Art App - Minding the Arts

MINDING THE ARTS Art Appreciation for College

By: Ramirez, Leynes, Fajardo

THE VISUAL ARTS Visual arts refer to still, unmoving pictures, paintings, sculptures, photographs, digital images, installation or architecture that are created by artists. They are the representation or embodiment of an idea, an experience, a concept, a surge of vitality, emotion, feeling or a result of interaction with the environment, and a product of human thinking. Where can one find these works of art? Paintings are usually on display inside a museum or gallery. As such it interacts with other artworks and forms part of a strategy of display to convey a message to the viewer. Sculpture may be put inside or outside a building. If it is threedimensional, the viewer has to look at all the sides of the sculpture: front, back, left and right. Digital art, which is composed and stored in the computer, is viewed electronically. This can also be printed on regular-sized paper or enlarged to billboard size. In architecture, it is necessary to enter the building and move around it for the viewer to experience its scale and space and have a sense of the effect of its material on the architecture itself. Illustration art sometimes requires the viewer to look at the work in all its angles and sides and interact with it. Visual images are made by arranging elements and organizing the design using selected materials for art-making. No reference is made to artworks. Terms are defined and components are explained in general terms.

THE ELEMENTS OF THE VISUAL ARTS 1. Line Line is used to lead the viewer’s eyes throughout the work. It can lead your eyes into, around, and out of the visual images within the artistic frame. A line has width as well as length, but usually, it is the length that occupies more space that its width. The use of line also evokes expressive feelings and ideas. Five basic kinds of lines a. Vertical Lines - These lines move straight up or down. They express stability and show dignity, poise, stiffness, formality and upward mobility. b. Horizontal Lines - These lines are parallel to the horizon. They express feelings of rest, peace, quiet and stability, permanence or solidarity. They make you feel relax and calm. c. Diagonal Lines - These lines are slant, as if they are either rising or falling. d. Curved Lines - These lines slowly change direction and form wiggly curves, spirals or circles. e. Zigzag Lines - These lines combine diagonal lines that form angles and suddenly change direction. Lines vary in appearance in five ways. These can be combined in many ways to make a variety of lines. Length: Lines can either be long or short. Width: Lines can be thick or thin. Texture: Lines can be rough or smooth.

Direction: Lines can move in any direction, such as vertical, horizontal, or diagonal. Degree of Curve: Lines can curve gradually or not at all, form spirals or circles. 2. Shapes and forms Shape - A shape is a two-dimensional area that is defined in some way. It may have an outline or a boundary around it, or it may cover an area. Dimension - Dimension refers to the amount of space and object takes up in one direction. Two types of shape Geometric Shapes - They are the kind of shapes that can be studied mathematically because they possess sides and angles. Examples: circle, square, triangle, oval, rectangle, octagon, parallelogram, trapezoid, pentagon and hexagon. Free-form shapes - They are shapes that are not studied mathematically because of their irregular and uneven shapes. They have outlines that are unpredictably curved or angular or are a combination of different lines and forms. 3. Texture Texture refers to how things feel when touched. When you touch something to feel its texture, you experience tactile texture. When you

look at a photograph or an image that has texture, it can remind you of how those objects actually feel. In such case, you experience visual texture or the illusion of a threedimensional surface. The appearance of roughness or smoothness of visual texture is determined by the light or dark values it has. A rough texture appears as a result of surface that reflects light unevenly, whereas smooth texture reflects light evenly. 4. color Color is an element of art that results from the light waves reflected from objects to your eyes. There are warm and cool colors. Cool colors such as blue, green and violet are associated with cool things such as ice, snow, water or grass. Warm colors are red, orange and yellow are associated with warm things such as fire or sunlight. Warm colors seem to be moving close to the viewer while cool colors have a receding effect. Three properties of color make up the color we see: hue, value and intensity. These three rely on one another to create and colors around us. The Color Wheel Hue is the name of a specific color in the color spectrum or the bands of color that are present in the color wheel.

Primary hues are red, yellow and blue. Secondary hues are made by mixing two primary colors. Examples: • Red + yellow = orange • Red + blue = violet • Blue + yellow = green The resulting colors: orange, violet and green are the secondary hues. Intermediate colors Intermediate colors are made by mixing a primary color with its secondary color. Example: Red (Primary Color) + Orange (Secondary Color) = RedOrange Yellow is the lightest hue because it reflects the most light. Violet is the darkest hue because it reflects the least light. Black, white and gray are neutral colors. The colors of all the light create white. White reflects all the color waves and does not absorb any. Value Value is indicated through the lightness or darkness of a color. The amount of light a color reflects determines its color value. When a pencil is pressed hard to draw a line, it produces dark value. When it is

used lightly, it makes a line of light value. You can change the value of any hue by adding black or white. A light value of a hue is called a tint, and a dark value of a hue is called a shade. The arrangement of light and shadow is called chiaroscuro (kyah-roh-sckoo-roh). In Italian, chiaro means “bright” and oscuro means “dark.” Today, it is more commonly known as “shading.” Intensity Intensity is the brightness or dullness of a hue. A pure or bright hue is called a high-intensity color. Dull hues are called low-intensity colors. Most artists organize colors following a color scheme to avoid a confusing or unpleasant way of putting colors together. Color schemes may be monochromatic, analogous, complementary, or split complement. A monochromatic color scheme uses only one hue. White and black are added in varying degrees to show the different shades and tints of the hue. Analogous colors are found side by side within the color wheel. For example, red, red-violet, red-orange, and orange are close to one another in the color wheel. Although these are different hues, they are related in color. Complementary colors are colors opposite each other in the color wheel. For example, red and green are located opposite each other in the color wheel. A split complement is the combination of one hue and the hues one each side of its complement. For example, red-orange, blue and green form a split-complementary color scheme.

5. Space and Movement Space refers to both outer space and inner space, the emptiness or area between, around, above, below or within objects. It may be flat and two-dimensional, such as in painting, or three-dimensional, such as in monumental sculpture. Positive space is the area occupied by shapes or forms. Negative spaces are the empty spaces between the shapes or forms. Movement is shown through the direction of line or the arrangement of color within the artistic frame. The size of objects arranged from smallest to the biggest also suggests movement. When objects are repeated within the artistic frame, they make the viewer’s eye follow a certain movement.

PRINCIPLES OF ORGANIZATION The “order” in an artwork is its organization. Order follows a plan that guides the arrangement of objects and images in the artistic frame. The plan may be pyramidal, symmetrical, vertical or radial. Pyramidal plan takes a triangular composition. Thus, the objects and images form a triangle within the artistic frame. Symmetrical plan has two sides of the plan similar and relatively equal. Vertical plan consists of a single vertical figure and/or other object. Radial plan shows the lines of the picture forming radii which meet at a point in the center. The artistic organizational plan is often harder to see in abstract and non-objective art because these arts are nonrepresentational or non-figurative. In such case, the organization is based entirely on repetition and variety of the elements. 1. Unity and Harmony Harmony creates unity by showing similarities of separate but related parts. Unity is oneness that is achieved through the effective use of the elements of art and principles of organization. It guides the viewer’s eye to focus on a visual image. Artists arrange the elements within the frame in a way that they relate to each other and to the whole artwork. Harmony and unity result from the artistic combination and arrangement of the elements of art within the artistic frame or space. Although they may be contrasting elements in the artwork, the viewer still gets the sense that these are used by the artist as a devise to

contribute to the overall harmony of the artwork rather than create a chaotic whole. 2. Variety Variety refers to the difference or contrast of elements or objects within an artwork. It makes an artwork interesting rather than dull or monotonous. It is achieved by adding something different to a design to provide a break in the repetition. This may be done through the use of different colors, lines, free form shapes or texture. 3. Rhythm Rhythm is the repetition of design, line or other elements within the frame. Visual rhythm indicates movement and suggests unity of form by the repetition of elements. It is created by repeated positive shapes or forms separated by negative spaces or intervals. Rhythm may be created by equal or regular repetition of patterns or decorative shapes. When there is an original motif or pattern of shapes followed by the second motif, alternating rhythm is created. The repetition of curved lines or waves create a flowing rhythm. Progressive pattern shows shapes or patterns repeating in varying sizes or varying intensity of color. 4. Proportion Proportion is the aspect of organization that has to do with the comparative size of the parts of a single work. It is the relative relationship of shapes to other shapes within the artistic frame in terms of size, degree, number, etc. When painting human figures in a

naturalistic manner, the artist follows the Greek rule of proportion, which is eight-heads-tall. Here, the height of the figure consists of eight measures of its heads. Showing the proportion of human figures to space is aided by perspective, where objects farther from the viewer appear to be smaller than those nearer the viewer. Abstract paintings that distort the natural form of an object are not concerned with proportion nor perspective. 5. Balance No matter how the various parts are put together, we want that sense of equilibrium which we call “balance.” Balance is concerned with equalizing visual elements in an artwork. It must be seen rather than weighed. One type of balance is formal balance, where equal elements are placed on opposite sides of a central axis. The central axis is the dividing line located at the center of a frame. It may not be visible but imaginary. Symmetry is a kind of formal balance in which two halves of a balanced composition are identical. Artworks in perfect symmetry express dignity, endurance and stability. Radial balance is a variation of symmetry in which the elements of a design come out from the central point of the circle. Informal balance or asymmetry is the opposite of formal balance. Here, there is a balance if unlike objects and there are no elements that appear to be equal halves or sides. Balance, in this case, relies on the arrangement of objects.

6. Perspective Perspective is a graphic system that creates the illusion of depth and volume on a two-dimensional surface. Atmospheric perspective is achieved through the use of color. Brightly colored objects seem closer to you and dull-colored objects seem to be farther. Linear perspective shows distance and depth. As parallel lines move away from you, they seem to move closer together toward the horizon. The lines converge at the vanishing point which is located somewhere on the horizon line. A technique used in human figures that is similar to perspective is the use of proportion. Foreshortening of bodily proportion is used to make a drawing look more naturalistic. The part of the body closest to you looks distortedly large while the rest of the body parts appear to move backward into space.

THE ANALYSIS OF VISUAL ARTS Awareness and understanding of art requires the viewer to have knowledge of its: a) form (the elements and principles of organization); b) medium; and c) subject matter and style. A. Form Form encompasses the elements of art and the principles of organization that guide the artists in art-making. It refers to the physical aesthetic qualities of the image. Just as a writer uses words, sentences, and paragraphs in order to put across an idea, the artist uses the elements of art and principles of organization to create visual images. The elements of art include the qualities that we experience through our senses: a) Line b) Shape and forms c) Texture d) Color e) Space and movement The principles of organization show how sensory properties are organized to achieve a sense of unity and harmony, variety, rhythm, proportion, balance, and perspective. The viewer must understand how the elements of art and principles of design are used by the artist.

To guide the viewer in describing, interpreting and analyzing the form, here are some questions that he/she can answer: 1. What are the dominant elements in the artwork? 2. How are these used? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? B. Medium Medium refers to the materials used by the artist. Mediums vary in the different art forms. Painting uses oil, watercolour, acrylic, poster paint, fresco or tempera. Sculpture uses wood, plaster, marble, clay and other tactile materials. Following are some of the popular mediums used today in the visual arts: • Drawing - This two-dimensional art can be done using chalk, charcoal, pastel or pencil an ink on paper. Chalk allows you to have a variety of tonal areas. Through the use of heavy or light pressure, you create a blend of shades. Pastel comes light and pale color chalks. The dust it creates on paper can remain in place through the use of fixative spray. Charcoal is burnt wood and therefore create smudge easily on paper. They come in sharpened sticks or pencils either hard or soft.

