![]() Ironically, the dialogue of the scene at one point concerns itself with the use of ‘clean’ working methods for what is essentially the dirty business of warfare and the theme of cleanliness and dirtiness is not only reflexively echoed in Charles Dance’s efficient handling of the knife, but also further developed in his repeated wiping of his hands. That will come out in the wash: a look of knowledge and composure. This encapsulates on the level of gesture and movement the text’s wider preoccupation with moral complexities as Shannon Wells-Lassagne (2013, 417) observes, ‘the clear-cut villains that seem to people the novels soon prove to be more understandable villains, while the actions of the heroes are increasingly less morally palatable.’ ![]() The quality of movement, enabled by the actor having received some training, is crucial, however, in terms of characterisation: the forceful, methodical, decisive and efficient economy of movement of the knife through different textures leaves no doubt that this character, whilst not revelling in violence for the sake of it, nevertheless is both willing and able to do what is necessary (for him, this is hinged around the protection and continued rise to power of the House Lannister). That this scene was devised and included already sets up something about the intentions for the character: keeping up his physical skills, Tywin Lannister is introduced as a man who is always prepared, engaged in all aspects of warfare and who recognises the importance of physical actions and power (and their display). ![]() With short, sharp, powerful hand movements, nasal grunts, and visceral sound effects for the work of knife and hands, this sequence renders a visible (and audible) performance, of strength and skill, by character and actor. ![]() Whilst the sequence is a composite of different takes (as the switch of the knife reveals), over the course of the four and a half minutes, we do see (and hear) Charles Dance cutting through flesh and sinew, pulling out guts, yanking back flaps of skin, and even placing one of the animal’s haunches over his shoulder. What is worth noting about this scene is that, first of all, it actually exhibits a lot of the skinning and butchering: unlike the familiar sight of a character playing the piano within a camera framing that just so happens to separate the character’s head/torso from the (talent double’s) piano-playing hands, the composition and cutting here emphasise, if not insist, that it is Charles Dance who is physically handling an animal carcass. Just as well he is not a vegetarian: Charles Dance skins a deer. Our attention lies with Dance’s acting and the way in which this gives texture to his characterisation of Tywin Lannister, in way that interestingly touch on issues concerning performance. Quite refreshingly, discursive attention has not been negatively centred on issues of adaptation and fidelity, but has instead paid recognition to the imaginative symbolism (the stag is the animal of the House Baratheon, a key rival for the Lannisters), the use of a real deer stag during production, as well as the fact that actor Charles Dance practised with a butcher prior to filming. One of the moments when the television series moves away from its source material, fans and critics alike have praised the introduction of Tywin Lannister’s character, who, played by Charles Dance, has a discussion with his son Jamie (Nikolaj Coster-Waldau) concerning House Lannister’s embroilment in the civil war that is unfolding in Westeros, whilst skinning a deer stag. ‘You Win or You Die’, the seventh episode from the first season of Game of Thrones (HBO, 2011-present), contains a scene that has deservedly gathered attention and acclaim.
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