Amazing! I'm your new fan! ❤ I'm thinking of actors now, when the visage should be in tune with the character and not with the actor himself. I'm thinking if analysis is then just an analysis made purely on the character or a mix of the analysis of the character and the analysis of the actor, because it should expose the character but using the body of the actor.
Hello Paulina. The personality, or temperament, of the actor should not be an impediment when developing the character´s image, however,, in some cases, the actor´s physical traits can be difficult to sublimate. For instance, when the actor/actress has very strong features, it can be difficult for him/her to portray someone who has difficulty in imposing him/herself. But great actors overcome that. What I notice most, however, is the lack of care in choosing rhe actors who portray parents and their children, or the same character with different ages. Sometimes the features are so different that the portrayal is not convincing. A case in point are the characters in The Notebook. James Garner and Gena Rolands are nothing like Rachel McAdam and Ryan Gosling and their features indicate very different temperaments. It is certainly very important that professionals know how to use Visagismo Philip Hallawell and actors as well. It lets them be much less dependent on their intuition, as they use the knowledge of visual language to develop their characters.
Oi Philip! Adorei esse vídeo! Mas fiquei com uma dúvida, na análise do Fefito não entendi por que ele é mais sensível do que emotivo, ele tem mais os olhos melancólicos? Se fosse mais emotivo seria um olhar mais colérico?
Apaixonada pelo teu estudo. Logo mais estarei comprando o livro.
Amei
👏👏👏
Estou apaixonada pelo visagismo. Muito obrigado por compartilhar seu conhecimento . Desejo poder fazer o seu curso.
Estudei com o Tutu.
Bom dia Filipe halauel tudo bem com você
Amazing! I'm your new fan! ❤ I'm thinking of actors now, when the visage should be in tune with the character and not with the actor himself. I'm thinking if analysis is then just an analysis made purely on the character or a mix of the analysis of the character and the analysis of the actor, because it should expose the character but using the body of the actor.
Hello Paulina. The personality, or temperament, of the actor should not be an impediment when developing the character´s image, however,, in some cases, the actor´s physical traits can be difficult to sublimate. For instance, when the actor/actress has very strong features, it can be difficult for him/her to portray someone who has difficulty in imposing him/herself. But great actors overcome that. What I notice most, however, is the lack of care in choosing rhe actors who portray parents and their children, or the same character with different ages. Sometimes the features are so different that the portrayal is not convincing. A case in point are the characters in The Notebook. James Garner and Gena Rolands are nothing like Rachel McAdam and Ryan Gosling and their features indicate very different temperaments. It is certainly very important that professionals know how to use Visagismo Philip Hallawell and actors as well. It lets them be much less dependent on their intuition, as they use the knowledge of visual language to develop their characters.
@@hallawell great! Thank you for your insight on this point! :)
Oi Philip! Adorei esse vídeo! Mas fiquei com uma dúvida, na análise do Fefito não entendi por que ele é mais sensível do que emotivo, ele tem mais os olhos melancólicos? Se fosse mais emotivo seria um olhar mais colérico?
Olá Aruane. Os olhos emotivos são grandes, que não é o caso dele, Seus olhos são menores e arredondados, que expressam sensibilidade.
Pow... a apresentadora chamou um cara que acabou de extrair o ciso e um homem vestido de mulher. kkkk