• Acrylic dissolves in water and uses acrylic polymer as a binding agent. Acrylic dry fast, thin and resistant to cracking under temperature and humidity extremes. • Painting in oil is the most popular medium in two-dimensional expression because it offers a wide variety of colors. It is used on canvas and the pigments are mixed with oil. Because they dry up slowly, retouching and reworking is possible. Texture can also be created through a variety of brush strokes and several layers of paint. Watercolor painting enables the artist to do transparent painting on paper. Although watercolor allows for such effect, the artist has to be skilful enough to work fast and control the colors because it dries up easily and once the colors overlap, they create other color tones. • Prints fall under three categories: a) relief printing, such as woodcut, wood engraving, collograph and linoleum cut; b) intaglio, which includes etching and aquatint; and c) planographic process, which includes lithography and serigraphy (silkscreen) and other forms of stencilling. • Photography is done with a camera. An image is captured through the lens of a camera and is printed on photographic paper through a chemical process. The material used in photography has evolved from film to digital. Film comes in cartridge rolls that are easily mounted inside the camera box • Digital photography emerged through technological developments in computer systems. It does not require the use of film. Instead, images are recorded instantly, which may be viewed in the camera LCD or through the computer. These images may

be printed through the computer printer on special printing paper or plain bond paper. • Clay is a medium used in sculpture. It comes in three forms: a) earthenware, which can be sun-baked or kiln-baked; b) stoneware, which goes through much higher firing that vitrifies the clay so that it becomes close-grained and non-porous; and c) porcelain, which imparts a smooth finish, color and decorative effects. • Metal and bronze require casting which involves making a mould of terracotta and then plaster of paris, inserting a core and pouring in the molten metal or bronze. Metals have the properties of ductility, that is, they can be drawn out into wires and malleability. They can be shaped by hammering or melted, cast, moulded, or pressed into predetermined shapes. In contemporary sculpture, metals such as bronze, steel, iron and aluminium can be cut, welded, cast, moulded, polished or patinated, producing durable and permanent results. • Wood is commonly used in the Philippines. Some examples of wood used for sculpture are narra, batikuling, kamagong, langka, santol, marang and molave. Aside from their extreme durability, they have a warmth of tone and a natural coloration that ranges from dark brown to yellow and reddish hues, as well as finegrained texture. • Other mediums in sculpture include paper (as in origami), and found objects such as discarded junks driftwood, shells, rubber tires and many other materials that have not been traditionally used in are assembled into artworks. In architecture, stone and

brick “can withstand compression forces without crushing out of shape. Concrete and layers of bricks also have compressive strength, which makes it ideal for foundation walls. Steel has tensile strength. Wood is used for roof beams and flooring. Glass, metal, aluminium sheets, fibreglass and plastics are commonly used in modern architecture because of their aesthetic appeal and adaptability to the variety of modern structural designs. In photography, films are used for analog camera. The film is developed and the negative images are printed in photographic paper using special kinds of chemicals. Digital cameras do not make use of film. Instead, images are viewed directly through its camera LCD or through the computer. In installation art, a variety of materials can be used to construct or assemble the structure. Iron bars, metal sheets, bottles, glasses, light bulbs and many other found or recycled objects are put together using welding techniques or adhesive formulas. The environment (trees, shells, water, wind, etc.) and different kinds of lighting, within the artwork and outside it, may also be employed in installation art. To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image?

3. How well does the medium selected show the artistic representation? 4. If the artist chose another medium, do you think the same effect will be achieved? Why and how? C. Subject Matter Subject matter is what the artwork is all about. It may be a human figure, a landscape, a commemoration of an event, or an idea or feeling made visible through visual art. To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer: 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social, or political value? D. Style The treatment of the artwork’s subject matter is very much affected by artistic style. Artists are recognized by their viewers and the artworld through their style. “The manner in which artists express themselves constitutes their style.” Style gives us that body of characteristics that identifies an artwork with an individual, a historical period, a school of artists, or a nation, for example, realism, expressionism, abstract and so on.”

To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer. 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of design that identify the artwork with other works done in the same era or movement. The guide questions provided above can lead to an appreciation of the aesthetic qualities of art. Knowing the: a) form (the elements and principles of organization); b) medium; and c) subject matter and style of an artwork gives us a ready outline through which to begin a formal analysis of an artwork.

PAINTING Painting has always decorated man’s habitat. As far as 28,000 B.C., man started to decorate the cave walls of his dwelling in the most precise and naturalistic manner he could. They are visible up to this day at Lascaux or Altamira in France and Spain. In 1884, the painting Spoliarium by Juan Luna showcased the Filipino courage under the Spanish regime, when they were regarded not even as second class citizens in their own land but as indios, and were given names not reflective of human dignity. More than decorating man’s habitat, painting tells the story of man. Throughout history all over the world, important events such as victory in war, coronation of the queen, assassination of historical figures, the first medical surgery, and almost everything about human life are recorded through painting. Charles Fowler sees the arts as something that can provide meaning, a powerful tool that can move people. “They serve as connectors that give understanding a human dimension. “They tell us about people --how they thought and felt, and what they valued. They help us to define ourselves and our times, as well as other people and other times.” The arts have life itself for their subject matter. What Painting Is Painting is making images on a surface using color. The surface may be flat canvass or wood, or even the wall, as in the case of mural paintings. Painting is two-dimensional. It has height as well as width.

The Composition of Painting The process of painting depends upon the medium selected by the artist. In oil painting, the pigments are mixed with linseed oil and applied on the surface of canvas cloth that is framed in wood. In doing figurative paintings, some artist start with the dark colors and approach the lightest hues as they progress in their work. In the case of abstract, different colors can be spread on to the canvas or wood panel using brushes of other materials such as stick or cloth. As the oil is slow drying, artists can retouch or re-do their painting. There are different mediums that can be used in the process of painting. Oil Paint Oil paint is accessible today in cubes and is convenient to use indoors or carry outdoors when one wishes to paint landscapes. Oil can be applied on canvas, glass, wood, metal and even on plaster, and it allows the artist to paint over layers of paint for revision or creation of effects. Oil colors have a wide range of colors or hues that the artist can choose from. The colors stay for a long time, unlike tempera and fresco that tarnish over the years. Oil paintings may be hung indoors to decorate houses, shown in museums or put on display in commercial galleries. Water Color Paint In water color painting, the pigment is dissolved in water and applied on watercolor paper. The layers of paint dry quickly and become transparent. The artist may be guided by thin sketches in pencil before he/she applies water color paint on the paper. Water color painting does not allow for correction and unlike oil that comes with white paint.

In watercolor, the artist leaves out the white parts instead of coloring them. To protect its paper base and its color from fading and being exposed to insects, watercolor paintings need to be mounted on a glass frame. Tempera Tempera painting mixes color pigments with egg yolk with or without the white and applied to a panel of wood covered with plaster of paris following the design intended by the artist. Tempera, in time, loses its luminous, rich and clear colors. Fresco Fresco uses the method of applying paint on wet plaster of paris. The artist prepares a coating of plaster on the wall and then draws his/her design on it when it is dry. Then he/she applies another coat of plaster on which he/she paints his/her design. Because plaster dries up quickly, the artist works on a series of panels of plaster until he/she completes the entire wall of fresco painting. Acrylic Acrylic is a modern synthetic product. It can dissolve in water and has a wide range of possibilities in both color and technique. “Either opaque or transparent, depending on dilution, acrylic dry fast, thin and resistant to cracking under temperature and humidity extremes. Perhaps less permanent than some other media, acrylics adhere to a wider variety of surfaces and will not darken or yellow with age, as will oil.”

THE AESTHETIC QUALITIES OF SELECTED ARTWORKS The Use of Line and Texture in Vincent Van Gogh’s “Starry Night” By: Vincent Van Gogh After Stars Wars, Independence and other galactic futuristic movies, the modern art viewer will not be terrified to look at Vincent Van Gogh’s Starry Night. The painting has rich colors of blue and white with bits of yellow in the sky. The use of rhythmic and broken lines suggests movement and action and gives the painting a rough texture. This is in contrast with the peaceful town that nestles in the dark land below. Dark lines outline the houses and church at the foreground which are so tiny, compared to the growing stars. A tall, dark cypress tree crosses the left side of the canvas vertically, as if to connect the ground plane to the sky. The dark vertical tree contrasts with the light colored spire. Expressionism (1885-1950s) is the era that followed impressionism. If in impressionism, the artists captured the interplay between light and color and painted this on their canvas using bold strokes that had bare solidity of form and composition, the expressionist artists brought out their feelings and emotional intensity through art. They used the technique introduced by the impressionists characterized by bold, heavy, thick and colourful brushstrokes.

Using some guide questions, let us analyze the aesthetic qualities of the Starry Night The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the background? 4. How is the space used within the frame? How does the dominant element affect you? 5. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. The dominant lines are made of colors blue and white. 2. Thick broken lines are used to suggest movement and enlargement of the stars. 3. Dark lines are used as outlines. 4. This makes the contrast between the swirling of the main subject matter, the stars, and the peaceful town on the ground plane. 5. The rough texture makes the viewer feel disturbed and uncomfortable. 6. The stars dominate most of the space within the frame. The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image?

3. How well does the medium selected show the artistic representation? 4. If the artist choose another medium, do you think the same effect will be achieved? 5. Why and how? Analysis 1. 2. 3. 4.

Oil on canvass brought out the desired effect of the artist. The colors are bright and the texture is rough. Oil on canvas can easily create these effects. If Van Gogh used watercolor, its transparent effect would not give the same glow of objects in this painting.

The Subject Matter: 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis 1. The main figure is the group of stars swirling horizontally across the sky. 2. They are moving in high speed without affecting the peaceful town below. 3. There are two objects that cross the frame in a different direction: the cypress and church spire across the frame in vertical position.

4. This painting shows the intense emotional state of the artist, ready to explode above the town that does not seem to care about his instable and nervous state. The Style: 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis 1. The rough and repeated brushstroke technique is influenced by the impressionists Claude Monet and Pierre Auguste Renoir. 2. However, the passion and strong feeling revealed in the painting is typical of expressionism, as seen in the works of Paul Gauguin and Edvard Munch. Other works of Vincent Van Gogh Van Gogh Starry Night over the Rhone Van Gogh’s Cafe Terrace at Night Van Gogh’s Field of Poppies

The Use of Color in Michelangelo de Caravaggio’s “The Conversion on the Way to Damascus” By: Michelangelo de Caravaggio The cinematography of the movie, The Passion of the Christ was certainly influenced by Caravaggio’s skillful use of dramatic contrasts of light and dark. Caravaggio was known for his portrayal of personages and sacred scenes. The painting The Conversion on the Way to Damascus shows a horse and St. Paul lying flat on the ground with his hands stretched reaching out for help. A non-believer and a persecutor of Christians, he was stopped on his way to Damascus by a bright light that blinded him. He was confronted by God because he was persecuting Christians. This moment of enlightenment led to his conversion to Christianity. The scene was captured by Caravaggio in this painting that shows St. Paul and the horse occupying the artistic frame entirely. He used shades of brown, tints of red and a little yellow to blend with the strong light that bathes the main figure. Although the entire frame is occupied by human and animal figures, the highlight controls the view of the viewer. As the lightest part contrast with the dark background, the viewer does not have to look at everything within the frame all at once. Instead, focus is on the lightest part. Then his/her vision is guided around the frame by the soft colors surrounding the main figures. Note that even the horse does not look too big for the frame because some of its parts are rendered in dark hues. Baroque painting, which flourished from 1600 to 1750, is characterized by dramatic use of light that usually bathes the main figure to exaggerate its contrast with the

dark background. Painting was then encouraged to arouse religious sympathy. The popes and reigning monarchs were the principal patrons of art. Using some guide questions, let us analyze the aesthetic qualities of “The Conversion on the Way to Damascus.” The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. The dominant colors are brown to yellow and white. 2. The lightest colors cross the artistic frame to highlight the most important part of the painting, St. Paul on the ground with outstretch arms. 3. The background is dark and contrasts strongly with the white central figures. 4. The use of this color heightens the drama and evokes feelings of compassion and awe. 5. The main figures cover most of the frame and does not leave space for anything that is unrelated to the theme of moment of conversion.

The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis 1. Caravaggio chose oil canvas to express his vision of the conversion. 2. This medium is perfect to create the effect that he wanted to achieve. 3. The bright colors contrasted very well with the dark shades without affecting the middle tones that guide the viewer’s eye within the frame. 4. Watercolor may not allow the artist to achieved such effect. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis 1. The main figure in the artwork is St. Paul.

2. He lies flat on the round and may not have been noticed because of the size of the horse. 3. However, Caravaggio was skillful in the use of the medium and strategic in his composition so that he was able to make the horse appear smaller and St. Paul, more in focus. 4. The subject matter reminds us of the importance of art to the church during the Baroque period because it propagate the Christian faith by inspiring people spiritually. The Style: 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis 1. The use of light and dark to enhance the subject matter is characteristic of Baroque painting. 2. Caravaggio’s dramatic use of light and dark reminds us of the works by other Baroque painters such as Diego Velasquez, Peter Paul Reubens and Rembrandt Van Rijn. Other works of Michelangelo de Caravaggio Calling of St. Matthew Crucifixion of Peter Death of the Virgin

The Use of Space and Movement in Juan Luna’s Spoliarium By: Juan Luna The Spoliarium by Filipino artist Juan Luna is an eight-meter painting (7.75m x 4.25m) that won a gold medal at the Madrid Art Exposition in 1884. The painting is a good example of a well-managed space in painting. Prominent in the paint are two dead gladiators in ropes being dragged by two men. A third figure is pulling another gladiator and this is suggested by the way he grapples the ropes in his hand. Two onlookers --- very old men --- are staring at the most prominent corpse, as if trying to recognize the dead gladiators. On the left side of the canvass are five men and two women, heads looking right, suggesting there are more corpses being dragged into the place. Far right, there are at least two figures visible in the dark, one lit by a small bonfire, and the other, a woman slumped on the floor, in a mourning position. In the dark background is a pile of human corpses. As one stares at the Spoliarium, he/she can almost hear the wailing crowd, smell of stench of the human dumping site, and feel the heat in the basement of the Roman amphitheatre. These effects were achieved through the artist’s skillful combination of elements. The colors used by Luna are very Filipino: hues of yellow, yellow ochre, orange, read and brown, except for the green wrap around the mourning woman on the right side of the frame. The four men and a corpse are wearing red and tangerine. Luna assigned these red clothings to the four men that form a trapezoid composition to complement the diagonal position of the corpses. The

composition is indeed dynamic rather than typical. There are 17 figures on the left side of the frame and only two on the right side. How was Luna able to balance this obvious imbalance? First, he had perfect control of light. His overhead light bathes the corpses, their draggers and the two old onlookers. Light diminishes at the left side so that although there are eight people near the wall, their faces are halflit, making them less crowded than real. Darkness covers one third of the frame with only the back and foot of the seated woman catch some light. This is sufficient to bring the viewer’s attention across the frame. The strong contrast between the dark background heightens the drama that the artwork conveys. Secondly, the use of diagonal composition suggests movement. The viewer’s eye is led from the legs of the most prominent dead gladiator to his arm and on to his dragger, forming a diagonal line drawn across the frame. A horizontal line guides the eye from the left side of the frame all the way to the seated woman on the right. Painted in the classic romanticist style typical of the 1850’s, the strong emotions and exotic literary subjects was provided by a popular book by Charles Louis Dezobry: Rome in the time of Augustus, Adventures of a Gaul in Rome. In a passage of this book, the protagonist hears the sound of lamentation coming from the Roman amphitheatre and on descending to the basement beholds a tragic scene: the bloody bodies of gladiators dead or dying, being mourned by their families. This “backstage: picture of the Roman circus is what Luna chose for his colossal canvas and the Spoliarium apotheosizes tragedy itself: the pity and the terror.

