ELEMENTS OF
DISCIPLINES IN THE

HUMANITIES 7
Elements of the Visual Arts

Line A moving dot; a line shows direction
Perspective The illusion of depth
Shape An enclosed line; shapes can be rounded (biomorphic attached to life

forms or geometric)
Form Shapes that seem to have volume or three dimension and can be

geometric or fl at and not with height or with width

Color The absence or the presence of light; in paintings, color can give the

viewer a sense of a sad or happy feeling

Subject What it is about? It is like a topic?
Texture The feeling of the surface
Value The effect of lightness or darkness

Line
The fi rst mark a child makes when she learns to draw or write is a line. It is the
earliest type of expression. A line is a moving dot, and the basic tool used by visual
artists. A line can be straight, curved, thick, or thin. It can be jagged or fl owing,
smooth or bumpy. The visual artist utilizes line in her artwork to express certain
feelings. For instance, if she wants to present chaos and disorder, she may use
diagonal lines to create a feeling of tension. Line was used thousands of years ago
by artists who painted on cave walls in Altamira, Spain, and Lascaux, France and is
still the most basic tool used by artists today.

Shape
A line that is enclosed becomes a shape. A shape can be a geometric shape like a
rectangle, or it can be a rounded or oblong shape. When it is rounded and attaches
itself to natural shapes, it is considered to be a biomorphic shape. A biomorphic
shape is part of the biological world. If you take a look at biological organisms such
as cells, you will recognize images and shapes that are biomorphic, or organic.

Many artists who like to use abstract organic shapes use biomorphic forms or
shapes inspired from nature. Piet Mondrian’s late works did not look organic, but
some of his early abstract forms were inspired from the branches of trees. Henry
Moore, a sculptor from England, was inspired by pieces of bone and created sculp-

24 What Are the Humanities?

tures from shapes that were similar to vertebrae. In Dallas, Texas, one of his large sculp-
tures, Dallas Piece, was inspired from some pieces of bones that he had in his studio. The
architect of the Dallas City Hall, I. M. Pei, selected Henry Moore’s work to be placed
in front of it because it was completely opposite to the stark geometric shape of the city
building. I.M. Pei, architect, created several iconic buildings located in Dallas. He was
born in Suzhou, China in 1917 and died in 2019 at the age of 102.

Sources: https://www.dallasnews.com/arts-entertainment/architecture/2019/05/16/i-m-pei-architect-of-the-dal-
las-skyline-has-died-at-102/, https://www.thefamouspeople.com/profiles/i-m-pei-5590.php

Color
Color is the absorption or reflection of light. Color is used by the visual artist to create
a mood. The use of warm colors is useful to an artist for creating a happy scene. Artists
and painters often use colors such as yellow or orange to create a bright or happy atmo-
sphere. Various color combinations used by artists tend to create certain emotional re-
sponses

. Many famous paintings are known because of how the colors and shapes were

put together and organized. Those paintings are identified and recognized as major
works of art and are studied by students today.

Reds, yellows, and some oranges are considered to be warm colors. Blues and greens
tend to create more subdued reactions and emotions; therefore, they are referred to as
the cool colors.

In a well-known 1937 painting by Pablo Picasso about a bomb that fell upon civil-
ians, Picasso purposely painted using gray scale (from black to white with gray in
between). This is referred to as using value, or light and dark. Picasso may have used
value instead of color as the predominant element to draw attention to the shapes rather
than colors. By leaving out the warm colors of tints and shades of red, which could have
been used to symbolize blood, the viewer is forced to notice the fragmented shapes
instead. This was a very innovative and powerful move on the part of an artist in 1937.

Guernica Painting by Pablo Picasso
Guernica, by Pablo Picasso, has a subject of war. When General Franco allowed Hit-
ler’s military to bomb the town of Guernica, Picasso was working on a mural for the
Paris Exhibition (1937) but was in a dry spell. When he heard about the bombing, he
knew what he would paint.

Guernica is considered to be one of the best examples of a great work of art repre-
senting the inhumanity to man.

Francisco de Goya also represented in his subject matter the innocent victim
before a firing squad, an inhumane behavior of mankind. This also is an example of a
major work of art that is about the subject of war.

Although these paintings are not pleasant as far as their subject matter, they are
still considered to be great works of art.

Symbolism seen in Guernica is disturbing, as it generates many feelings in the
individuals who view it. When Picasso was asked to explain the symbolism behind
Guernica, he remarked, “It isn’t up to the painter to define the symbols. Otherwise it
would be better if he wrote them out in so many words!”

Colors have their own value. The value of a color is its lightness or darkness, but the hue
or name of the color is still the same. For example, yellow is a color or hue that is naturally
light. If you take a black-and-white photograph of a painting that has the color yellow in it,
the color yellow will appear in the black-and-white photograph as a very light gray.

In Guernica, a painting by Pablo Picasso, he purposely used gradations of gray tints
and shades in the various shapes and patterns all over the huge canvas to create a repeti-

Elements of the Disciplines in the Humanities 25

tive and organized yet chaotic arrangement of horror. In this work, Picasso brings view-
ers to a point where they cannot help but feel the pain even though there is a lack of
color used by the painter.

Picasso’s Guernica is in the museum in Madrid, Spain. It is 11 feet tall and 25.6 feet
wide. Picasso painted in grey scale because he, too, first heard of this horrific event by
reading about it in a newspaper. Since the newspaper was not in color during the 1930s
it may be the reason for his painting in black and white values. Others have said that
it may be that since Francisco de Goya’s painting of the “Execution of the Citizens
of Madrid” (also referred to as the “Execution of the Third of May”) was in color, he
decided to do his with more powerful emphasis on shapes and leave out color. Artists
that are innovative and want to reflect their own time will use other forms and elements
of art to draw attention with another treatment. Great artists are able to express events
in other ways and not copy other artists and other time periods.

This painting is considered a masterpiece. When some young students first look
at the painting they may not understand why it is considered great. It may take some
understanding on their part. It may take a few minutes of understanding how to judge
and evaluate art. It may be that the individual looking at the work would want to stand
in front of the actual work in Madrid, Spain. Of course, this is not always possible. The
next best thing would be to go to a site and watch a film and see Picasso (he died in 1973
but there are actual films with footage of him) working in his studio. (Unlike Michel-
angelo, who died before the age of film, we actually have Picasso on film in his studio.)

