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weirdest plan and begin to implement it immediately. For example, he will agree to travel three hundred miles right now to a pop star concert if this is your favorite pop star. He might not even like pop music, but he loves adventures! With the Director, the answer would be negative. He would say that he had completely different plans for the evening (like going to the gym or surfing the Internet at home) and you should have articulated your desire the day before yesterday, or even better last week so that he could estimate its worth and feasibility.

      The Actor is good company. Unlike the Scriptwriter, he does not have encyclopedic knowledge, but all his stories are vivid, full of emotions and therefore memorable.

      But he is not able to give out energy endlessly. Although his activity can last several hours in a row, fatigue and apathy inevitably come. The fireworks end. The Actor needs to lie down and sleep to regain vigor. He cannot live and work evenly like the Director or Scriptwriter. His nervous system is different.

      At such a time, it is better to leave him alone. If you start telling him about your problems and he starts snoring, you need to check yourself to ensure you are not offended. His seeming disinterest is not his attitude towards you, but his physiology. Repeat your story again when he wakes up. You will get the emotional response you were counting on.

      The Actor’s mood can change rapidly. He easily switches from thoughtfulness to activity, from nervousness to relaxation. He gets annoyed quickly, but just as quickly calms down. The most ordinary joke can cause him to burst out laughing (the Scriptwriter and Director would only smile in response, the first one more likely out of politeness).

      The Actor strives to be a man of his word, but this does not always work. He truly believes in his promises the moment he gives them, but halfway, can be distracted. His attention switches to a new amazing object or event, and the promise completely slips from his mind.

      For example, the Actor arrives home in the evening without having bought the shampoo and mosquito repellent you asked for that morning. This is not because he does not love you. He was distracted, that’s all!

      But when he is ready, he will immediately turn around and rush in search of the thing you need. When he returns with the shampoo or repellent, he will expect praise from you. And he’ll be terribly offended if you don’t give it to him!

      In general, praise is the main thing that he wants from you (apart from sex, of course). You can cook him a delicious dinner, wash his clothes, and wipe dust off of his computer, save him from mosquitoes… Everything will be wasted if you are not enthusiastic about his heroic deed – after all, he traveled to nine stores in no time and found “your shampoo” in the tenth one!

      The Actor is not punctual. If he says, “Come outside, I’ll drive up in a minute,” do not rush. For him, a minute is a loose concept. His “minute” can last six seconds or a quarter of an hour. It is useless to make a fuss over this. He sincerely promises to “never be late again,” but quickly breaks his promise unintentionally. No doubt his reason will be compelling: “The bridge collapsed.” Or, “My boss called me up to his office.”

      The Actor is able to arrive on time – for example, at work – if a registration terminal is installed at the entrance. But it is not easy for him. He puts on clothes in a hurry, drives a car violating traffic laws and gets into his office a second before being late. Needless to say, this can lead to his nervous exhaustion over time!

      Since the Actor is always in a hurry, he has no time to put things in their place. Every morning he rushes about the house, opening all of the cabinets in search of his shirts and socks. The search is simplified by the fact that things fall out of there themselves, because the shelves are stuffed with random items! His money, keys, and driver’s license can also be anywhere – on the fridge, on a bathroom shelf, in the folds of the sofa.

      Putting things in order demands great volitional effort on his part. His desire to tidy up the house can be caused by an emotional impulse with a vow he made to “stop this mess once and for all,” or by the news that some guests are coming around. However, the Actor is able to clean his entire home in five minutes to avoid shame and receive praise!!

      To sum up, the Actor is unbalanced, boastful and disorderly, but at the same time energetic, optimistic and witty.

      He would not succeed in remaking himself from the Actor into the Director or Scriptwriter even if he wanted to, as the role type is inherent nature from birth, but he can still correct and direct his behavior. Someone should explain to him why and how it should be done if he does not know himself.

      Spectator

      The Spectator’s temperament type is melancholic.

      It is the desire of the Spectator’s heart that good always conquer evil, and that the participants of the play that is life be fulfilled and happy.

      Note that the Spectator wishes not only main characters of life receive their due, but that all of the actors, including secondary ones, get what they desire. As for negative characters, the Spectator does not feel hatred for them. He is eager to consider the motives of their actions, to feel sorry for them and forgive them, because they are not to blame for being mistaken.

      To the Spectator, to “conquer evil” does not mean to “destroy,” but to “re-educate”. He is against violence in principle!

      However, re-educating the Spectator himself (as well as any other adults) is not so simple. He has his own unshakable principles. The main one can be formulated as follows: “All people are good.” Therefore, according to his beliefs, help should be given to everyone that is in a difficult situation. It can be a close or distant relative, a friend, a random passerby, and even an enemy.

      If the Spectator cannot help someone, for lack of power, resources or understanding of the situation, he feels the need to at least to show compassion, to cheer up, to comfort the poor person – essentially, to express his unconditional support.

      The Spectator wants people’s faces to radiate joy and kindness. Therefore, he evaluates the success or failure of any business not so much by the final result as by the psychological state of its participants. Are they satisfied with what and how they did? Did they manage to get along with each other? Has their mood improved or worsened?

      If someone was offended by the interaction, the Spectator considers his mission a failure.

      For the Spectator, as well as for the Actor, emotions are more important than the matter. But, unlike the Actor, the Spectator does not seek to flaunt his personality and receive praise. He watches others and does everything in his power to make them happy. Achieving this goal, he feels fulfilled. That is all he needs!

      The role played by the Spectator in life and the role of a spectator in a real theater are very similar. A good theater visitor is not only an observer, but also an active participant of the action. He or she supports actors with applause, laughs in response to jokes and cries during the most dramatic portions of the play. Sometimes (if asked), they may go on stage themselves and say a few words, or even define the plot development in a modern interactive performance!

      The same applies to the Spectator’s role type, and his main objective is always the same: universal happiness.

      How does the Spectator behave in real life? First of all, he tries not to cause inconvenience to anyone.

      He drives a car carefully, following road signs and the speed limit. In public transport, he gives way to elders and children. In stores, he never goes to the cashier’s desk out of turn. He is used to saying “please” and “thank you,” and smiling at everyone.

      The Spectator is a vulnerable person. If insulted (at a store, for example), he suffers deeply, although outwardly remains calm. The rude person is unlikely to even notice his suffering.

      The Spectator never interrupts a person with whom he is having a conversation. If you tell him about your difficulties,

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