The mural was finished in March of 1884, in time for the preview of entries to the National Exposition of Fine Arts in Madrid. The Filipinos in the Philippines, who were eagerly following every bulletin in the Madrid exposition, got their first view of the new Luna when two photographs of it arrived in Manila on May 8, 1884 on the passenger boat Asia, two weeks before the masterpiece was unveiled in Madrid. After the analysis of the artistic qualities of the artwork, we see its beauty and aesthetic value. But beyond that, we also realize that it carries with it social content that exposes the plight of the Filipino people under the Spanish colonizers. Using some guide questions, let us analyze the aesthetic qualities of the Spoliarium. The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. Space and movement are the dominant elements in the painting. 2. The composition assigned the several human figures in different spots that when looked at as a whole, does not distract the viewer’s vision and focus.

3. Through the use of light and dark, the painting does not look crowded. 4. Rather, the subject matter is bathed in light for anyone not to miss. 5. Balance is seen in the diagonal composition of the painting. 6. No part is heavier than the other. The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis 1. Luna chose oil on canvas to express his nationalistic sentiments. 2. Oil brought out the brightness of the main figures and made the less impersonal ones recede through dark shades. 3. The mural could not be neglected because of its size, hence his message was strongly felt and seen by the viewers. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of : personal, historical, social or political value?

Analysis 1. The main figures are two dead gladiators in ropes being dragged by two men. 2. The figures in the background looking at different directions only heighten the emotion of waiting in anxiety and sadness for more gladiators to come in dead or dying. 3. The painting was a strong medium of expression that exposed the plight of the Filipino people under the Spanish colonizers. The Style: 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis 1. As in other paintings by Luna, he had perfect control of light on his subject matter and a composition so dynamic, its message cannot be neglected. 2. This romantic revolt in bold textures of oil, dynamic composition and dramatic human subjects, are typical of romantic artists such as Eugene Delacroix of France, Francisco Goya of Spain and Joseph W. Turner of England. Other art works of Juan Luna Blood Compact Tampuhan

SCULPTURE The ancient Greeks made their idealized marble sculptured human forms to honor their gods. The Romans learned sculpture from the Greeks and added a more natural look to show the softness of the skin, old age, physical defects, and other human qualities. They produced sculptures to honor their great leaders, poets and other Romans noted for sports, the arts and politics. Mythology is also a favorite subject matter. The making of one piece sculpture is far more tedious than painting. It requires strength, engineering and welding skills an great control of the medium in use. It shows three dimensional (free standing) view of the subject so the sculptor is required to know his subject very well. Sculptures are meant for public viewing. Monuments are placed outside the buildings to symbolize something significant, historical or memorial. On special occasions, people gather around these monuments to offer flowers, candles and prayers for the person the monument is dedicated to. Sculptures also take the form of anitos or images that represent ancestors or gods and goddesses. In Africa, masks and small sculptures are believed to house the soul of their dead and the crafting of these sculptures is accompanied with a traditional ritual attended by community members. In churches, they are meant to inspire the believers. Sculptures are part of a community or society’s beliefs and values. They are made to give glory to God, honor to man or provide a medium of human expression.

What Sculpture is Sculpture is the art of making figures, such as human forms, animals or geometrics that can either be standing freely or attached to a background frame, either single or in a group. When it can stand freely, it is called three-dimensional or free-standing sculpture. Here, the viewer can go around the figure and gaze at it from different angles. The different parts of the figure: front, back and side are all exposed to the viewer. When the figure is mounted to the background, which may either be a frame, a wall or a flat surface, it is called relief sculpture. In high relief sculpture, the form is embossed or raised above the surface of the background. The artist, however, does not show the human figure, for example, in its actual form and dimension as the form blends with the flat background. In low relief sculpture, the figure is raised only a little from the background, as in the case of coins. In some artworks, the artist cuts into the surface or carves deep into the material until the form is incised but separated from the background. This is called basrelief intaglio. Examples: Three-Dimensional or Free-Standing Sculpture Free-Standing Sculpture: Michelangelo Moses, (c. 1513–1515), housed in the church of San Pietro in Vincoli in Rome. The sculpture was commissioned in 1505 by Pope Julius II for his tomb. High Relief Sculpture: High relief metope from the Classical Greek Elgin Marbles. Some front limbs are actually detached from the background completely, while the centaur's left rear leg is in low relief.

Low-Relief Sculpture: Lorenzo Ghiberti's cast gilt-bronze "Gates of Paradise“ at the Baptistery, Florence combine high-relief main figures with backgrounds mostly in low relief. Low-Relief Sculpture: Low-relief sculpture Sestertius of Marcus Clodius Pupienus Maximus, 238 AD Sunk Relief Sculpture: A sunk-relief depiction of Pharaoh Akhenaten with his wife Nefertiti and daughters. The main background has not been removed, merely that in the immediate vicinity of the sculpted form. Note how strong shadows are needed to define the image. The Composition of Sculpture Sculpture is done either by using subtraction, construction, substitution techniques, or any combination of these. Subtraction Carved works are subtractive. Using a large block of wood or stone, the sculptor carves out the figure or “frees” the figure from imprisonment in its original block form to give it an artistic look. First, the artist forms a miniature model in clay, plaster of paris, wax or some other material. Then he/she makes the figure in the desired size by carving the block of wood or stone using chisels and other specific carving tools designed for different purposes. When the figure is in its proper form, finishing work and polishing follow.

Construction The sculptor chooses a base material such as metal, plastics, aluminum, steel or found objects and then adds other elements to “construct” the idea or image that he/she wants to express. These materials require welding, or adhesive to be attached together. Substitution Any material transformable from a plastic, molten or fluid state can be molded or cast into a work of sculpture. First, the artist creates an identically-size model of the intended sculpture (called positive). He/She then covers the positive with a material such as plaster of paris that, when hardened and removed, will retain the surface configurations of the positive. The form, called negative, becomes the mold of the sculpture. The sculptor pours the molten or fluid material into the negative and allows it to solidify. When he/she removes the mold, the work of sculpture emerges. Surface polishing, if desired, brings the work to its final form. There are different mediums used in the process of sculpture. These mediums are manipulated using special sculpture tools such as the bent and spoon gouges, U-gouges, burs and accessories.

THE AESTHETIC QUALITIES OF SELECTED ARTWORKS IN SCULPTURE The Use of Unity and Harmony in the Sculpture of Laocoon and His Sons by: Agesander, Athenodorus and Polydorus Laocoon was the priest of Apollo who warned the Trojans not to touch the wooden horse made by the Greeks during the Trojan War. While he and his two sons were sacrificing to Poseidon at the seashore, two serpents emerged from the water and cursed them as a punishment for Laocoon’s defiance of the god’s will. In this three-dimensional sculpture, two figures are smaller than the father indicating that they are sons of the main figure, Laocoon. The three are in action depicting extreme pain, agony and struggle as shown in the straining muscles, swelling veins and tensed bodily positions without any part going extremely outside the artistic frame. Although there is contrast in the size of the three figures, harmony s achieved through the arrangement of the three figures. The arms of the smaller figures reach out to their father and the serpents coil around their bodies gracefully without destructing the composition. The way the two sons look at their father also directs the viewer’s eyes to the ain figure. Their facial expressions enhance the dramatic moment expressed through sculpture. Although in reality, the group sculpture is fixed and in unmoving, the sculptors were successful in capturing an intense moment and active movement through the artists’ skillful use of balance, unity and harmony. During the Hellenistic Period, 320 B.C., Laocoon and His Sons possess the movement, naturalism and

expression characteristic of the period. Stark realism and human sufferings are the favorite subject matter of Hellenistic sculptures. Using some guide question, let us analyze the aesthetic qualities of Laocoon and his Sons The Form 1. 2. 3. 4. 5.

What are the dominant elements? How are these used in the sculpture? How is the space used within the frame? How does the dominant element affect you? Is there a balance of forms or do some objects cover most of the frame? Analysis: 1. Unity and harmony amidst action are the dominant elements in the sculpture. Unity is shown through the use of curved lines connecting one figure to another. 2. Despite the contrast in the size of the figures, the smaller figures are positioned in harmony with the main figure. Space is very well-managed by the artists as all the body parts are confined within the artistic frame despite the violent action.

The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation?

4. If the artist choose another medium, do you think the same effect will be achieved? 5. Why and how? Analysis: 1. The sculpture is made of marble, a material abundant in Greece. It enhances the permanent beauty of the sculpture particularly the muscles of the figures. 2. It also allows facial details and human sufferings to show. This could not be possible with rough stone. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis: 1. The main figure is Laocoon. The two short figures on his left and right contrast with the tall, adult male figure in full strength as it struggles with the sea serpents. 2. The sculpture reminds us of Virgil’s The Aeneid Book 2, where the scene is described vividly. It also shows the perfect male anatomical proportion.

The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis: 1. There are no records of other sculptures by the three sculptors Agesander, Athenodorus and Polydorus together. The stark realism and human sufferings shown in the sculpture are characteristic of Hellenistic sculptures. 2. Other Greek sculptors at this era were Lysippus and Praxiteles, who did complicated three-dimensional sculptures. The Use of Proportion and Balance in Michelangelo Buonarroti’s La Pieta La Pieta is a sculpture of Mary carrying the dead Jesus Christ across her lap. Mary has the face of a young lady. Although her head is bent looking at her son, Mary’s face is very serene and not in mourning at all. The lack of human expression of remorse and sadness portrays her spirituality and detachment from human emotions. Indeed, she looks like she is in prayer. Jesus Christ is shown here as a man of 33, muscular and fallen in the arms of his mother. Realistically, Mary would have been smaller than Jesus but the excessive use of drapery solved the problem of Mary looking smaller. Thus, the problem of proportion is

solved. The composition forms a pyramid with thick clothing at the foot of Mary and at the tip of the triangle, her head. This gives the sculpture solidity of form and a well-balanced look. It is noticeable that Michelangelo carved his name on the sash running across Mary’s chest. This is something the young Michelangelo took pride of but the aged man regretted so that he carved another version of La Pieta when he was older which demonstrated his humility and heartfelt love for our Lady, pride all banished. Renaissance art, which flourished from 1400 through 1500, was a turning point in the history of art. The artists confronted and solved the problems of anatomy, composition, perspective and representation of space. The individuality of the artists was strongly felt, unlike during the medieval period when the artist saw himself as a servant of the church and therefore did not sign his artworks. It was also at this time when there was a revival of interest in classical antiquity and Greek and Roman artworks inspired many of the Renaissance works. Using some guide question, let us analyze the aesthetic qualities of La Pieta The Form 1. 2. 3. 4. 5.

What are the dominant elements? How are these used in the sculpture? How is the space used within the frame? How does the dominant element affect you? Is there a balance of forms or do some objects cover most of the frame?

Analysis: 1. The dominant principles of organization are proportion and balance. 2. The solidity of form combining anatomical proportion and heavy drapery gives it stability. 3. The scene which is a mourning mother carrying her dead son is given a non-dramatic treatment, rather a serene expression which inspires the viewer into prayer. The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist choose another medium, do you think the same effect will be achieved? Why and how? Analysis: 1. The artist chose marble to enhance the young, smooth and shiny look of Mary and the fallen Jesus. 2. The choice of material contributes to the serenity and praying mood of Mary. 3. This could not have been with a coarse and dark material. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure?

3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis: 1. The main figures are intertwined and looked one. 2. It inspires believers to pray and makes them identify with the Catholic faith. The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis: 1. The perfect anatomical proportion, composition and representation of space in Michelangelo’s work are typical of the works of other Renaissance masters, Raphael Sanzio and Leonardo da Vinci. The Use of Shapes and Forms in Henry Moore’s Reclining Figure Henry Moore did a series of sculptures in marble showing the human figure in its barest form. On a reclining position resting on an elbow, the figures knees are raised and the head is up facing space. The facial features are not visible and are reduced to some eyes and nose

on the oval face. A negative form (or space) separates the legs that join smoothly to form a solid piece. This 17 ft. marble is too huge not to be noticed. The spaces and forms within the sculpture itself, interestingly enough, keep the sculpture in perfect balance. As sculptures have to be viewed from different points of view, the viewer will appropriate better the different shapes that the Reclining Figure presents. When viewed in relation to its environment, the shapes may acquire a new meaning as a result of the vast space that envelops it. Twentieth century sculptures portrayed distortion of the human figure and features, as if to express the artists objection to the harsh realities in the modern world. “Cubistic forms of figures simply made of geometric parts superimposed on one another, human figures that are devoid of normal body shapes and facial features, sculptures became markedly unconventional and many of them have been made from scrap metal and industrial waste. Using some guide question, let us analyze the aesthetic qualities of the Reclining Figure The Form 1. 2. 3. 4. 5.