It’s a wonderful experience to travel to the museum or location where an artwork
is on display. If you can go see the site of the building, sculpture, or painting, it is fan-
tastic. It takes some planning but it is worth it. It is fun and life changing. Because of
the information age, another neat way to see artwork is online, where we can see its
location in the museum. Viewers can experience the size and shape, as if being there. It
is easy to go to the computer and look up a painting or a great building or a sculpture
and find out who did it and where it was located or where it is today. I suggest anyone
who does not understand a work of art to go online and become acquainted with such
great works of art. Then, someday, if you can visit the museum where some artwork is
on display and see the size of the work and do a little research and actually see it you
will get it. You will be amazed at how it looks in the context of the space. You will then
become an “art lover.”

It takes a little time, a little research, a little patience, and open-mindedness.
The interpretations of Guernica are varied because Picasso did not explain his work.

Most great artists don’t. Some art professors have told me that interpretations of Guer-
nica are varied and that the bull and the horse are important images in Picasso’s work
because he was Spanish. He used the bull to represent strength and sometimes to repre-
sent himself in his work. The horse also represented some people and the innocence of
the civilians who were victimized. Accounts vary depending upon your source. Picasso
was against Fascism and wanted to represent his feelings about how he felt about the
brutality of the bombing of the innocent people of the town of Guernica by the drop-
ping of the bomb. Picasso was a deeply emotional person and he did make a statement
publicly once about the painting and said that he wanted to show his feelings about how
he felt about the people of the town of Guernica.

Source: http://www.pablopicasso.org/guernica.jsp

26 What Are the Humanities?

Warm Colors: Red, yellow, orange

Cool Colors: Blues and some greens

Value: Gray tones, from white to black

Notice that white and black are not on the color wheel and are not considered to be
colors.

Tints, Shades, and Tone
A tint is when a color has white added to it. A shade is when a color has black added to it.
A tone is when brown is added to the color.

Texture
The feeling of the surface is the definition of texture. It means whether the surface
appears to be rough or smooth, but it is also the feel of the surface.

Vincent Van Gogh, a late-nineteenth-century Dutch artist, used thick paint in many
of his paintings, especially when he was emotionally troubled. He is remembered as one
of the leading post-impressionist painters who utilized texture and color in an unusual
manner.

He had an artistic style all his own and left many paintings behind because he only
sold one during his lifetime, which was actually only exchanged in trade. Today Van
Gogh is considered to be one of the most significant painters who ever lived.

Students sometimes ask why some artists were able to sell their work during their
time while other artists had trouble making a living from their artworks. That may be
a question to ponder. Artists who remain meaningful and unique seem to be those who
have a style that stands out. It is not easy for a student in art school to find his or her
artistic style. The assignments are often filled with having to do work similar to the mas-
ters, and many times the work needs to look like the instructor’s. This process reflects
whether students understand their assignments, and it also represents their ability to
understand a master’s work.

But upper-level art students must also perfect a style of their own if they want to
become an artist in their own right. In painting classes, some students are able to learn
to copy the works of the masters and then go beyond the copy phase to develop their
own style and truly become artists.

Artists reflect their own time and place. They have the talent, skill, and know-how
to project the world around them in their art. An artist is able to see and perceive in
ways that many people do not notice.

Perspective
Perspective is the illusion of depth. This element does not have to be used if a work is
not intended to be an illusion or appear to look three-dimensional. Some art uses over-
lapping to create a sense of depth or to portray the illusion of time. This technique was
perfected during the Italian Renaissance.

When perspective is used, the objects in the background are smaller and appear to
be farther away in the distance. These objects also get this appearance from the use of
thinner and lighter paint to give an appearance of dimness. An object in the distance

Elements of the Disciplines in the Humanities 27

or in the background near the horizon line is made to look very faint and light in color.
The artist may use a tint of a color by adding white to it.

Form
The form of a composition is the overall design and how the artist utilized the elements.

How did the artist use the elements together?
The following is a quote about how form and content are related when looking at

a work of art.
“Form is the total effect of the combined visual qualities within a work, including

such components as materials, color, shape, line, and design. Content refers to the mes-
sage or meaning of the work of art – what the artist expresses or communicates to the
viewer. Content determines form, but form expresses content; thus the two are insepa-
rable. As form changes, content changes, and vice versa.”

Source: Patrick Frank, Art Forms, 9th ed.

Subject
What was the work about?

Did the composition have a subject? Did you recognize an image? Was it a build-
ing? Was it a person (or portrait)?

Did it have a plant or a table with flowers or a vase on it? (It would be considered
a still life.)

Did it not have a subject, and was it simply colors or lines or shapes? Then the work
would be considered nonobjective art.

Nonobjective art has no subject; it uses elements for the sake of form itself in an
arrangement.

Value
Value is the use of white, grey, and black and the absence of the pigments you see on the
color wheel such as the primary colors (red, yellow, and blue).

What gradations from white to black do you notice in the artwork when you exam-
ined it?

An example:
In some artworks, artists may leave color out in order to better emphasize the use

of shapes. Some scholars say that Pablo Picasso did this with Guernica to reflect the
fragmentary pieces left after the bomb and the devastation of the act of terror.

Elements of Music
Melody
Single succession of tones

28 What Are the Humanities?

Harmony
Two or more tones sounding together

Rhythm
The beat or the pulsation

Tempo
Rate of speed

Dynamics
Loud or soft, or the degrees of loudness or softness

Timbre
The quality of sound or how one distinguishes between one instrument and another.

The elements of music need to be heard individually to recognize them and for
the listener to learn to distinguish the styles of music that composers use in their
work. If someone is singing all by oneself, that melody is considered to be a texture.
A single sound is a thin texture that is referred to as monophonic texture. This is easy
to remember because the word mono means “one” and phonic means “sound.” One
instrument played by itself is also considered a monophonic texture.

When two instruments are played together and each one plays a separate melody,
the two melodies together are a polyphonic texture. Two people singing two melodies
together is also considered polyphonic texture. Poly means “many.”

When someone plays or sings a melody that is accompanied by blocks of sound
(chords), this is homophonic texture. A hymn or a piece such as “America the Beautiful”
is homophonic texture. Homophonic texture is the sound that is heard when a folk
singer sings while strumming the strings of a guitar. Many symphony orchestra compo-
sitions are also written in homophonic texture.

Three Textures
Monophonic: One line of melody

Polyphonic: Two or more melodies together

Homophonic: One main melody with blocks of sound accompanying it

http://www.dallassymphony.com

Elements of Theater
Knowing the elements of theater is helpful to students when they view a theatrical
performance or read a play.

