to revolve around the integration of memories into patterns, as would suggest the following quote from an Interview with the BBC :
Charles Dance : "What I tend to do when I work is taking each character face value, basically. If there are things that I feel I need to know about the character, I will go into it. Like in the moment I am playing a priest, [...] I will go to church [...] and do all the external things I need to know. [...] If the writing is good, I basically have to serve that text."
When the recall is seemingly more demanding, his brows furrows into a scowl which contracts in the center, while his eyes stay in sharp focus.
Link to figure 3
Figure 3 : Charles Dance's concentrated scowl
These elements suggest a noteworthy recourse to reactive/introverted abstract perception, abbreviated Ni, and completed by proactive/extraverted concrete perception, abbreviated Se.
In most of these occasions, the head, if not the upper body itself, is tilting heavily according to the direction of the eyes, which may induce a partial hunch.
Link to figure 4
Figure 4 : Posture is actively bending toward the focal point
Moreover, Charles Dance's usual stance is laid-back, oftentimes openly leaning on the seat. It animates imperceptibly through a gentle sway, which can gain momentum in moments of stimulation, before collapsing onto itself.
Link to figure 5
Figure 5 : Eyes widen and gain intensity as the body animates
Altogether, these further remarks may confirm that Charles Dance's type belongs to the "Worldview" quadrant, lead by reactive/introverted perception (Pi), and that its primarily oscillation is indeed composed of a prevalent Ni and a subservient Se.
Beyond its visual component, the allure is also enriched by a skilled enunciation, which might first and foremost be a testimony to a methodical training as a classical actor in the Royal Shakespeare company. Nevertheless, some of its attributes are distinctly concomitant with those of the "Articulation" process (Je), and thus can help the observer in assessing the secondary oscillation of the cognitive type.
Despite being imbued with a hint of static warmth, his voice tone can still be characterized as nasal and uniform. Moreover, the rhythm is imparted through volume over melody, especially to emphasize a decisive word, oftentimes at the end of a segment. It results in a rather dispassionate, analytical inflection, which can be instrumental to deadpan humor, for example when defining the character of "Gerald" as having the "principal concern" to "shag his barista", before cracking a smile, in an interview preserved in the Kinolibrary Archive Film collections.
Link to figure 6
Figure 6 : Charles Dance contains his amusement after voluntarily making an off-beat comment
The speech is sometimes accompanied by a series of brief, efficient gestures from the hand, or nods from the head, which can be almost as precise and clear cut, but also indolent in their coordination, and illustrate the ambivalence of having proactive judgement in the secondary oscillation.
Link to figure 7
Figure 7 : Gesticulations rarely engage the full body
Even though these "signals" are already indicative of the prevalence of proactive/extraverted logical judgement (Te), it may become as much clearer when factoring the complementary process in a distinct fashion. The previously mentioned tension from the upper lip to the side of the nose can be shown to result in micro-snarls and asymmetrical expressions, but they also influence the flexion of the smile by pulling it toward the center of the face, resulting in bulgy cheeks.
Link to figure 8
Figure 8 : Charles Dance admits he "quite like(s) dressing up"
Although, contrary to other prevalent Te users, the cheeks are suddenly swelling with a hint of warmth, which might suggest a genuine contamination, which sometimes slips through the restraint and burst into a short but still unexpected "giggle".
Link to figure 9
Figure 9 : Emotion radiates freely from the smile
In addition to these punctual surges, the process itself is given a thoughtful treatment in short moments of complete disengagement, achieved through a straightened body and the exhalation of a deep breath.
Link to figure 10
Figure 10 : Eyes are closing down while the posture freezes in an uptight position
We can thus infer that, beyond the consideration offered by Ni "worldview" and contrary to what his most cynical roles may entice, Charles Dance may have a positive relationship toward the exploration of his personal sensibility through his "inner compass" process, in this case reactive/introverted ethical judgement (Fi).
In the end, it is seemingly the man himself who invites us to dissipate the superficial layer of presentation, without sacrificing temperament, as the following quote, given to the BBC in an interview about acting, would suggest :
Charles Dance : "If I was a different shape, and size, I would love to play Small weed in Bleak House. I'd love to play those characters, bits because it would just be enormous fun, and so far away from what I am perceived to be [...]. I'd like to do more and more different things, the rougher, the better."
Sources :
BBC interview with Charles Dance
Charles Dance Interview - Dracula Untold (HD) to HeyUGuys
1997 Charles Dance Interview from the Kinolibrary Archive Films Collection
The central tenant still is to uncover the breadth behind the first impression, notably by contrasting the "manic" expression with the seelie "giggle". However, since I am displacing his type from TeNi to NiTe, I will probably have to rework the text so as to give a fair share to the skillful articulation which initially threw me off.
Edit : now that the illustrations are completed, the post will be updated on the main site sometimes tomorrow.
Edit 2 : The article has been uploaded here.
_______________________________________________________________________
At first sight, Charles Dance may boast quite an intimidating presentation. His seemingly effortless charisma has in fact become instrumental in conveying a variety of shady characters throughout a prolific acting career. Nevertheless, it might be hasty to conclude that this outward appearance should warn the audience toward the individual's instinctive personality. A more thorough observation, supported by vultology, might expose in turn that the disposition could be less tributary to a consistant irate mood than it would be to the expression of specific cognitive processes.