What are the dominant elements? How are these used in the sculpture? How is the space used within the frame? How does the dominant element affect you? Is there a balance of forms or do some objects cover most of the frame?

Analysis 1. 2. 3. 4.

Shapes and forms are the dominant elements in the sculpture. The female form is shown in simplified form without detail. Nevertheless, the shape of a reclining figure is still visible. Negative and positive spaces are used in the sculpture to give it a balanced look with unity of form.

The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist choose another medium, do you think the same effect will be achieved? 5. Why and how? Analysis 1. Moore did the sculpture in travestine marble which allows the smooth intervening of spaces and forms. 2. This is not possible with the used of other mediums such as metal. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social or political value?

Analysis: 1. The main figure is a female figure reclining on her elbow. 2. There are no other figures attached to the main figure. 3. It reflects the independence of the modern man who seems to be at rest but is watchful of things happening around him/her. The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis: 1. Simple, undetailed, reduced to the barest minimum. 2. That is the style of modern sculpture that is present in the works of Henry Moore. 3. Other modern sculptors such as Alberto Giacometti, Constantine Brancusi, each has his own style but common to all three are the simple forms and distortion of figures. Summary Sculpture is the art of making figures, such as human forms, animals or geometrics that can either be standing freely or attached to a background frame, either single or in a group. Sculptures are done either using subtraction, construction, substitution techniques, or any combination of these. Agesander, Athenodorus and Polydorus”

Laocoon and His Sons are a good example of unity and harmony in an artwork. Although there is contrast in the size of the three figures, harmony is achieved through the arrangement of the three figures. Michelangelo Buonarroti’s La Pieta shows proportion and balance through its pyramidal composition with thick clothing at the foot of Mary and at the tip of the triangle, her head. This gives the sculpture solidity of form and a well-balanced look. Shapes and forms are dominant in Henry Moore’s Reclining Figure. The spaces and forms within the sculpture, keep it in perfect balance.

ARCHITECTURE The study of architecture is invariably linked to the study of mankind, for the evolution of mankind is one of survival and innovation. One such advancement that mankind early on invented for his survival is the building of dwellings that are safe from the vagaries of weather and predators. As time evolved and as mankind become more sophisticated, so did his skills in creating structures that would house all of his varied activities. The evolution of architecture resulted in man’s attempt not only to create dwelling places that are efficient in space and that has a sense of permanence for protection but also an attempt to provide beauty and aesthetics to his surroundings. What Architecture Is Architecture is defined as an art form that merges not only the requisites of aesthetics, beauty and taste. It also unites with it concerns of science, sociology and anthropology. Through time it has expanded and evolved, integrating itself with other related fields as environmental, urban, interior design, city planning and landscape architecture. How Architecture Is Done A structure’s design is determined by its function or purpose, who and how many will use it, the space allotted for it, as well as financial considerations. For example, a school building is designed to accommodate the big number of students who go in and out of the building each school day. Each part of the building should serve the educational activities for which the building is designed.

Architecture in the modern era is best reflected by numerous changes in society such as the emancipation of women, technological innovations that gave way to the introduction of electricity, modern appliances, skyscrapers, the elevator and the invention of new building materials such as reinforced concrete, steel, resulted in architecture adopting to and conforming to the varying tastes and lifestyle of people. The elements of art discussed in the previous lesson also apply to architecture. Added to these are the elements of size and scale. • Size is the relation of form to the size of the human body. • Scale is used in design and architecture to described a rather subtle consideration related to size. It refers to the proportion of an object or space to all other objects, to human beings, and to the space to which it belongs. Likewise, the principles of organization discussed in the previous lesson apply to architecture. Emphasis in architecture ensures that important elements look significant while minor or rival elements look subordinate. This is achieved through the balance of size, placement, value, color and selection of materials. Another principle is the use of pattern and ornament, where the smooth surfaces are defined only by their limits, edges, or corners. A patterned surface has visible presence in every part of its extent. The eye focuses on pattern and uses it to help measure size and shape.

There are three important engineering or structural systems employed to fabricate architecture Post and Lintel System Referred to as trabeated or column and beam, the system employs a fundamental analogy of supports and free falling weights, where beams or trabs, (horizontal members carrying a lot of load or weight) thereby allowing a system of serviceable spaces to be created beneath for human occupancy or habitation. This system of construction, which is universal, is inspired by nature such as trees, serving as columns and the canopy as beams. As the length of the beam is defined only by its breaking point or sheer, and distance is supplemented and complemented by vertical columns. Throughout much of the classical era, the system of construction employed a trabeated form. Arcuated Form A more sophisticated form of construction is the arcuated form which employs the use of arches instead of columns and beams. Arches, may be ascribed to nature with cave openings as its natural prototype. Compared to beams and columns which have fundamental principle of falling and lifting forces, arches have the added pushing force employed on the outer curvature of the arch. This results from the need to provide not only vertical supports, such as columns but also holding or pushing supports through the use of buttresses. This prevents the outward push of the arch from springing back. Arches results in the opening up of spaces from the multitude of

columns as well as the wider openings which the shortness of beams cannot allow. Arches have been used during the ancient classical period. Truss System It is a structural frame based on the geometric rigidity of the triangle and is composed of linear members subject only to axial tension or compression. Trusses use smaller pieces of wood set in a lattice or brace form allowing the spanning of wider spaces possible. Compared to the beam, which is of solid piece of material, usually stone or wood, a truss is made of smaller cuts of wood attached and formed into a system of supports allowing loads and spans to be covered or bridged. The use of the truss has been employed extensively after the fall of the Roman Empire and during the Medieval Period. Guide questions in analyzing the aesthetic qualities in architecture The Form 1. 2. 3. 4.

What are the dominant elements? How are these used in the architecture? How is space used in architecture How does space support its function?

The Medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure?

The Subject Matter 1. Is the design suitable for the function for which the architecture was built? 2. What is the significance of the figure/s to you in terms of personal, historical, social or political value? The Style 1. What particular characteristics does this architecture have that are also present in other works by the same architect? 2. Describe the use of elements of art and principles of organization that identify the architecture with the other works done in the same era or movement.

THE AESTHETIC QUALITIES OF SELECTED ARCHITECTURE The Use of the Classic Orders and Arches in The Colosseum The Colosseum is designed with an oval plan with tiers of seats that accommodated approximately 50,000 spectators in various levels. The seats were supported by vaults and arches. Each arch was supported by a column. The architecture of the Colosseum is unique in that the three major classical orders are represented flanking its arches. On the lowest tier are attached Doric columns, on the second level are attached Ionic columns, while the third tier are attached Corinthian columns. Along the face of the fourth, there are Corinthian pilasters which support the heavy mast to which they use to cover the whole amphitheater against the sun. The Colosseum is defined by the use of its travertine cladding, though much of the buildings structural mass is made of Tufa infill on a bed of cement. Arches supported by columns and entablatures define the architecture of the Colosseum, a style that was prominent and popular in the Roman Empire. Though primarily decorative in nature, the merging of the two structural systems (trabeated and arcuated) characterizes and defines the rather decorative nature of Roman architecture as compared to the purer and purposeful construction principles employed by the Ancient Greeks. These elements of construction and design found itself repeated in other forms of buildings during the Ancient Roman Period. Below the arena lie numerous chambers and dens where Gladiators waited or were brought after the spoils of the battle. Wild animals were also held here to provide a variation of the battle. When Christianity was still considered subversive and illegal, captured

and punished Christians would also be used as fodder for the games. Together with noted and convicted criminals, the Colosseum became the venue for corporal punishment in Ancient Rome, thus becoming a deterrent as well as an entertainment for its citizens (Fletcher 258). During the Renaissance and Baroque periods, a good portion of the Colosseum, together with other ancient monuments, were demolished as convenient quarry for building materials used to rebuild Rome. Using some guide questions, let us analyze the aesthetic qualities of The Colosseum. The Form 1. 2. 3. 4.

What are the dominant elements? How are these used in the architecture? How is space used in the architecture? How does space support its function? Analysis 1. The classic orders: Doric, Ionic, and Corinthian, are dominant in the Colosseum. They serve as the pattern and ornament to the structure. 2. The two structural systems, the trabeated and arcuated, which are independent of one another are here merged making it structural and decorative in nature. 3. Built as a venue for watching Gladiatorial combat and exhibitions, the space below was used as holding areas for the gladiators and wild beasts.

The Medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure? Analysis 1. Tufa infill on a bed of cement and travertine were used in building the Colosseum. 2. Aside from durability, these materials enhance the beauty of the structure. The Subject Matter 1. Is the design suitable for the function for which the architecture was built? 2. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis 1. The Colosseum was used as a venue for Gladiatorial Games and the exposition and execution of the enemies of the Roman Empire: i.e. the early Christians. 2. Below the arena lies numerous chambers and dens for the wild animals and the Gladiators who provided bloody entertainment to the Romans. 3. As such, the design is suitable for its function.

The Style 1. What particular characteristics does this architecture have that are also present in other works by the same architect? 2. Describe the use of elements of art and principles of organization that identify the architecture with the other works done in the same era or movement. Analysis 1. The structure is oval in shape and its supported by tiers of arches. 2. The use of materials such as cement, travertine and tufa; the use of the structural elements such as trabeated or arcuated and the combined use of the classic orders of column are typical of Roman architecture. 3. Modern arenas for sports, stadiums and other athletic facilities trace their roots to the ancient Colosseum. The Revival of the Classical Orders, Magnitude and Layout in the Palais de Versailles Palais de Versailles: Baroque architecture in France Built from 1661 to 1756 for Louis XVI by Louis de Vau who design a palace around the old hunting chateau erected originally by Solomon de Brosse for Louis XIII, it was later expanded by jules Hadouin Mansart by extending the building from north and south forming a building 402 meters long. The park façade has a rusticated ground storey supporting an order of pilasters, high attic and balustrade, producing a monotonous effect on unbroken skyline.

Galerie des Glaces: The great garden designs of Andre Le Notre were among France finest contribution to European culture. Based on tradition forest rides (avenues) and the use of ornamental flower (moats), Le Notre formal schemes used these elements in conjunction with the parterre. Garden Parterre de Broderie: Parterre de Broderie, a geometrical pattern resembling Genoese velvets when seen from the upper windows of the chateaux. A favorite spot for wedding ceremonies and wedding photos, the Broderie Room at Phipps recreates the design of formal French-style knotted gardens. Using some guide questions, let us analyze the aesthetic qualities of The Revival of the Classical Orders, Magnitude and Layout in the Palais de Versailles Palais de Versailles: Baroque architecture in France The form 1. 2. 3. 4.

What are the dominant elements? How are these used in the architecture? How is space used in the architecture? How does space support its function? Analysis 1. The revival of the classical orders, magnitude and lay-out, in addition to pattern and embroidery enhance the beauty of the palace.

2. The royal residence is typical of the period, both in the magnitude of its lay-out and in the enormous expenditure in money and labor which it involved. The medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure? Analysis 1. The park facade as a rusticated ground storey supporting an order of pilasters, high attic and balustrade, producing a monotonous effect with unbroken skyline. 2. The apartments form in themselves a veritable museum of decorative arts of the period. The subject matter 1. Is the design suitable for the function for which the architecture was built? 2. What is the significance of the figure/s to you in terms of personal historical, social, or political value? Analysis 1. As the royal residence for Louis XVI, it has the look appropriate to a king’s palace. 2. The lavish design, vast space and the best materials used for the palace and gardens reflect the importance and role of the king during the era.

The style 1. What particular characteristics does this architecture have that are also present in other works by the same architect? 2. Describe the use of elements of art and principles of organization that identify the architecture with the other works done in the same era or movement. Analysis 1. Typical to Baroque architecture in the 17th-18t century Europe is the use of pilasters, cornices, entablatures and mouldings to suit the architect s artistic taste. 2. These are present in the Palais de Versailles. 3. The broad vistas that stretch axially away punctured by vases and statuary to form pleasing promenades, the closely planted trees, the chateaus and canals reflected the royal art during the period. Concrete and Rough Stones on Frank Lloyd Wright’s KAUFMAN HOUSE About Wright: One of the founders of modern architecture in North America, Frank Lloyd Wright embraced the use of new technology, materials and engineering to create some of the 20th century’s most influential and iconic buildings. During a long and productive career spanning 70 years he designed over 1,000 buildings of which over 400 were built.