Script
The language used by the actors playing the roles in a play. The parts in the written
document written by the playwright. The written document, or script, is the first
element of theater.

Elements of the Disciplines in the Humanities 29

Plot
The structure of the play which consists of the exposition, the complication, and the
denouement.

Exposition
This portion of the play introduces the characters and their backgrounds and personalities.

Complication
This element gives the audience a reason to be interested in the story and characters
and keeps their attention. A conflict may be created to frustrate the audience and gain
their interest in the plot.

Denouement
This device is a period of adjustment at the end of the play that resolves the complication.

Elements of Architecture
The visual elements of art are used by architects to plan and draw. Architecture is a
three-dimensional art, which means that it consists of height, width, and depth.

Line
The use of a moving dot to show direction. A line is a tool used by the architect to
render the schematics.

Shape
Lines are enclosed to create shapes that are used in architectural drawings.

Scale
The relationship of the size of the building to the size of the human form.

Function
The basic purpose of a building.

Context
The environment surrounding a work of architecture.

Color
The color can be from the natural color of organic materials or manmade such as synthetic
or chemically mixed colors. The use of color in architectural structures depends on the
location and weather conditions as well as the function and purpose of the structure.

30 What Are the Humanities?

Elements of Dance
Movement
A dancer moves the body in curved or straight angles. The movements create horizontal,
vertical, or diagonal lines.

Sound
Dancers move to sound. The sound is usually a rhythm or beat. The sound can also be
organized as music. Many types of traditional dance forms are performed to music.

Theme
A theme, or dancing to a subject, is somewhat like a story in Western dance. In some
parts of the world, people do not dance to themes. Some modern dancers avoid a theme
(just like some modern painters avoid a subject in a style called nonobjectivism). Bal-
let is a form of dance that has a theme or subject that is used to tell a story. Ballets that
were written in the eighteenth century became very long. Two well-known ballets are
Swan Lake and Romeo and Juliet.

Choreography and Staging
Where to go on the stage and placement of where to dance.

Set Design
What is built on the stage that sets the mood and that the dancer has to dance on and
around.

Lighting
The way the lights shine on the dancers and how they are lit.

Elements of Film
Script
Organization of the shots as well as the words and phrases spoken by the actors.

Sound and Audio
Actual sounds captured by filming, as well as special sounds added in the editing phase.

Camera Angles and Camera Movements
The way in which the camera moves in order to capture images to portray mood,
expressions, and feelings.

(Bishop, Philip E., A Beginner’s Guide to the Humanities, Prentice Hall, 2003)

Elements of the Disciplines in the Humanities 31

Acting
The actresses and actors portraying characters, making situations believable.

Lighting
Use of light to capture mood, draw attention, and create suspense if needed.

Costumes and Makeup
These add information and detail helpful to create believable situations. They also draw
attention to the characters and provide hints to help tell the story or create suspense.

Editing
Placing the pieces of film together in a fashion to create the story. This may also be the
arrangement of scenes to create mood, explain characters, present points of view, and
tell a story.

Music Used to Enhance Film and the Acting in Film
An example of music used in a film that many students are familiar with is “Star Wars.”
“Star Wars” was composed by the renowned John Williams. The instrumentation se-
lected by the composer helped the scene become more believable and drew an emo-
tional response from the audience. The strings were used to help the audience respond
in conjunction with the actors to feel more sentimental and the brass instruments were
used to create a presence of triumph and victory. The music helped convey romanti-
cism and exhilaration. Williams won an Academy Award for his work as a composer and
as a conductor. His work writing scores for films has certainly given other composers
someone “to look up to” and transformed the film music industry. Even though “Star
Wars” is not as old as films like Citizen Kane or North by Northwest, this film’s soundtrack
has earned the title of being legendary.

Source: http://www.billboard.com/articles/news/6812919/star-wars-main-title-theme-
deconstructed

John Williams was born in New York and moved to Los Angeles. He studied at
the Juliard School of Music, attended UCLA, served in the Air Force, and worked in
his early career in the film industry with Bernard Herrmann who was the composer of
“North by Northwest.” Williams was the conductor of the Boston Pops and composed
many soundtracks for famous films such as Saving Private Ryan, Amistad, Seven Years in
Tibet, The Lost World, Rosewood, Sleepers, Nixon, Sabrina, Schindler’s List, Jurassic Park,
Home Alone, Far and Away, JFK, Hook, Presumed Innocent, Always, Born on the Fourth
of July, the Indiana Jones trilogy, The Accidental Tourist, Empire of the Sun, The Witches of
Eastwick, the Star Wars trilogy, E.T.: The Extra-Terrestrial, The Empire Strikes Back, Super-
man, Close Encounters of the Third Kind, Jaws, and Goodbye Mr. Chips.

Source: http://www.johnwilliams.org/reference/biography.html

32 What Are the Humanities?

Music Is Used in Film Scenes to Help Create Mood
Scene from film: The King’s Speech, Director Tom Hooper

Musical Score Alexandre Desplat
Use of the musical composition, “The Symphony No. 7 in A Major” by Beethoven.

Director Hooper’s achievement was his use of film elements enabling viewers to feel
as if they were there alongside the stuttering King George VI. The camera zoomed in
on the king’s twitching mouth awaiting his words while in the background, an anxious
speech coach played Beethoven’s 7th Symphony.

The music used in the film The King’s Speech during the first wartime speech given
by the king was Ludwig van Beethoven’s “Symphony No. 7 in A Major: Allegretto.” As
King George VI concluded his first wartime speech, the film audience heard the “Piano
Concerto No. 5 Op. 73 (Emperor) in E-Flat Major: II. Adagio un poco mosso” by
Beethoven. During the first therapy session when the king’s voice is being recorded, the
music heard in the background is “The Overture to La Nozze di Figaro” by Wolfgang
Amadeus Mozart.

One reason the audience was so interested in the film was that viewers could relate
to the main characters: King George VI and his speech therapist. Subjective shots were
successfully used in order to draw the audience into the emotions of the characters.