Indeed, the contraction of the muscles around the eye sockets which accompanies the pairing of Ni and Se often results in the brow being pulled up toward the outer side, while the upper eyelids stay relaxed and lowered, hovering over a steady stare. Likewise, the pairing of Fi and Te may manifest through a constant tension from the upper lip to the sides of the nose, which overlaps with expressions suggestive of displeasure or contempt. When Te is prevalent on Fi, the emotional effusion associated with this contraction tend to be stifled under the cheeks, which can result in an overall stern composure.
Thus, what might be perceived as somewhat of a "manic" expression, in this case drawn toward the audience by a piercing glare, can prove to be a default look for the NiTe/Vedain type.
Link to figure 1
Figure 1 : A range of severe, yet typical countenances
The further breakdown of filmed interviews should help us substantiate this assessment, while pointing out some nuances in the personal development of the individual.
In this occasion, it becomes quickly apparent that Charles Dance is most frequently balancing between a lengthy gaze downward and to the side, "zoning out", and a fixated look on his interlocutor, with occasionally a quick glance upward.
Link to figure 2
Figure 2 : Eyes movements are conducting the face from the side to the front
Meanwhile, the line of thought shared through the speech seems to revolve around the integration of memories into patterns, as would suggest the following quote from an Interview with the BBC :
Charles Dance : "What I tend to do when I work is taking each character face value, basically. If there are things that I feel I need to know about the character, I will go into it. Like in the moment I am playing a priest, [...] I will go to church [...] and do all the external things I need to know. [...] If the writing is good, I basically have to serve that text."
When the recall is seemingly more demanding, his brows furrows into a scowl which contracts in the center, while his eyes stay in sharp focus.
Link to figure 3
Figure 3 : Charles Dance's concentrated scowl
These elements suggest a noteworthy recourse to reactive/introverted abstract perception, abbreviated Ni, and completed by proactive/extraverted concrete perception, abbreviated Se.
In most of these occasions, the head, if not the upper body itself, is tilting heavily according to the direction of the eyes, which may induce a partial hunch.
Link to figure 4
Figure 4 : Posture is actively bending toward the focal point
Moreover, Charles Dance's usual stance is laid-back, oftentimes openly leaning on the seat. It animates imperceptibly through a gentle sway, which can gain momentum in moments of stimulation, before collapsing onto itself.
Link to figure 5
Figure 5 : Eyes widen and gain intensity as the body animates
Altogether, these further remarks may confirm that Charles Dance's type belongs to the "Worldview" quadrant, lead by reactive/introverted perception (Pi), and that its primarily oscillation is indeed composed of a prevalent Ni and a subservient Se.
Beyond its visual component, the allure is also enriched by a skilled enunciation, which might first and foremost be a testimony to a methodical training as a classical actor in the Royal Shakespeare company. Nevertheless, some of its attributes are distinctly concomitant with those of the "Articulation" process (Je), and thus can help the observer in assessing the secondary oscillation of the cognitive type.
Despite being imbued with a hint of static warmth, his voice tone can still be characterized as nasal and uniform. Moreover, the rhythm is imparted through volume over melody, especially to emphasize a decisive word, oftentimes at the end of a segment. It results in a rather dispassionate, analytical inflection, which can be instrumental to deadpan humor, for example when defining the character of "Gerald" as having the "principal concern" to "shag his barista", before cracking a smile, in an interview preserved in the Kinolibrary Archive Film collections.
Link to figure 6
Figure 6 : Charles Dance contains his amusement after voluntarily making an off-beat comment
The speech is sometimes accompanied by a series of brief, efficient gestures from the hand, or nods from the head, which can be almost as precise and clear cut, but also indolent in their coordination, and illustrate the ambivalence of having proactive judgement in the secondary oscillation.
Link to figure 7
Figure 7 : Gesticulations rarely engage the full body
Even though these "signals" are already indicative of the prevalence of proactive/extraverted logical judgement (Te), it may become as much clearer when factoring the complementary process in a distinct fashion. The previously mentioned tension from the upper lip to the side of the nose can be shown to result in micro-snarls and asymmetrical expressions, but they also influence the flexion of the smile by pulling it toward the center of the face, resulting in bulgy cheeks.
Link to figure 8
Figure 8 : Charles Dance admits he "quite like(s) dressing up"
Although, contrary to other prevalent Te users, the cheeks are suddenly swelling with a hint of warmth, which might suggest a genuine contamination, which sometimes slips through the restraint and burst into a short but still unexpected "giggle".
Link to figure 9
Figure 9 : Emotion radiates freely from the smile
In addition to these punctual surges, the process itself is given a thoughtful treatment in short moments of complete disengagement, achieved through a straightened body and the exhalation of a deep breath.
Link to figure 10
Figure 10 : Eyes are closing down while the posture freezes in an uptight position
We can thus infer that, beyond the consideration offered by Ni "worldview" and contrary to what his most cynical roles may entice, Charles Dance may have a positive relationship toward the exploration of his personal sensibility through his "inner compass" process, in this case reactive/introverted ethical judgement (Fi).
In the end, it is seemingly the man himself who invites us to dissipate the superficial layer of presentation, without sacrificing temperament, as the following quote, given to the BBC in an interview about acting, would suggest :
Charles Dance : "If I was a different shape, and size, I would love to play Small weed in Bleak House. I'd love to play those characters, bits because it would just be enormous fun, and so far away from what I am perceived to be [...]. I'd like to do more and more different things, the rougher, the better."
Sources :
BBC interview with Charles Dance
Charles Dance Interview - Dracula Untold (HD) to HeyUGuys
1997 Charles Dance Interview from the Kinolibrary Archive Films Collection