About “Falling Water” This project is a unique example of a modern Organic Architecture, which was designed by Architect Frank Lloyd Wright in 1934 in rural Pennsylvania, 80 kilometers southeast of Pittsburgh. Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so well integrated with its site that buildings, furnishings, and surroundings become part of a unified, interrelated composition. Set in a very unusual location, the ideas implicit in the house are a highly dramatic and original combination of modern technology within a natural setting. The notion of a house sitting over a waterfall evokes the imagination of English Romantic poet, Wordsworth. At the same time, scientific technology has been integrated with a modern concept. The cantilevered house which sits on a waterfall that is audible rather than visible was Frank Lloyd Wright’s unique achievement. Kaufmann House is an outstanding example of domestic architecture. In the 1930s, Wright developed the main theme of organic architecture, that is, combining modern techniques and natural landscape in a new way. ‘Falling water’ is among Wright’s most famous buildings and has become a symbol of the international movement. He used natural and organic elements in this building. This is a good example of organic architecture. What does this House look like? The house is located on a cliff with a waterfall. It is a weekend house. It consists of two levels of living areas. Both the living areas extend up to the waterfall and give a good view of the surrounding countryside.

The entrance drive leads to the main living room, which extends in different directions in the ground floor. A staircase leads directly leads to the waterfall. Terraces, balconies, kitchen and dining area all extend in different directions. The bedroom on the second floor opens on to the terrace, which is cantilevered more than the terrace of the first floor. The second floor is much smaller than the first and has only one bedroom with an adjoining roof terrace. All the three floor plans form a pattern in such a way that they are arranged round the single vertical element, which is the natural stone tower-the staircase. At the foot of the staircase is the supported ground floor and the slope of the hill. The base of the building is made of natural stone, the individual stories are made up of reinforced concrete, and the walls of glass. The building literally combines: • • • • •

Nature and architecture The organic and the geometric Natural stone and concrete Exterior and interior Nature and space

What Frank Lloyd Wright achieved in this building was to place its occupants in a close relationship to the surrounding beauty – the trees, the foliage and the wild flowers.

PHOTOGRAPHY Every person holds on to a photo of a loved one. Every home has photos on display. Every newspaper has photos of events, good or bad. Now that the computer is very accessible, we are used to photo images accompanying texts in a variety and artistic ways. Since Louise Daguerre invented the Daguerreotype of camera in 1839 and 49 years later, when Eastman’s Kodak camera was introduced commercially, and then the introduction of the 35mm film Leica camera in 1925, man has always relied on camera not only to record significant events of his life but for some people, even ordinary day-to-day affairs. This is so because photography does not only record images precisely. Photographs can also be reproduced as many as you want and today, they can even be manipulated to produce the desired effects. What Photography Is A photograph is a two-dimensional representation of people, events, objects or any three-dimensional form. It is the art of recording images through a camera through the use of film and printing them on photographic paper through a chemical process. Photography is the process, activity and art of creating still or moving pictures by recording radiation on a radiation-sensitive medium, such as a photographic film, or an electronic sensor. The word "photograph" was coined in 1839 by Sir John Herschel and is based on the Greek φῶς (photos) "light" and γραφή (graphé) "representation by means of lines" or "drawing", together meaning "drawing with light".

Function The camera or camera obscura is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a "latent image" (on film) or "raw file" which, after appropriate processing, is converted to a usable image. History of Photography Chinese philosopher Mo Di described a pinhole camera in the 5th century B.C. Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments, Ibn al-Haytham (Alhazen) (965–1040) studied the camera obscura and pinhole camera. The first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce. Niépce was successful again in 1825. He made the first permanent photograph from nature with a camera obscura in 1826. Niépce worked with Louis Daguerre. But when Niépce died he continued their work (he named it daguerreotype in 1837) until it was discovered by the French government. Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie. After reading about Daguerre's invention, Talbot refined his process so that portraits were made readily available to the masses. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the "blueprint.” He was the first to use the terms "photography", "negative"

and "positive". Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today. Processes Black and white: all photography was originally monochrome, or black and white. Color: photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. Full-spectrum: is a subset of full-spectrum imaging, defined currently among photography enthusiasts as imaging with consumer cameras the full, broad spectrum of a film or camera sensor bandwidth. Digital photography: is a form of photography that uses digital technology to make images of subjects. Modes of Production Amateur: An amateur photographer is one who practices photography as a hobby and not for profit. Commercial: Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art.

The commercial photographic world could include: 1. 2. 3. 4. 5.

Advertising photography Fashion and glamour photograph Crime Scene Photography Portrait and wedding photography Wildlife photography

Art Photography: During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Different Parts of a Camera • Old Version of Camera • New Version of Camera • Different types of Photography Advertising Photography: Advertising photography illustrates a service or product. These images are generally done with an advertising agency, design firm or with an in-house corporate design team. Editorial Photography: Editorial photography that illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.

Photojournalism: Photojournalism is used for journalism work. Photographs made in this context are accepted as a documentation of a news story. Portrait and Wedding Photography: Portrait and wedding photography are made and sold directly to the end-user of the images. Fine Art Photography: Fine art photography is creative production of images using the camera, special lighting and other effects used for artistic expression. The Composition of Photography Photography uses film that comes in cartridge rolls that are easily mounted inside the camera box. Today, the material used in photography has evolved from film to digital. Digital photography emerged through technological developments in computer systems. Images are recorded instantly, which may be viewed in the camera LCD or through the computer. These images may be printed through the computer printer on special printing paper or in plain bond paper. Aside from a camera and film, photography requires other things. The Subject This is the main focus of your photograph. It is what you want the viewers to see first when they see the image. It can be a still life, portrait, landscape, human interest, lights or distorted figures. It is usually the sharpest object in the photograph.

Background and Foreground What is in front of your subject is the foreground. What is behind your subject is the background. When taking a photo of your subject, you should study it first in relation to the foreground and the background to make sure they do not contrast strongly with the focal point of the photograph. Both foreground and background should enhance the beauty of the main subject. Sometimes, the background is a blur effect or a mix of colors. Rule of Thirds An ordinary subject matter such as sunset or mountains and plains can turn out to be a very interesting photograph with an artistic composition (the arrangement of elements within the frame). The subject should be located either above or below the center of the frame because the viewer’s eye is naturally drawn to the spaces within a frame and not to its center. Even portraits should not be set right at the center of the frame, unless it is an I.D. picture. Lighting Photographs without lighting are dull because the basic ingredient in photography is light. Avoid strong direct light on your subject and dark shadows. Check the lighting of the background in relation to your subject and make sure the background lighting is not stronger than the subject.

Motion Motion can be captured through the camera. A fast shutter speed can freeze a motion. A slow shutter speed can make the image appear blurred. For example, a speeding horse can be sharp in a photograph when shot with a fast shutter speed. It can look out of focus and blurred with a slow shutter speed. Guide questions in analyzing the aesthetic qualities of photography The Form 1. What are the dominant elements? 2. How are these used in the photograph? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there balance of forms or do some objects cover most of the frame? The Medium 1. Does photography as a medium enhance the beauty of the image? 2. How well does the medium selected show the artistic representation? 3. If the artist chose another medium, doe you think the same effect will be achieved? Why and how?

The Subject Matter 1. What is the main figure in the artwork? 2. How do other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social and political value? The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement.

THE AESTHETIC QUALITIES OF SELECTED PHOTOGRAPHS The Use of Perspective in Ricardo Ocreto Alvarado’s Filipino Farmers in America Belong to the first wave of Filipinos who migrated to America in 1928 to work as janitor and houseboy. During World War II, he was a medical technician in the Army's highly decorated First Filipino Infantry Regiment. After the war, he developed his passion for photography and took countless photos of the Filipino-American community in San Francisco, California. His camera gave him entry into large social functions ― weddings, funerals, baptisms, parties and dances ― as well as intimate family gatherings. Shooting the tractor from an interesting angle, the machine does not distract the subject of the photograph: two Filipinos looking very hard working, posing for the photograph, the same way a person would have his/her photo taken beside in a Ferrari prestige car. Shows how the Filipinos worked in their new land and home. Through the use of perspective, the tractor wheels in front seem bigger than the back wheels. Perspective also shows the mountains and trees in the background smaller than the human figures because they are farther in the camera. The background, foreground and subject are all sharp because of the camera exposure to light. Despite this, the viewers eyes are easily directed to the two men, with faces that shows traces of old age and hard work. Their clothing reveals they are in a foreign land because in tropical Philippines, farmers work in minimal clothing and do not wear hats. Photographs of genre subject like this is characteristic of the 1950s where everything is shown in sharp and the main subject in still

position. This is due to the limitation of the camera that could not capture movement. Blurring technique was also not possible, since there were not too many apertures and shutter speed options. The Form 1. What are the dominant element? 2. How are these used in the photograph? 3. How is the main subject matter treated in relation to the background? 4. How many space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. The dominant principle of organization in the photograph is the use of perspective that shows the difference in the size of the objects in the foreground and in the background. 2. The vast space does not diminish the significance of the object because the tractor, shot in an angular position, leads the viewer's eye to the main subject. 3. Hence, a balance of form s is achieved. The Medium 1. Does the photography as a medium enhance the beauty of the image? 2. How well does the medium selected show the artistic representation?

3. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis 1. Photography is the best medium for the image because it is able to show the details and facial expression realistically which oil painting or other mediums cannot show. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social, or political value? Analysis 1. The main figures are two farmers posing while riding the tractor. 2. The objects surrounding them do not conflict with the main figures, rather enhance them as the focal point of the photography. 3. This shows the lifestyle, work and state of being of the Filipinos who migrated to America in the 1950s. The Style 1. What particular characteristics does the artwork have that are also present in the other works by the same artist?

2. Describe the use of art and the principles of organization that identify the artwork with the other works done in the same era or movement? Analysis 1. Clarity, sharpness and detailed representation are the characteristics of Ricardo Alvarado's photographs, which were all in the same quality of photograph taken in America during 1950s. The Use of Balance in Cheryl Diaz Meyer’s The War in Iraq Meyer was born and raised in the Philippines and immigrated with her family to Minnesota, USA in 1981. As a photojournalist, she was assigned to cover the US-led war in Iraq. The photograph War in Iraq shows soldiers saving an old man from a car bombing incident. The photograph consist of two parts. On the left are three human figures escaping from the bombing. This may be one image in itself but on the right, there is a burning car that cannot be neglected because its dark smoke connects to the image on the left. The space below the car is empty and this gives a breather from the fully-occupied space on the left side occupied by three figures. Thus, the diagonal composition of the photograph is well-balanced. This is achieved through the use of perspective, where the car is located far from the main figures and therefore serves as a background. The main figures are also sharp, with details like human teeth showing and the different shades of green in the soldiers’ uniform.

This owes to the precision of the camera in recording details. Modern innovations in photography have benefited not only photojournalism but photography in general. High speed, sharp focus, high image resolution and color sensitivity are just a few capabilities of the camera that modern photographers enjoy. The Form 1. What are the dominant elements? 2. How are these used in the photograph? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. Balance is used as a dominant element in the photograph. 2. The three figures on the left side of the photograph, which as a group, appears heavy and covers half of the frame is balanced on the right side by the burning car and space below it. 3. These images complete the story that the photograph tells the viewer about the war in Iraq. The Medium 1. Does photography as a medium enhance the beauty of the image? 2. How well does the medium selected show the artistic representation?

3. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis • • • •

Photography is essential to photojournalism. It can record incidents instantly. It can capture images as they happen. Thus, it is a record of historical incidents and reality however, this technology can also be manipulated to distort the truth and can be used for propaganda purposes.

The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figure in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis 1. The main figures are the two soldiers carrying a bloody victim away from the burning car in the background. 2. The burning car clearly tells us the cause of the injury. 3. The photograph tells us about the human suffering and struggle in the US-led war against Iraq. The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist?

2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis 1. As a photojournalist, Meyer’s photographs are documentation of the new story. 2. As such, she has good control of the camera and is sensitive to the best angle for shooting them. 3. She is brave and is skillful in terms of timing. 4. These are important characteristics of photojournalist to be able to capture images that show good balance, focus, details and the story in the news. Excerpts from Dallas Morning News The Dallas Morning News published a report on the recognition of the photojournalism work of Meyer: Cheryl Diaz Meyer won the 2004 Pulitzer prize for breaking news Photographer David Leeson for their body of works depicting the invasion and aftermath of Operation Iraqi freedom. Her work was awarded the Visa D’Or Daily Press Award 2003 in Perpignan, France. Aside from being Published in major metropolitan newspapers and magazines and aired on the television stations around the world, her work was also featured in books by Corbis and Life-entitled Desert Diaries And The war in Iraq.

The Use of Variety in Margaret Bourke-White’s Louisville Flood Victims, 1937 Variety - (also known as alternation) is the quality or state of having different forms or types. The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size and color. Margaret Bourke-White’s Louisville Flood Victims 1937 - Louisville Flood Victims shows variety. It contrasts between reality and dream. The main focus of the photograph is the American flood victims queuing for supplies. Their faces show sadness, hardships, hopelessness and loss amidst the cold weather. In the background is a billboard showing an American family and dog in a car, all looking happy and thrilled about their trip. The caption encapsulates the idea behind the billboard illustration: “There’s no way like the American Way.” The title, “World Highest Standard of Living” can make any flood victim unhappy. The irony presented in the photograph is that while some Americans are enjoying the highest standard of American living, there are those who deprived of basic needs due to natural calamities. The ‘rule of thirds,’ where the subject should be located either above or below the center of the frame is observed by Bourke-White as she put the row of queuing Americans right below the billboard that occupies more than half of the horizontal frame. Photographs during the 1930s were in black and white but the lack of color does not affect the message, which is important in this case because it serves as a mirror of reality at a particular time and place in American history.