The success of the film comes from the achievement of the director and the direc-
tor of photography to ensure that the audience felt that they were right there alongside
the king. Emotionally, the audience invests an enormous amount in the character, and
they empathize with his problem of stuttering. (The seriousness of the time and the
importance of his role as the king and the role of his country in the war is also brought
out in the film and his ability to speak clearly is important.) The use of cutaway shots
and camera movements add to the tension inside the sound room as the king speaks in
front of the microphone which shows his mouth forming the words and almost making
incorrect sounds, but the camera cuts back and forth between the close-up of the king’s
mouth and the reassuring speech therapist, who moves his hand assuredly and the king’s
voice sounds loud and clear over the loudspeaker. The camera pans the room where his
wife and family are seated and then to the technical assistant who looks very restless
and uptight. The music of Beethoven’s 7th Symphony plays in the background and the
volume of the music goes up and down in dynamic levels. When the king’s words are
dramatic and he asks his countrymen and women to support him and his country, the
music swells to a loud sound and large chords are heard with the entire symphony play-
ing. The use of close-up and wide-angle lenses were intentional to create suspense for
the audience, and the top of the king’s face was cut off to create an even greater close-up
image. Closing in on the actors’ faces helps viewers to really get under the actors’ skin,
and use of good camera movement and lighting makes it compelling and keeps viewers
engaged with the anxious monarch.

In the last speech in the film The King’s Speech, the actor who plays King George VI,
Colin Firth, gives his speech in the sound room with his speech therapist who says to
him, “Just say it to me as a friend.” The speech therapist looks directly at King George
VI through a close-up camera shot of the large round microphone, looking reassuringly
into the eyes of the king. The camera then cuts to an extreme close-up of the king who
blinks his eyes and makes nervous twitches in this quick cutaway to the king. The king
looks uneasy, agitated, and nervous. The extreme lighting contrast goes from dark bluish
grey to black to light white to grey tints. The size of the sound room is accentuated by
the lighting and the placement of the microphone directly in the center of the room. The
closeness and tightness of the room and the low, slow, dark sounds of the music all add to

Elements of the Disciplines in the Humanities 33

the intensity of the mood. The camera closes in on the king’s face for a partial view, and
most of his face is shot in a shadow with his profile in the lit area with a light glow on his
face. Then the camera shows the microphone in the middle of the shot again and moves
around in motion. The speech therapist (Lionel Logue, an Australian speech therapist in
real life, played in the film by Geoffrey Rush, actor) continues to conduct the king who
stands nearby. The speech therapist stands in front of the king, acting as if he were a sym-
phony conductor. As Lionel Logue stands in front of the king, giving him hand signals
and position facial expressions, the sound of Beethoven’s Symphony No. 7 continues to
build and swell during the scene. The king’s dynamic level of voice also follows the swell,
up and down in volume when his message gets louder, and more compelling and more
serious. The king asks his British people to stand beside him and to help him with his
cause and to be faithful and that then with the help of God they will prevail. The scene
begins with a close-up of the king’s mouth and a nervous facial expression with his eyes
blinking, and ends with his eyes open and his full face and form looking confident.

Viewers first feel the king’s nervousness and tension from the way the camera draws
them into the sound room, looking into the dark room, hearing the somber sound of
Beethoven’s No. 7 Symphony, and seeing the lighting used by the director of photogra-
phy and the film director. The use of these elements helps enhance the scene and influ-
ence the audience to better understand the meaning of the film.

It makes a difference to look at how the elements of film help tell the story—for
example, how low light was used on the king, with a touch of highlights, to create
suspense. The director of photography chose to show only portions of the king’s
face and only partial lighting to give the viewer a sense of tension and a feeling of
anticipation and uneasiness. This subjective shot by the camera helps viewers feel the
tension that the king was feeling. The shot of the speech therapist when his expression
was calm and he smiled directly at the king and nodded at him to give him positive
strokes and assurance was important to the story and helped the king speak much
more clearly into the microphone. King VI continued to speak as a cutaway shot drew
the audience to a room of individuals, including his wife and daughter who were sit-
ting in the front row listening intently to his speech. His wife’s expression helped the
audience feel the same extreme nervousness as she felt when she closed her eyes as if
meditating or praying. The camera zoomed in on the main technician in the sound
room who also looked tense and had a very serious facial expression, then the cam-
era panned around the entire room to show how the room was filled with technical
tools and serious-minded employees working at the equipment. The music continued
to play in the background as the king’s speech improved and the audience began to
think he would make it through; and his speech pattern began to sound confident as
he spoke, asking his British citizens to please stay calm and remain united even if the
days ahead were going to be dark and challenging.

MUSIC HAS AN INFLUENCE ON OUR MOOD WHEN WE
WATCH FILMS
When we watch a film we are influenced by …

Acting, Theater, Film, and Dance

UNIT 5

Film 219 Film 219

Elements of Film
Script
Organization of the shots as well as the words and phrases spoken by the actors.

Sound and Audio
Actual sound captured by the fi lming and sounds added by editing them in.

Camera Angles and Camera Movements
The way in which the camera moves in order to capture images to portray mood
and show actors’ expressions and emotions.

Acting
The actresses and actors portraying characters, making situations believable.

Lighting
Use of light, to capture mood, draw attention, and create suspense if needed. This is
noticeable especially in black-and-white fi lms’ use of values and shadows.

Costumes and Makeup
These add details and information to the story and characterization. The costumes
must be authentic in historic fi lms. Makeup can also help in creating believable
characters in fi lm.

Editing
Placing pieces of fi lm together in a fashion to create a story. This may also be the ar-
rangement of scenes to create mood. Editing also helps explain who the characters
are and their location in varying scenes. Editing can help create suspense by using
intercutting. Editing is also done to add sound and special effects. Before highly
technical computerized fi lm editing software, an optical printer was used. For ex-
ample, special effects in the scene of the parting of the Red Sea in the fi lm, The Ten
Commandments, created believable events in fi lm.

FILM 1

220 Acting, Theater, Film, and Dance

Elements of Music
Melody: single succession of tones

Harmony: two or more tones sounding together

Rhythm: the beat or pulsation rhythm

Tempo: rate of speed

Dynamics: loudness or softness

Timbre: quality of sound used to distinguish between one instrument or voice and
another

Texture: one line of melody by itself which is monophonic, or two or more melodies
together which is polyphonic, or the sameness of sound like a chord with melody which
is homophonic

Film is considered the newest art form. An outgrowth of film is video. Video and
film are probably the most accessible and widely experienced art forms for many people.
Film is a work of art that communicates through form within a time frame. It is seen in
three-dimensional space compressed into a two-dimensional image.

Film is also highly technical. It evolved from the principles of photography and
developed into projected images. Many early filmmakers composed their works by add-
ing single photographs to each other, frame by frame. The eye’s physiological limita-
tions cause the movement in motion pictures. It cannot perceive the black line between
frames when the filmstrip is moved. Your eye sees the succession of frames minus the
lines that divide them. The image in each frame does not actually move but seems to
move. This phenomenon is called persistence of vision.

The theory of persistence of vision means that it takes the eye a fraction of a second
to record the image’s impression and then send it to the brain. The eye retains the image
for about one-tenth of a second after the actual image has disappeared. Motion picture
film is usually projected at a speed of twenty-four frames per second. Images are merged
through the theory called persistence of image.

Filmmakers are also designers, and they attempt to create each individual frame as care-
fully as they would a still photograph or a painting. A student of film will soon notice that
the greatest films make use of detail, individual frame design, and composition. Excellent
examples of this artistry are Ingmar Bergman’s Seventh Seal, Jean Renoir’s Grand Illusion,
David Lean’s Lawrence of Arabia, and Orson Welles’ Citizen Kane.

Film as Art
Film consists of many elements. A worthwhile, remarkable film is considered a work
of art when the elements all work well together. The film needs to be technically well
done, and the camera shots, movements, and angles need to be visually exciting. The
film also needs to be presented in an original and imaginative manner.

In watching films be sure to be observant. Narrative films have actors in them and
usually there is a plot and a story, which is memorable.

Film 221

A narrative can be analyzed by taking time to really examine the way that the direc-
tor, the director of photography, the musical director and composer, and the editor put
the entire film together.

You may want to view a list of great films by using the website of the American
Film Institute and look at the list of the top ten films of all time. Classic films are studied
by the great directors piece by piece and dissected when they are in film school. Direc-
tors learn from each other and as time goes on more technological advancements help
make films seem even more believable.

When you watch a film, try not to just watch it for entertainment purposes. Try
to watch it as an individual who is observing the use the film elements such as the use
of the sound, lighting, acting, script, camera angles and movements. Ask yourself ques-
tions as you watch a film scene and be sure you pay close attention to the details. You
must watch the scene several times in order to fully see that the elements were used by
the director.

Be sure to pay attention to the camera angles, sound, soundtrack (the music used),
and camera movements. Pay attention to the script and the sound as well as the set
design, costumes, makeup, any use of special effects, and the acting. You may want to
watch the film more than once or even twice. Ask yourself questions about the film such
as:

•

Did the camera move towards the subject or did the actor (subject) walk towards
the camera? (Zoom in is going towards theobject; zoom out is going away from
the object.)

• Did the sound used by the editor sound natural or were sounds added? Did they
use scary music or soft friendly music? What type of music was it? Was it an or-
chestra or piano or vocal that was heard in the sound track?

• Was the setting in a city? In a house? On a street? In the rain? Inside or outside?
Was it natural light? Low or brightly lit?

Be very observant and watch a scene paying close attention to detail. This helps to
understand the way films are made and how much attention goes into lighting, cam-
era movements and camera angles, costumes, makeup, set design, musical sound track,
actual sounds, acting, and script—the film elements.

Film Elements
The elements of film are direction, script, sound and audio, camera angles and move-
ments, acting, photography, lighting, sets, costumes, makeup, music, special effects, and
editing, to list a few.

The individuals involved in making a film are many. They are the producer, direc-
tor, actors, scriptwriters, musicians, audio and camera operators, grips, gaffers, continu-
ity person, and makeup artists, among others. These individuals and the film elements
are interesting to observe when analyzing films.

Three Types of Film
There are basically three types of films that encompass most works: narrative,
documentary, and absolute.

Narrative Film
A narrative film is a very popular type of film—it tells a story. Popular novels and stories
are often transformed into narrative films. Can you think of any narrative films that you

222 Acting, Theater, Film, and Dance

have seen recently? Narrative films are usually similar to literary construction. As in the
theater, the people or characters in the story are portrayed by professional actors under
the guidance of a director. Many narrative films are written in styles called genre films.
Popular genres are detective, horror, western, mystery, and love stories.

Documentary Film
A documentary film is similar to watching a news program that does not use actors. It
is shot on location, and many times a reporter will narrate the findings. Events are not
staged or reenacted by professional actors. Documentary films record actual events in
a journalistic approach. They convey a sense of reality and record the time and place of
the camera person.

Absolute Film
An absolute film is sometimes called an experimental film. It exists for its own sake. It
tells no story, but exists for the purpose of the movement, or the colors and shapes, or
the combinations of sound and light. Absolute films may use innovative techniques or
special effects and try new ideas. They are considered an artistic expression. Museums
sometimes show experimental films, and some are used in the educational market.

Motion Pictures
Theatrical vs. Cinematic Style
In the first films, the directors thought in terms of theatrical productions they had seen
before. The camera sat in front, like the audience, and never moved. The unit of action,
as in the theater, was the scene. Gradually, however, filmmakers began to realize the
special possibilities of filming. They began to move the camera about as the action
seemed to indicate, and the scene was broken down into shots. Thus the film freed itself
of the limitations of the theatrical approach. D. W. Griffith, more than any other indi-
vidual, was responsible for this.

The Lumiere Brothers
In 1895, two Frenchmen named Lumiere shot their first film. They titled it Workers
Leaving the Lumiere Factory. Their invention, which was both camera and projector, was
called the cinematographe. They opened the first movie theater in the basement of a
Paris cafe on December 28, 1895. Their films were all composed of single scenes such
as a train arriving at a station or the feeding of a baby.

Thomas Edison
As early as 1891, Thomas Edison patented a movie camera, the KINETOGRAPH, and
a peephole viewer, the KINETOSCOPE, through which his single-scene pictures, such
as Fred Ott’s Sneeze, could be viewed. Edison did not have confidence in the future of
motion pictures, so he refused to spend $150 to extend his patent rights to England and
Europe. His biggest contribution to film was the sprocket holes that permit the film to
move through the camera and projector.

Film 223

George Melies
Melies, a French magician, added interest to fi lms through his skills in camera trickery.
Disappearances and transformations play a part in many of his fi lms. The showmanship
and humor of his fi lms, such as The Terrible Turkish Executioner and A Trip to the Moon,
make them enjoyable even today. Melies contributed the superimposure (one image over-
lapping another), the lap dissolve (one scene fades out as another fades in), and the cut (the
fi lm is cut apart and spliced together to produce some effect).

Edwin S. Porter
As the director of production for Edison’s studio, Edwin S. Porter made several
contributions to the development of fi lm. In The Life of an American Fireman, he
invented fi lm editing, putting together a series of scenes to tell a story. This fi lm is also
the fi rst to present a narrative on location. In The Great Train Robbery, the fi rst western,
Porter continued to improve his editing techniques. He also introduced the pan and the
elliptical jump forward in time, which is now a common feature of fi lm.