Using some guide question, let us analyze the aesthetic qualities of the Louisville Flood Victims, 1937 The Form 1. What are the dominant elements? 2. How are these used in the photograph? 3. How is the main subject matter treated in relation to the background? 4. How many space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis 1. Variety is used in this photograph to show the contrast between reality and dream in America. 2. Although the billboard in the background occupies a larger space in the artistic frame, its layout leads the eye of the viewer to the people standing in queue. 3. This is how balance is maintained. The Medium 1. Does the photography as a medium enhance the beauty of the image? 2. How well does the medium selected show the artistic representation? 3. If the artist chose another medium, do you think the same effect will be achieved?

4. Why and how? Analysis 1. The use of photography to record a social reality is a good choice of medium. 2. It captured a moment that revealed a strong contrast between what is proclaimed to be “an American dream” vs. an American Reality. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social, or political value? Analysis 1. The main figure in the photograph is the row of Americans queuing for supplies at a time of natural calamity. 2. The billboard which shows a picture of a happy family contrasting with the fate of the flood victims only heightens the drama. Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement.

Analysis 1. Bourke- White used black and white photography as her medium of expression. 2. Although photographs during the 1930s were in black and white, it was nevertheless an effective tool to record historical events and social realities, such as the 1937 flood victims.

DIGITAL ART Photography using film is fast being replaced by digital photography using pixels that is viewed electronically through computers and cell phones. Film photography requires lower initial cost and is better in capturing detail in black and white and has a high resolution. It has to be processed to make the photographs and is therefore a continuing cost. Digital photography has higher initial cost because the digital camera, which is very light in weight, is more costly than the film camera. Its megapixels are limited to the camera model and therefore allows lower resolution. It has a memory card that can store a lot more images than a roll of film. Images taken through digital camera can be edited and manipulated through the computer. You can print on photographic paper only the images you like. Digital camera offers many options for effects such as zoom, wide-angle and built-in filters. What Digital Art Is Digital art is considered new media and is produced with the aid of technology and computer. It is an overarching term that refers to all mechanized or computer-based art i.e., art generated with the aid of digital technology. It includes animation, the art of the world-wide-web, CD-ROMS, computer graphics, cybernetic sculptures, and even dance, film, photography, synthesized music and laser shows, to name a few. The burgeoning of this art began with the increased availability of personal computers in the 1980’s, while its incipient development is traced from the rapid advances of computer technology in the 1950’s and 1960’s that support research and development of computerized

intelligence in the service of military defense systems during the Cold War. The use and application of digitized or computer media in making digital art has definitely made a new language requirements as new forms are created without referent within the digital world. The cyber world, which deals with a new notion of the real – a reality that is virtual as opposed to the actual, is not simply concerned with mimicking reality nor with the representation of space …. through the laws of perspective for instance, and as such, demands a of different set of critical yardstick and aesthetic language. However, as the digital world is still in constant flux, we can only try to make a sketchy description of their inclusive traits as we await a more conclusive critical and aesthetic language befitting digital art. How Digital Art Is Done The computer is the essential medium or tool for this art. One of the strongest points of this tool is its seemingly limitless digital capability of reposition, combine, filter, color, alter and produce new images within the friction-less and seamless space of its memory. Digital Interactivity or Virtual Interaction Digital art involves a complex interaction among the artist, the medium, and the “viewer.” In the virtual world of digital art, the artist interacts with the computer to make art with which the “viewer” interacts either by retrieving the art that had been created into his own … computer or manipulating it in another pre-programmed routine that vary according to his own commands or movements.

In this set-up, the artist, the viewer and the machine are engaged interdependently where the “viewer” does not simply perform to complete the work but also initiate and assign content. Unlike in film, television and video where he is a delegated passive viewer, or in case of the visual art, where he is a mere spectator, the “viewer” becomes an author and editor in the sphere of cyber art. Needless to say, his immersed cyber interactivity tremendously changes the way he experiences or makes meaning of art, which now extends beyond the mere visual and the tactile. The ultimate example of this particular interactivity is Virtual Reality or VR. Here, the “viewer” is placed in total immersion within a simulated world or virtual environment, in which his physical body is replaced with a body image. He converts into a user who is dispensed with emancipatory interaction, or even with an actual physical sensation through the teledildonic suit, which leaves him at the crux of his own art experience. The capability of digital technology to translate materials into mathematical binary or digital computer language has rendered the image as pure visual information, and as such, brought it into an infinitely malleable and dynamic state. Thus, the image consisting of discrete digits can be manipulated into endless possibilities in the realm of digital art. Seven Types of Digital Art 1. 2. 3. 4. 5.

Digital Photography Photo Painting Digital Collage Integrated Digital Art Digital Painting

6. Vector Drawing 7. Algorithmic/Fractals The artist uses a digital or conventional camera. The photographs are digitized and translated to the computer environment where the artist uses image editing and special effects software to perform darkroom type manipulations. Photo Painting This combines the disciplines of photography and painting. The artist uses image editing and paint software to go beyond dark room techniques to add further expression to the image. Digital Collage This is a technique of combing many images from varying sources into one image. This is most commonly achieved by the use of layering techniques in image editing and paint software. The artist may also use images from x-rays or radar to produce images that the eye does not normally see, which expands the realm of human perception. Integrated Digital Art This is the “mixed media” of the digital art world. Artists combine any number of the techniques to achieve unique results. The digital environment is much less restricted than conventional mediums in this type of integration and manipulation. Two –dimensional - The artist creates 2D images totally in the computer virtual environment with the use of painting tools that

emulate natural media styles. Sometimes referred to as “Natural Media.” Three-Dimensional - The artist uses 3D modeling and rendering software to essentially sculpt in virtual space. This method also makes use of all of other methods. Vector Painting The artist uses vector drawing software and creates the image totally in the virtual environment. This makes use of shapes which are outlined and can be filled with various colors and patterns. This tends to produce a harder edged or graphic look. Algorithmic/Fractals This is art produced exclusively by mathematical manipulations. This is the so-called “computer-generated” art. The art here lies in the invention of the mathematical formulas themselves and the way the programs are written to take advantage of the display capabilities of the hardware. The art also lies in the creative inventions and subsequent selections of the artist /mathematician. Guide questions in analyzing the aesthetic qualities of digital art The Form 1. What are the dominant elements? 2. How are these used in the artwork? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame?

5. How does the dominant element affect you? 6. Is there are balance of forms or do some objects cover most of the frame? The Medium 1. 2. 3. 4.

What is the medium used by the artist? Does this medium enhance the beauty of the image? How well does the medium selected show the artistic presentation? If the artist chose another medium, do you think the same effect will be achieved? Why and how?

The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal, historical, social and political value? The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement.

The Use of Shapes in Stephanie Syjuco’s Black Market Is a young Filipino - American artist whose works are exhibited in different museums and galleries in San Francisco and other key cities in America. Using existing objects, she creates art forms that represent her conceptual ideas "and then a fairly straightforward execution process that left little for on the spot improvisation. Is composed of digital images printed on Fuji light jet. Syjuco blackens the commercial products by using black irregular shapes and what is left in the picture are the objects in the background. The Form 1. What are the dominant elements? 2. How are these used in the artworks? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame? Analysis • Shapes are dominant in this digital image. By blotting out the commercial goods in the market, Syjuco highlights the absence of the goods in the pictures. • The blotted parts dominate the artistic frame instead of making them disappear. • The irregular shapes are spread throughout the frame, thus giving a balanced effect.

The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis 1. Digital image on Fuji light jet print was used. 2. This gives the image a sharp, smooth, detailed and colorful look. 3. This cannot be achieved through other mediums. The Subject Matter 1. What is the main figure in the artwork? 2. How do the figures in the artwork affect the main figure? 3. What is the significance of the figure to you in terms of personal historical, social or political value? Analysis 1. The main figures are the blotted commercial goods that have been reduced to irregular shapes obstructing the color setting which has then become the background to the more prominent black shapes. 2. The blotted out goods in the picture is “the very reason that gives the multi-nationals global economic control”.

The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the same era or movement? Analysis 1. Syjuco is very comfortable with integrated digital art as she works with several mediums. 2. This owes to her exposure to white and multi-ethnic artists in America who do art using a variety of mediums and techniques. 3. Her access to technology, patience and vivid imagination make her work at par with international artists using the same mediums. The Use of Color and Texture in Yoichiro Kawaguchi's Integrated Digital Image, Eggy He was born on Tanegashima Island in 1952. He received his Master of Fine Arts from Tokyo University of Education in 1978. Currently he is Associate Professor of Computer Graphics Art at Art & Science Lab, Department of Art, Nippon Electronics College, Tokyo. The Japanese computer artist mainly works in the area of HDTV (High Definition TV). In his projects he likes to experiment with organic shapes. EGGY, the multicolored digital image is composed of several textures and objects. Some are transparent while the others are solid. The purple figure that takes the figure of a human being has the texture of

melting plastic. The color formation above it consist of monochromatic blue, also in varying textures, seem to explode as its edges reach the borders of the artistic frame. Yellow, green and blue textured surfaces give the image a descending effect, putting it close to the base. There are pairs of red eyes in varied sizes that give an impression that some creatures are observing the movement of the color formation. Overall, the image is a conglomeration of playful and irregular shapes , forms , color and texture arranged in semi-formal composition. Computer graphic artists gather interesting images and 'plays around' with it in computer to discover a variety of forms and shapes on which computer techniques can be applied. Kawaguchi's work exemplifies today's trend in digital art, particularly in computer graphics. Using some guide questions, let us analyze the aesthetic qualities of the EGGY The Form 1. What are the dominant elements? 2. How are these used in digital art? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame?

Analysis 1. Color and texture are the dominant elements in the digital work EGGY. 2. The image is conglomeration of playful and irregular shapes, forms colors and texture arranged in semi-formal composition. 3. The image pleases the viewer's eye , because although there are several forms in artistic frame, the artist achieved balance through the harmonious distribution of colors and shapes. The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic representation? 4. If the artist chose another medium, do you think the same effect will be achieved? why and why not? Analysis 1. Computer graphics was used by the artist. 2. The visual effect of the color formation may not have been achieved without the artistic manipulation of computer graphics 3. From digital photo of nature, the artist came up with new forms and interesting shapes and colors. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure?

3. What is the significance of the figure/s to you in terms of personal historical, social or political value? Analysis 1. The subject matter may be an egg(based on the title eggy). 2. The blue form in the middle expanding into explosion above the figure patterned after the human form is the subject and main figure. 3. It gives another view of things one does not imagine exists. 4. It seems to be a personal and creative experimentation in digital art. The style 1. What particular characteristics does this artwork have that are also present in other artworks by same artist? 2. Describe the use of elements of art and principles of design that identify the artwork with the other work s done in the same era or movement. Analysis 1. Yoichiro Kawaguchi gathers interesting images and 'plays around' with it in the computer to discover a variety of forms and shapes on which computer techniques can be applied. 2. This is the trend in computer graphics applied by FilipinoAmerican visual artist Rodolfo Samonte and Stephanie Syjuco.

The Use of Line in Anne Harris’ Digital Image, Thanksgiving Dinner This computer artwork by Harris is part of a series of computer art she calls “Landscapes of the Heart,” which has scenes from her life at Cokesbury Village. It shows bright and light colors that appeal to the young. In her “Thanksgiving Dinner,” there are eleven people seated around the table and a man, presumably the host, is standing, about to slice the turkey. This is a typical American Thanksgiving dinner where family and friends gather to celebrate. Vertical lines are used repeatedly for the chairs and the walls. Diagonal lines are found forming the table and the floor. She used perspective to show depth inside the house. The use of straight lines gives the image a formal arrangement. Although bodily proportion is not realistic, Harris’ message is made clear through the sitting arrangements and human expressions: that Thanksgiving is a family celebration. Also noticeable in the artwork is the black woman making her way to the door, holding a tray. This speaks of the American household that employed African household help. In doing digital art, Harris begins each work with a pencil drawing and then works on the image on her computer screen using the mouse, adding color, perspective, and using the elements of art on computer art. This takes 1 ½ weeks. Gary Soulsman, writes in The News Journal about Harris’ computer art: At 79, the white-haired Harris has abandoned oils, acrylics and collage for a series of digital self-portraits exploring what it’s like to grow old with grace. She’s had a site on the Web only since March 3, but she gets 10 to 85 visitors a day, many downloading

her images. She calls her assemblage “Experiencing Old Age” and matches strands of philosophy with scenes of her life at Cokesbury Village. She is also being praised as a model of aging by doctors and nurses around the nation who have discovered her work. “She is keeping her mind alive and staying connected with people,” says Roush, associate professor of geriatrics at Baylor College of Medicine in Houston, Texas. She is an example for young people that life isn’t over until it’s over.” “She is the epitome of a person late in life who has adapted to a new technology --- making computer screen her easel, a mouse her paintbrush,” he adds (Soulsman). What motivates her to do computer art? “When you’ve been stimulated all your life you don’t want to be ordinary,” she says. ‘want to think new ideas” (Soulsman). Using some guide questions, let us analyze the aesthetic qualities of the Thanksgiving Dinner The Form 1. What are the dominant elements? 2. How are these used in the digital art? 3. How is the main subject matter treated in relation to the background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the frame?