D. W. Griffi th
David Wark Griffi th, who got into fi lms more or less accidentally, turned out to be
the most important director of the silent era. He was the fi rst fi lmmaker to move the
camera about freely, combining a variety of angles and positions to produce a truly cine-
matic effect. In his fi lms, such as The Lonedale Operator, Birth of a Nation, and Intolerance,
Griffi th introduced some of the fi rst great stars of fi lm: Mary Pickford, Blanch Sweet,
Lionel Barrymore, and Lillian and Dorothy Gish.

In the early 1920s, the sound pictures began and the fi rst sound fi lm was entitled
The Jazz Singer. Al Jolson was the main star in that fi lm. He sang, “You ain’t seen nothin’
yet.” Films such as Thirty Nine Steps by Alfred Hitchcock were considered to be a very
scary and suspenseful fi lm. Hitchcock became known as the master of suspense. Some
fi lms made around the time of World War II composed in Italy are now referred to as
the Neo-realists which were fi lms featuring bold and realistic situations dealing with the
oppression of people.

Genre (Films) Themes (of Films)

Mystery Battle of the Sexes
Western Love
Science Fiction Man and Society
Animation
Documentary

When artists, writers, lighting directors, choreographers, and musicians work
together on a production they may produce an opera which is a combined art or it may
be a musical. The types of music used in musicals can vary. Music theater has been
around for many years.

“It took many years for the American musical theatre to acquire its own identity.
The fi rst musical production in the Colonies was Flora, a performance that took place

224 Acting, Theater, Film, and Dance

in a court room in Charleston, South Carolina, on February 8, 1735. Flora was a bal-
lad opera imported from England. The English ballad opera remained popular in the
Colonies for several decades.” (Source: http://www.theatrehistory.com/american/musi-
cal030.html)

Special Information/Key Terms
Animation
Animation consists of a series of individual pictures that are drawn and painted before
they are photographed. The animation is done on cels (individual pieces of acetate) and
then photographed one by one. When they are run through a projector, they appear to
move. Steamboat Willie was the original Mickey Mouse cartoon.

Documentary
The documentary is to dramatic film as nonfiction is to fiction. The documentary draws
upon fact, presenting actual people, places, and events rather than imaginary ones. The
term direct cinema has also been used for this form. Gray Gardens was a television pro-
gram by David and Albert Maysles, documentary filmmakers who did documentaries
on public television as well as for Jeanne-Claude and Christo documenting their art
projects over the years.

Shots
A shot is a single unit of filming; what the camera records from the time it is turned on
until it is turned off is one shot. There are many types of shots, and new ones are being
invented constantly. A master shot is one that records all of the action in a scene from
beginning to end. Using the master shot as a cutaway, a shorter shot may be used that
records some detail of the scene. This is sometimes done to cover a mistake in the mas-
ter shot or simply to add variety and interest.

Shots are also described in terms of the distance between the camera and the sub-
ject: a long shot gives a panoramic effect, recording the action at a distance; a medium
shot gives a midrange view, as if the camera were a few feet from the subject; a close-up
moves in tight to exclude all background distractions. Of course, there are many grada-
tions in between: medium close-up, extreme close-up, medium long shot, and so on.

Camera Movements
There are several terms that describe camera movements. One is the zoom in. If the
camera retreats from the subject, it is a zoom out. If the camera eye moves horizontally
without changing its base (as if the viewer’s head is turning), it is called a pan. If the
camera moves vertically (as if the viewer is looking up or down), it is called a tilt.

Storyboard
The storyboard, which is made as a part of preproduction, resembles a large comic strip.
It pictures each of the important shots in the film in the sequence in which they will
occur. It is used by the director, the director of photography, and the editor.

Film 225

Stripping the Script
The scenes in a film are never shot in the sequence in which they finally appear. To save
time and money, the director may want to shoot all the scenes in one location on a cer-
tain day or all the scenes involving a particular actor. The process of deciding in what
order the scenes are to be shot is called stripping the script.

Rushes
The rushes are the selected “takes” or shots from which the editor and director choose
and arrange the portions to be included in the finished film.

Special Effects
A special effect is any alteration or combination of film images in a film. These effects
are produced with a machine called an optical printer, and they may be as simple as a
freeze-frame or as complicated as the parting of the Red Sea in The Ten Commandments.
Other films that are heavy with special effects are Alien, Star Trek, I Am Legend, and
Harry Potter and the Order of the Phoenix.

Three Phases of Production

Preproduction
The idea for a film may come from many sources. It begins to become a film with the
writing of the script. After the scriptwriter’s job is done, the director carefully plans the
production. The producer is in charge of selecting locations, casting actors, assembling a
crew, and renting equipment. Anything that occurs before filming starts is preproduction.

Production
The director controls all aspects of the actual production of the film. With the actors,
the director works to create the characterizations. With the director of photography,
the director plans and executes the visual aspects of the film. With the sound crew, the
director arranges the recording of sound for the film. The director of photography
communicates ideas to the camera operator who sets up the shots and runs the cameras.
The sound crew is assisted by the mike crew, or boom crew, who position the sound
equipment. Usually, there is a script or continuity person, who keeps a careful record
of the shots and makes sure that the visual details match. There are also grips who do
the physical labor on the set. A makeup person is also usually present to keep the actors
looking good. The grip carries equipment. A gaffer carries equipment that is connected
to an electrical outlet.

Postproduction
The editor may be present during production to make sure that the shots will cut
together, but his or her job really begins after filming is over. The editor works closely
with the director to put the individual shots of the film together into their final form.

226 Acting, Theater, Film, and Dance

Amadeus
The film Amadeus is about the life of the composer Wolfgang Amadeus Mozart.
Throughout the film, the musical sound track utilized music composed by Mozart. As
you know, Mozart was the Classical composer who died at age thirty-five.

The film opens when two helpers go to the door of another composer named Sal-
ieri, a court composer to the archbishop. They are delivering food to Salieri but he is
not answering the door.

However, the film takes the viewer through many series of flashbacks which are
explained to the viewer with Salieri’s conversation as he talks to the young priest. The
young priest has come to seek a confession from Salieri who has been placed in an asy-
lum for the mentally impaired.

Salieri is talking to the priest who is interviewing him because Salieri is being
accused of poisoning Mozart who has just died.