Analysis 1. The use of different types of line is dominant in the computer artwork of Harris. The image follows a diagonal composition in a horizontal frame, without disrupting the balanced distribution of forms. The Medium 2. What is the medium used by the artist? 3. Does this medium enhance the beauty of the image? 4. How well does the medium selected show the artistic representation? 5. If the artist chose another medium, do you think the same effect will be achieved? Why and how? Analysis 1. The artist used computer art to show an American family tradition. It is a very neat way of presenting a memorable event. 2. Although not much facial expression is shown, the presence of family members shows their unity and closeness. The use of computer gave the image a neat application of colors. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal historical, social or political value?

Analysis 1. The main subject is a group of people gathered around the table for Thanksgiving dinner. There is another figure at the far end of the image: a black woman making her way to the door, holding a tray. 2. This speaks of the American household that employed African household helpers. They did not join celebrations and are usually in the background serving the family and guest. The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of arts and principles of organization that identify the artwork with the other works done in the same era or movement. Analysis 1. Unlike in other computer artworks that focus on a subject, Harris chose to depict a scene from her memory of family and social relationships, traditions and personal experiences. 2. She uses the computer as a medium of expression to show people how a person late in life can adapt to a new technology and how such family traditions matter much to the human heart. Other works of art done by the artist

INSTALLATION ART The idea of installation came to prominence in the West in the 60s and is traced from Dada and Surrealism, and much later on, in Fluxus, an international avant-garde art movement from the 1960s up to the 1970s participated in by divergent groups from Germany and other cities in Holland, England, France, United States and Switzerland who delight in spontaneity and humor. Fluxus advanced artistic experimentation mixed with social and political activism. Conceptual art, which promotes the idea above the form, and other radical movements such as German sculpture of the 1980s likewise influenced the development of this art. What Installation Art Is Installation art is a genre that refers to temporary constructions or assemblages made of varied materials that are structured within a space. The main idea of installation moves away from single objects to a complex relation of objects assembled in space, where the space is taken up not as a neutral background but as a physical context. Installations place a premium on space as an element of design. It exploits its three-dimensional quality to re-create new “environments” which the viewer can enter and engage in. These reconstructed venues are essentially propitious to a vast range of information and ideas, and commonly point to contemporary social, political or personal concerns. Such emphasis on ideas originates from conceptual art, where concepts and meaning, more appropriately conveyed through written proposals, photos, documents, charts, maps, film and video, by the artists’ use of their own bodies, and by language itself, take precedence above everything else. This results to a kind of

art that demands a new kind of mental attention and engagement on the part of the viewer or spectator. How Installation Art Is Done The materials used in installation are varied and range from the natural to the artificial. Most of these media are perishable and/or cast-offs or simply object-detritus. Reeds, tree branches, rocks, textiles, plastics, empty match boxes, dead batteries, rope and machines --- working and not working are among the endless possibilities that are used or assembled in three dimensions to make-up an installation work. These are set in ordinary spaces such as a wide-open ground, a street, a corridor, a backroom or even a prison cell in contrast to the limited gallery niches allotted to traditional art objects. In favor of their strong conceptualist tendencies and by the very nature of the materials and processes involved to create them, as well as the spatial reconstruction within which they are assembled, installations do not seek permanence that typify traditional single art objects. In fact, most of them have quick turnover. They are assembled, exhibited, and after display, they are completely dismantled or simply left to rot. They would be good for a week then gone. Interestingly, such quality inevitably presses a bias against the trading, selling, collecting and commoditization of art. Guide questions in analyzing the aesthetic qualities of installation art The Form 1. What is the dominant element in the artwork?

2. 3. 4. 5.

How is it used in the artwork? How is treatment of space related to the main idea of the work? How does harmony organize the work? How does the overall composition affect you?

The Medium 1. What is the material/s used by the artist? 2. Does this medium enhance the beauty of the artwork? 3. How well does the material/s used help convey the meaning of the work? The Subject Matter 1. What are the objects presented in the artwork? 2. What is the significance of the object/s to you in terms of personal, historical, social or political value? The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with other works done in the period. The Use of Shapes, Space and Balance in Jose Tence Ruiz’s Pabitin In the second Asia-Pacific Triennial held in Brisbane in 1996. Jose Tence Ruiz set up an installation work shaped like an airplane where

gifts suspends. It is made of bamboo wrapped in orange parachute nylon. This works reminds of the PABITIN, which is commonplace in Philippine Fiesta and Parties. Two principal features or element of this installation are its shape and the created space in which it is set. The airplane-shaped object from where gifts hang creates a space where participants are enjoined to jump and grapple for a prize. As participant leaps and snatches a prize within the space, he/she in effect ritualizes the grabbing that is originally played in the traditional Pabitin. However, the work points to contemporary issues related to power relations and tough competition, and to ideas alluding to ambition, manipulation, treachery and colonialism in the contemporary world. The balance employed in this work is it outmost importance. It shown in the way shape and mass equate in the work and more importantly, when participants grapple for a prize and even out or displace symbolically the equilibrium of power in the real world. Here, balance is not static but continuously shifting according to the movements or actions of each participant. The Form 1. 2. 3. 4. 5.

What are the dominant elements in this artwork? How are they used in the artwork? How is treatment of Space related to the main idea of the work? How does balance organize the work? How does the overall composition affect you? Analysis 1. The dominant element in this work are shape and space.

2. They are used in the installation to help convey and reinforce the meaning of the work. 3. The shape of the installation reminds of the traditional Pabitin, and the actual space it creates allows for the grabbing ritual or gesture. 4. Balance shifts as one grabs a prize from the hanging contraption. The Medium 1. What are the material/s used by the artist? 2. Does this medium enhance the beauty of the artwork? 3. How well does the material/s used help convey the meaning of the work? Analysis 1. Bamboo, parachute, nylon, cartons, aside from enhancing the beauty of the artwork, remind of the local Pabitin, which reinforce or support the meaning of power play and grabbing. The Subject Matter 1. What are the objects represented in the artwork? 2. What is the significance of object/s to you in terms of personal historical, social or political value? Analysis 1. Airplane contraption, gifts hanging-it reminds me of those who hold high positions and have attained power and those who are neglected and powerless.

2. It makes me think of the great impact or consequence of the actions of those who have attained power. 3. The artwork empowers the viewer and converts him or her into a participant. 4. This is evident in other installation works not only by Tence Ruiz but as well as other Installation artists. 5. Space converts into context and supplies meaning to the work. 6. Alludes to contemporary social and political issues. The Style 1. What particular characteristics does the artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with the other works done in the period. Analysis 1. The artwork empowers the viewer and converts him or her into a participant. 2. This is evident in other installation works not only by Tence Ruiz but as well as other installation artists. 3. Space converts into context and supplies meaning to the work. 4. Similar works of the era allude to contemporary social and political issues. The Use Of Value And Harmony In Mona Hatoum’s Light Sentence Mona Hatoum made a series of wire mesh, which look like cages such as found in a hen house. They are piled on top of the other and

arranged in a U-shape enclosure. The whole arrangement looks like an architectural model of a small city that is made up of box-like, uniform and functional mesh lockers. It is lighted by one bulb that swings, making the wire lockers cast their shadows all over the walls and ceilings. The effect creates a feeling of spatial and emotional disorientation in the spectator. In this installation, Hatoum plays with light and shadow to create a sense of dread and suffocating atmosphere. She manipulates harmony through the repeated duplication of the box-shaped chicken wires to create a dreadful atmosphere. The use of chicken wires as the principal material implies being able to survey the contents, and alludes to being watch or scrutinized like animals in cages. The title Light Sentence is actually a word play and suggests that existence in this kind of condition or environment is like having a prison sentence. Using some guide questions, let us analyze the aesthetic qualities of the Light Sentence The Form 1. 2. 3. 4. 5.

What are the dominant elements in this artwork? How are they used in the artwork? How is treatment of space related to the main idea of the work? How does harmony organize the work? How does the overall composition affect you? Analysis 1. The dominant elements in this work are value and space. 2. They are used to effect boredom, suffocation and dread.

3. Space connotes surveillance and at the same time enclosure. 4. It makes me think of the reality of living in cities and the dread it brings to those who are not capable of coping. The Medium 1. What is the materials used by the artist? 2. Does this medium enhance the beauty of the artwork? 3. How well does the materials used help to convey the meaning of the work? Analysis 1. The principal materials are chicken wires and a light bulb. 2. The chicken wires convey surveillance and the light bulb and the shadow it casts bring an eerie and disoriented feel to the whole set up. The Subject Matter 1. What are the objects represented in the artwork? 2. What is the significance of object/s to you in terms of personal historical, social or political value? Analysis 1. The subject matter in this Installation art cityscape. 2. Modem man can sometimes feel alienated in a place that runs in city routines.

The Style 1. What particular characteristics does this artwork have that are also present in other works by the same artist? 2. Describe the use of elements of art and principles of organization that identify the artwork with other works done in the period. Analysis 1. The treatment of space the converts into a contact is common to installation not only of Hatoum but to those of other artists as well.

THE COMBINED ARTS Spatio-Temporal Frames and Structure Music, Theater and Cinema The combined arts refer to events that combine a variety of media or materials which can be both seen and heard, and which exist in both space and time. They may have content drawn from traditional tales or myths, contemporary events or any human experience. They include dance, poetry, theater, improvised scenes, music, musical plays and events, cinema and performances such as rituals and cultural events including street carnivals, fiestas and parades, among others, that require human beings to demonstrate certain skills as performance. Theater as a combined art may put together literature or drama, music, actors on stage where scenery, props and lighting are arranged, plus other media to complete a production. The recent theater work of the Anino Shadow Play Collective recorded an actual shadow play adaptation of Francisco Balagtas’ Florante at Laura. In the process, it combined a variety of materials and elements coming not only from traditional puppetry and shadow play, but also cinema, drawing, literature, music, painting and video. In the same manner, a musical event may include sound, spectacular impressions and video. Cinema may creatively integrate elements of photography, video, film, music and literature and other materials in its production. Indio Nacional, a film directed by Raya Martin is a good example. It creatively combines pictorial units, historical excerpts or texts, sound, and even a live musical piano accompaniment. Unlike the visual arts,

the combined arts are transitory in nature since they are events that occur in time. The Spatio-Temporal Frames in the Combined Arts This quality sets them apart from painting, sculpture or architecture, which are otherwise valued for their tangible and unchangeable qualities. We can always go back again and again to Van Gogh’s Starry Night painting and marvel at the expressive lines and colors which have remained the same through the years, or experience the same majestic stance of the Greek Winged Victory sculpture as it was first beheld thousands of years ago. In music, however, the notes in the melody of Beethoven’s Symphony No.5 cannot be held forever. Its timbre, pitch and volume can only register when they move through time. Its music can only be heard through a continuous shift of notes, through repetition, variation, and an accumulation of effects in time. Similarly, the cumulative series of sights, sounds, and impressions in Theater and Cinema can only manifests in time. Another element that is common among the combined arts is the locus --- the specific space in which Music, Film and Theater and other combined Arts occur. This unique spatial quality not only serves as physical or tangible receptacle that enables these arts to manifest as they move in time but also gives them a definitive shape. Adolphe Apphia, one of the 20th century’s major theoreticians of Theater, in Action, Space, Light, Painting, illustrates this point in reference to the theater space. He says that space must conform to the plastic feature of the actor or the actress, and that its must work to serve his or her moving, alive and three dimensional character.