The musical soundtrack was recorded in Prague, Czechoslovakia. The main char-
acters in Amadeus were played by Tom Hulce as Mozart and Murry Abraham as Salieri.
Hulce was convincing when at the piano because he played the piano in the film and
practiced for four hours a day in preparation.

In a scene when his father visits him and he and his wife go to a party Hulce actually
plays the piano on his back in a scene. Source: http://www.imdb.com/title/tt0086879/
trivia

At the end of Amadeus, Mozart’s coffin is carried out of the church and thrown into a
pauper’s grave while the powerful music of the sound track offers a portion of the Requiem
titled “Lacrimosa.” The song is sung in Latin and adds to the emotional drama of the scene.
The text’s meaning as translated is about asking God to be merciful and spare the guilty man
and give them rest.

Another theme of Amadeus that strikes a universal chord is the sad spectacle of
a towering genius poorly rewarded by society. No more shocking or dramatic
example in all of history can be found than Mozart.

Source: http://www.angelfire.com/film/theamadeus/music/process.html

The cast in Amadeus

F. Murray Abraham……. Antonio Salieri
Tom Hulce……………….. Wolfgang Amadeus Mozart
Elizabeth Berridge…….. Constanze Mozart
Roy Dotrice……………… Leopold Mozart
Simon Callow……………. Emanuel Schikaneder
Christine Ebersole…….. Katerina Cavalieri
Jeffrey Jones……………… Emperor Joseph II

¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬

Study Guide
1. a. What are three phases in the production of a film?

b. Who are the principle participants in each of these phases? Explain in detail
what each one is responsible for and what they do.

2. What are the major problems that can occur in producing a film and marketing it?
3. What is a “shot”? What terms are used to differentiate between shots?

Film 227

4. What terms are used to describe camera movements?
5. Describe the roles of the following people:

a. director
b. producer
c. continuity person
d. editor
e. sound crew
f. director of photography
g. grip
h. gaffer

6. Defi ne the following terms:
a. cutaway
b. rushes
c. tilt
d. pan
e. storyboard
f. zoom
g. master shot
h. stripping the script

Film Title Director

Lawrence of Arabia David Lean
Annie Hall Woody Allen
Citizen Kane Orson Welles
Amadeus Milos Foreman

William Shakespeare
Hamlet
Except for the Bible, Shakespeare’s Hamlet is perhaps the West’s most famous literary
work. Hardly a day passes without this play being acted, either on a commercial stage
or in a school or college; and many versions of the play, on fi lm and on tape, ensure its
universal visibility. Hamlet’s role is usually defi ned as the most diffi cult in the theater,
and many actors, and a few actresses, often choose to play Hamlet as a crown to their
careers. It is so well known that the world uses the term Hamletlike to describe people
unable to make up their minds.

The hectic world in which Hamlet appeared gave no forecast of the play’s future
greatness. First staged in 1600, the play was one of a series that William Shakespeare
(1564–1616) was turning out for the nearly insatiable demands of the commercial stage.
He was fresh to London in 1590 from a middle-class youth in Stratford-upon-Avon.
When Shakespeare retired to gentlemanly leisure in Stratford in 1610, he had written
thirty-seven dramas—almost two plays a year.

228 Acting, Theater, Film, and Dance

The London audiences did not want masterpieces; instead, they craved violence,
ghosts, and murders galore. They wanted revenge tragedies, the most popular dramatic
form in the Age of Elizabeth (1558–1603), England’s golden age. This taste for blood
is not surprising, for Elizabethan England made national heroes of pirate patriots like
Francis Drake and accepted as normal that Protestants and Catholics should burn her-
etics alive. It was for this violence-filled age that Shakespeare wrote Hamlet, based on a
bloody revenge tale that had already inspired one play during the 1580s.

Reading the Selection
Shakespeare’s Hamlet is set at the royal Danish court. Its revenge theme is activated
by the murder of old King Hamlet. Prince Hamlet, depressed by his father’s death, is
plunged into a court seething with intrigue, carousing, ghosts, and spies. There are also
wandering actors, an oath sworn on swords, a secret letter, a deadly duel, and a hasty
funeral. Lest these devices be insufficiently entertaining, Hamlet himself veers from
madman to scholar to prince to swordsman before he gets his revenge. At the end, the
stage is littered with corpses and the major characters are all dead.

What rescues Hamlet from mere melodrama and pushes it into the stratosphere of
great art are Shakespeare’s majestic language and complete mastery of psychology. The
theater, reborn in medieval productions like Everyman, with its simple morals and even
simpler psychology, now came to maturity in Shakespeare’s hands.

Dramatis Personae
CLAUDIUS King of Denmark
HAMLET Son to the late, and nephew to the present king
POLONIUS Lord Chamberlain
HORATIO Friend to Hamlet
LAERTES Son to Polonius
VOLTIMAND Courtiers
CORNELIUS
ROSENCRANTZ
GUILDENSTERN
OSRIC
A GENTLEMAN
A PRIEST
MARCELLUS Officers

BERNARDO
FRANCISCO A soldier
REYNALDO Servant to Polonius
PLAYERS
TWO CLOWNS Grave-diggers
FORTINBRAS Prince of Norway
A CAPTAIN
ENGLISH AMBASSADORS
GERTRUDE Queen of Denmark, and mother to Hamlet
OPHELIA Daughter to Polonius
LORDS, LADIES, OFFICERS, SOLDIERS, SAIL-
ORS, MESSENGERS, and OTHER ATTENDANTS
GHOST of Hamlet’s father

SCENE—DENMARK

ACT IV
SCENE I. A room in the castle.
Enter KING CLAUDIUS, QUEEN GERTRUDE, ROS-
ENCRANTZ, and GUILDENSTERN

KING CLAUDIUS
There’s matter in these sighs, these profound heaves:
You must translate: ‘tis fit we understand them.
Where is your son?

QUEEN GERTRUDE
Bestow this place on us a little while.
Exeunt ROSENCRANTZ and GUILDENSTERN
Ah, my good lord, what have I seen to-night!

KING CLAUDIUS
What, Gertrude? How does Hamlet?

QUEEN GERTRUDE
Mad as the sea and wind, when both contend
Which is the mightier: in his lawless fit,
Behind the arras hearing something stir,

Film 229

Whips out his rapier, cries, ‘A rat, a rat!’
And, in this brainish apprehension, kills
The unseen good old man.

KING CLAUDIUS
O heavy deed!
It had been so with us, had we been there:
His liberty is full of threats to all;
To you yourself, to us, to every one.
Alas, how shall this bloody deed be answer’d?
It will be laid to us, whose providence
Should have kept short, restrain’d and out of haunt,
This mad young man: but so much was our love,
We would not understand what was most fit;
But, like the owner of a foul disease,
To keep it from divulging, let it feed
Even on the pith of Life. Where is he gone?

QUEEN GERTRUDE
To draw apart the body he hath kill’d:
O’er whom his very madness, like some ore
Among a mineral of metals base,
Shows itself pure; he weeps for what is done.

KING CLAUDIUS
O Gertrude, come away!
The sun no sooner shall the mountains touch,
But we will ship him hence: and this vile deed
We must, with all our majesty and skill,
Both countenance and excuse. Ho, Guildenstern!
Re-enter ROSENCRANTZ and GUILDENSTERN
Friends both, go join you with some further aid:
Hamlet in madness hath Polonius slain,
And from his mother’s closet hath he dragg’d him:
Go seek him out; speak fair, and bring the body
Into the chapel. I pray you, haste in this.
Exeunt ROSENCRANTZ and GUILDENSTERN
Come, Gertrude, we’ll call up our wisest friends;
And let them know, both what we mean to do,
And what’s untimely done. O, come away!
My soul is full of discord and dismay.
Exeunt

SCENE II. Another room in the castle.
Enter HAMLET

HAMLET
Safely stowed.

ROSENCRANTZ: GUILDENSTERN:
[Within] Hamlet! Lord Hamlet!

HAMLET
What noise? who calls on Hamlet?
O, here they come.

Enter ROSENCRANTZ and GUILDENSTERN

ROSENCRANTZ
What have you done, my lord, with the dead body?

HAMLET
Compounded it with dust, whereto ‘tis kin.

ROSENCRANTZ
Tell us where ‘tis, that we may take it thence
And bear it to the chapel.

HAMLET
Do not believe it.

ROSENCRANTZ
Believe what?

HAMLET
That I can keep your counsel and not mine own.
Besides, to be demanded of a sponge! what
replication should be made by the son of a king?

ROSENCRANTZ
Take you me for a sponge, my lord?

HAMLET
Ay, sir, that soaks up the king’s countenance, his
rewards, his authorities. But such officers do the
king best service in the end: he keeps them, like
an ape, in the corner of his jaw; first mouthed, to
be last swallowed: when he needs what you have
gleaned, it is but squeezing you, and, sponge, you
shall be dry again.

ROSENCRANTZ
I understand you not, my lord.

HAMLET
I am glad of it: a knavish speech sleeps in a foolish ear.

ROSENCRANTZ
My lord, you must tell us where the body is, and go
with us to the king.

HAMLET
The body is with the king, but the king is not with
the body. The king is a thing–

230 Acting, Theater, Film, and Dance

GUILDENSTERN
A thing, my lord!

HAMLET
Of nothing: bring me to him. Hide fox, and all after.
Exeunt

SCENE III. Another room in the castle.
Enter KING CLAUDIUS, attended

KING CLAUDIUS
I have sent to seek him, and to find the body.
How dangerous is it that this man goes loose!
Yet must not we put the strong law on him:
He’s loved of the distracted multitude,
Who like not in their judgment, but their eyes;
And where tis so, the offender’s scourge is weigh’d,
But never the offence. To bear all smooth and even,
This sudden sending him away must seem
Deliberate pause: diseases desperate grown
By desperate appliance are relieved,
Or not at all.
Enter ROSENCRANTZ
How now! what hath befall’n?

ROSENCRANTZ
Where the dead body is bestow’d, my lord,
We cannot get from him.

KING CLAUDIUS
But where is he?

ROSENCRANTZ
Without, my lord; guarded, to know your pleasure.

KING CLAUDIUS
Bring him before us.

ROSENCRANTZ
Ho, Guildenstern! bring in my lord.
Enter HAMLET …

AMIGOS – Dallas County Community College District Playlists

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Sequence No.: 1

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Remarks:
Playlist for HUMA 1315 –
Parrott.

Number of Tracks: 22

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No. Tracks Title Duration

1 ANONYMOUS: Hodie Christus
natus est

00:00:53

2 BERNART DE VENTADORN: Ben
m’an perdut

00:06:24

3 JOSQUIN DES PREZ: Missa Pange
lingua – Kyrie

00:02:54

4 MORLEY: Balletts to Five Voyces,
Book 1: No. 11. Now is the month of
maying

00:01:48

5 VIVALDI: The Four Seasons –
Gaohu Concerto – Winter : Allegro

00:04:02

6 BACH: Fugue in G Minor, BWV 578 00:03:53

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Figures at a glance

Disc Count
168,730

Track Count
2,644,034

as of
22 December 2021

7 BACH: Brandenburg Concerto No. 5
in D Major, BWV 1050 – I. Allegro

00:08:55

8 HANDEL: Messiah, HWV 56
(excerpts) – Part II: Hallelujah!
(Chorus)

00:03:21

9 HANDEL: Fireworks Music: La
rejouissance – La rejouissance

00:03:34

10 HAYDN: Symphony No. 94 in G
Major, Hob.I:94, “The Surprise” – III.
Menuetto

00:04:43

11 MOZART: Don Giovanni, K. 527 (arr.
for wind ensemble) (excerpts) – Act I
Scene 1: Introduzione: Notte e
giorno faticar

00:01:53

12 MOZART: Symphony No. 41 in C
Major, K. 551, “Jupiter” – III.
Menuetto: Allegretto

00:03:53

13 BEETHOVEN: Die Geschöpfe des
Prometheus (The Creatures of
Prometheus), Op. 43 – Introduction

00:02:03

14 SCHUBERT: Erlkonig, D. 328 00:04:02

15 TCHAIKOVSKY: Symphony No. 6 in
B Minor, Op. 74, “Pathétique” – III.
Allegro molto vivace

00:08:55

16 DEBUSSY: Prélude à l’après-midi
d’un faune

00:10:38

17 RAVEL: Boléro 00:16:22

18 STRAVINSKY: Le sacre de
printemps (The Rite of Spring) – Part
II: The Sacrifice: Sacrificial Dance

00:04:45

19 STRAVINSKY: Pulcinella – 00:02:04

Scherzino: Allegro

20 SCHOENBERG: Pierrot Lunaire,
Op. 21 (German) – Part 2: VIII. Die
Nacht (Night)

00:02:09

21 BERG: Violin Concerto – II. Allegro –
Adagio

00:14:48

22 GERSHWIN: Rhapsody in Blue (arr.
F. Grofé for piano and orchestra)

00:16:55

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