Space, in this sense, not only locates the actor or actress in threedimensional space but also defines his/her performance’s dynamic shape. One’s experience of the combined arts may also be affected by the kind of spaces in which these arts are held. The audience’s experience of a play performed in a traditional theater building complete with an arena, thrust, or proscenium stage will be different from that performed in an alternative space. Juan Ekis, director-playwright of the Palanca award-winning play 20 Questions makes use of a converted space --- a nook in a resto-bar to create a cramped but snug and intimate bedroom space where actors interact. This specific theater space not only conforms to the demands of performance, but also affects or alters the audience’s reception and experience of the play. The Display of Skills in the Combined Arts Another integral aspect of the combined arts is the performance, which consists in the display or demonstration of certain technical skills by human beings for the public’s pleasure or enjoyment. In theater, this may be shown in the display of prowess by the actor or actresses in staging a literary text or simply in the display of his or her active body or body movement activities on stage. This is illustrated in Hoy Boyet, Hatinggabi na’y Gising Ka Pa Pala, a theater play written by Tony Perez, where student-director Patrick Valera makes recourse to pure virtuosic physical skills as he makes demands for extremely taxing physical display from his actors to allow complex psychological and emotional explorations. In Cinema, this can be shown in the display of aural and visual images to depicts a story or

a fact by technology and mixed media through the expertise of a director, actor and the production crew. The Structure of the Combined Arts The display of skills in Music, Theater and Cinema, and all the combined arts for that matter, is realized through a set of production techniques, processes and conventions, and through the organization of specific elements according to certain rules or principles that are unique to each art form. Structure refers to the different aspects that make up a performance in the Combined Arts. Specifically, it points to what constitutes the performance in Music, Film and Theater including but not limited to a clear set of characteristics identifiable by particular elements, rules or principles of organization, conventions and techniques or processes, that organize the production within specific spatial and temporal frames. The analysis of the Structure simply refers to the analysis of Form. The Structure of Music In Music, what constitutes its Structure are the elements: 1. Rhythm 2. Melody 3. Harmony 4. Texture 5. Form (organization)

The Structure of Theater In Theater, what is performed may vary. In many cultures, what has become the major mode of theatrical performance is the enactment of literature or dramatic text. From the tradition of Aristotelian drama, theater performance is organized according to specific elements such as the Plot, Character, Thought, Diction, Music and Spectacle. In preliterate societies and in indigenous non-western rituals and dramas, manifestations or movements, gestures, sound and voice that follow certain patterns give the performance its structure rather than the narrative. Different genres of theater have their own distinctive or unique set of elements and conventions. The Structure of Cinema What constitute the Structure of Cinema are the elements of: 1. Script of Narrative 2. Acting 3. Production Design which includes the props, set design, costume and decor 4. Staging or Directing 5. Cinematography 6. Editing 7. Sound Design

The Analysis of the Combined Arts Form Form refers to the elements, principles of composition, conventions and techniques that are used to organize a work of art. To guide the viewer in describing, interpreting and analyzing the form, here are some guide questions he/she can answer: 1. 2. 3. 4.

What are the dominant elements? How are these used in the art work? How do the dominant elements affect you? What are the principal principles, conventions and techniques that are used in the art work? 5. How do these principles apply to the dominant elements and vice versa to effectively convey the main theme of the art work? Medium Medium refers to the material used by the artist. There are a variety of materials used in the combined arts. Theater uses the body and voice as the principal media while music makes use of the voice and sound. The media are the vehicles with which the artist conveys the content of his or her art work. To guide the viewer in describing, interpreting and analyzing the form, here are some guide questions he/she can answer: 1. What is the principal medium used by the artist? 2. How does the medium bring forth the beauty of art work?

3. What other media can help convey the theme of the art work? Why and how? 4. How well does the medium convey the meaning of the art work? Subject Matter Subject Matter is what the artwork is about. It may be a person, nature, an event, feeling or idea that is central in the art piece. To guide the viewer in describing, interpreting and analyzing the subject matter, here are some questions he/she can answer: 1. What is the theme of the art work? 2. What are the other sub-themes that connect to the central theme? 3. What is the significance of the central theme/s to you in terms of personal, historical, social or political value? Style Style refers to the set of characteristics that identifies an artwork with an individual, a historical period, a school of artists, or a nation. To guide the viewer in describing, interpreting and analyzing the style, here are some questions he/she can answer: 1. What particular characteristics does this art work have that are also present in other works by the same artist? 2. Describe the use of elements, principles and conventions that identify the art work within the same genre and period.

The guide questions provided can lead to an appreciation of the aesthetic qualities of art. Knowing the: 1. Form (elements, principles and conventions) 2. Medium 3. Subject matter and style of an artwork gives us a ready outline on which to begin a formal analysis of an artwork.

MUSIC Music as a human activity is very complex. It involves creativity in putting together melody to express an experience, a feeling, idea, words and other things. Human feelings of pride, satisfaction, hope, accomplishment, failures, fears and joy may be expressed beyond words but can be conveyed through music. In most cases, music requires musical instruments. Man has invented wind instruments, bass, percussion, string or combination of objects that create beautiful sound. The power of music goes beyond words. It can penetrate thinking, change moods, stimulate ideas, create space around man or affect man in a negative way. Although words are used in some music pieces, the listeners’ reactions to it differ, depending on the person’s disposition, mood and many other human characteristics. What Music Is Music is the organization of sound through a musical composition, sometimes aided by musical instruments. Unlike in the visual arts that do not move, music is fleeting. We have only a fleeting moment to capture many of the characteristics of music. Twelve common forms of Music • Art Song – a setting of a poem for solo voice and piano. • Cantata – a sermon in music drawn from the lectionary (based on Bible reading) • Mass – a sacred choral composition with five sections: Kyrie, Gloria, Credo, Santus, and Agnos Dei.

• Motet – a polyphonic choral work that is shorter than a mass and employs a sacred Latin text other than that of the mass. • Opera – contains music, drama, poetry and visual arts. It ranges from tragedies to music dramas and comedies. • Concert Overture – an independent composition for orchestra, contains one movement, composed in sonata form. • Oratorio – a large-scale composition that uses a chorus, vocal soloists and orchestra. Here, the narrator uses recitatives (vocal lines initiating the rhythms and inflections of normal speech) to tell the story and connect the various parts. • Sonata – an instrumental composition in several movements written for one to eight players. • Concerto – an extended composition for an instrumental soloist and orchestra where the soloist virtuosity in the interpretive skills joins the wide-ranging dynamics and tonal colors of an orchestra. • Suite – comprises of dance-inspired movements written in the same key but differing in tempo, meter and character. • Symphony – an orchestral composition, usually in four movements, a symphony typically lasts between 20 and 45 minutes. • Fugue – a polyphonic (two or more melodic lines of relatively equal importance performed at the same time) composition based on one main theme or subject, written for a group of instruments or voices or for a single instrument like an organ or harpsichord. The Composition of Music The Elements of Music One’s impression or gut feelings to any piece of music may be substantiated through the elements. The elements could provide the

rationale to one’s emotional or passionate outbursts to any piece of music. How the elements are used, manipulated or maneuvered by the composer could make or break a musical composition; some compositions lack imagination, perhaps because the rhythm, melody or harmony are too predictable; thus the composition may not have much to offer in terms of artistic merits. A simple melody could become more beautiful. On its own, it may just be a run-of-the-mill kind of melody because it is dressed up and accessorized by the clever use of harmony. In assessing musical compositions, whether intelligent, awesome, cleverly composed, or lack-luster, common, uninspired by the gods, could be attributed to the use and combination of the elements. Other factors like the performer’s understanding of a composition, the quality of the performance, have also their stake in how a musical composition strikes listeners. The most common elements of music are rhythm, melody, harmony and texture. Rhythm Rhythm refers to the placement of the duration of notes and rests in time, creating a pattern. It is the flow of music in terms of time. When one says rhythm and/or beat, he/she might associate it with counting. Thus, it is important to know the different counts for each beat. There are two half notes in every one whole note and two quarter notes in every one half note, etc. There are components that make up rhythm: a) Beat b) Meter c) Syncopation

d) Tempo Beat The beat is the recurrent throb or pulse that makes one want to move along with the music. Beat is divided in terms of time. When at a concert or just listening to a favorite song, one might notice people’s feet tapping unconsciously. He/she is actually doing a beat of that music! It can be fast, slow or moderate. It should never be erratic. Having frequent starting and stopping or going faster or slower makes the music sound disorganized and annoying to listen to. Meter This is the way of measuring rhythm where the beats are organized into regular groups. It is the organized pattern of music. There are many types of meter. An example is the duple meter which has two beats per measure or a triple meter, which has three beats in each measure. For these examples, count loudly the counts in capital letters. The vertical lines serves as a division of the measures: When you counted the capitalized numbers out loud, what you did was placed an accent on those numbers. An accent is an emphasis on a note, wherein it is played loudly than the rest. The first beat in the measure, and the stressed note in general (in this case, the ONE) is called a downbeat. The beat preceding (occurring before) the downbeat would be the upbeat. Quadruple is another example which has four beats in a measure. Here, there will be another stress on a beat, which is the third. It is not as strong as the downbeat (one), but it is stronger than two and four. This is counted as:

There are many other meters as well, such as the Quintuple, with five beats per measure, and the Septuple, with seven beats in a measure and so on. The time signature is the written indication of meter. The numerator (number above) tells how many beats there are in each measure, while the denominator (number below) tells you the beats duration value. Syncopation Syncopation is the deliberate misplacement of the rhythmic emphasis (accent) and puts it where it is not expected or removes it where it is expected. This is prominent in jazz and 20th century music. Tempo Tempo is from the Italian word “time.” This means the speed of the music is measured in beats per minute. To get an idea, try counting your watch; it moves at a rate of 60 beats per minute. In a song, that would be 60 beats per minute. Examples of Tempo • • • •

Andante (walking speed) Adagio (comfortably slow) Allegro (comfortably fast, happy, cheerful) Presto (quick and light)

Categories of Tempo • Grave • Largo

• Larghetto • Adagio

• • • • • • • • • •

Lento Andante Moderato Allegretto Allegro Vivo, or vivace Presto Prestissimo Very slow and solemn Slow and broad

• • • • • • • • • •

Not quite as slow as largo Slow Slow Medium slow tempo Moderate, or medium Not as fast as allegro Fast Lively and brisk Very fast Very, very fast

Melody Melody refers to the succession of single tones that must “hang together” to show that indeed, there is the presence of melody; it is not an arbitrary selection of single tones, for music must always exhibit some sense of logic. From a non-musician’s point of view, melody provides the interest to any piece of music as it is what we watch out for; in a song, the melody is the song itself. Horizontal Movement Melody exhibits a horizontal movement. Melody may be played in symphony, a musical form for orchestra alone in 3-5 contrasting movements. A movement is merely a part of a bigger work; 1st movement is always fast as it acts as the opening salvo of a composition; it is meant to catch the attention of the listener. In songs, melody is synonymous with the piece itself. It can be a unifying head in a long musical work. The features of the voice or instrument contribute or detract from the effect of the melody itself.

They all have rhythm and most melodies tend to center around one particular pitch, the home pitch. Pitch Pitch refers to the quality of highness or lowness of sound. Melody is a cohesive series or lines of pitches. These pitches must hang together if the melody is to be any good. Melody is created when a series of individual pitches are lined after another. Together, they constitute an entity. Tune, Melodic Curve and Climax Another name for this is tune. This can be easily recognized in a song since it is the “body” itself. It can move in an up and down motion. This motion of movement of the pitches are called melodic curve. Melody has other aspects. When the curve reaches its highest point, that would be the climax. Range There is also a label for the distance between the highest and the lowest pitches, i.e. range. As for distance, it can either be narrow or wide. If there are many notes separating the lowest and the highest pitch, that is a wide range. If there are few notes in between them, it is a narrow range. Interval, Prime or Unison Interval refers to the distance in sound and notation between two pitches. There are two notes on the same line or same space, which is

called prime or unison. Interval of a 2nd occurs when two notes are on an adjoining line and space. Interval of a 3rd has two notes from line to line, or space to space. Intervals may be major or minor. Scale, Octave A scale is a series of pitches that proceeds upward or downward according to a prescribed pattern of intervals. When two pitches are separated, one being either double or half the number of vibrations of the other pitch, it is called octave. The notes on an octave sound similar and bear the same letter names and signing names. Major and Minor Scales • A major scale has half steps between the 3rd and 4th notes and the 7th and 8th notes. • A minor scale has half steps between the 2nd and 4th notes and the 5th and 6th notes. Harmony Harmony refers to the simultaneous sounding of tones; it is the combination of two or more tones sounded together. It is synonymous to chords. If melody exhibits horizontal movement, harmony exhibits a vertical movement. Harmony provides the body or support to a melody; it dresses up the melody; thus, a very simple melody can sound more interesting and beautiful because of the composer’s imaginative use of chords.

It also determines the texture of a composition, where thin or thick. Harmony adds to the total effect and makes the music sound more complete although the listener’s attention is not on it. • Harmony refers to the combination of pitches at any given instant. • Counterpoint implies attention to melodic lines as the progress at the same time. In both harmony and counterpoint, pitches sound at the same time, and yet they also progress in terms of time. Two kinds of harmony • If the sound that it produces gives the impression of agreement and equilibrium, it is called consonant. • If it gives the impression of disequilibrium and tension, it is called a dissonant. Since we have different concepts and tastes in music, there is no clear line that divides the two. In this case, it is subjective wherein beauty is in the ear of the beholder. Chords A chord is three or more pitches sounded together. It is the simultaneous sounding of three or more tones.

Texture Texture refers to whether a piece of music is conceived more in terms of melodic lines or in a sense of simultaneous sounds or chords. It describes how many layers of sound are going on in a certain piece of music the way the sounds are combined together. These can either be monophonic, homophonic or polyphonic. Monophonic has only one melodic line, no harmony. In other words, no accompaniment of any sort, as in Gregorian chant. Homophonic has accompaniment for the melody. The accompaniment may sound great alone, but it is not independent with the melody because it is designed to go with it. Some examples are singing with a guitar or choir singing with one main vocalist as melody while the rest do “second voices” to accompany that main voice. Polyphonic - If you and your friends were to talk at the same time, it would sound irritating and confusing. In music, when different instruments play at the same time and blending the sounds together, great music is produced. Such is the polyphonic texture, wherein it has more than one independent melody occurring at the same time. SOUND IN MUSIC When sound is organized using the elements discussed in this section, a musical composition is created. Musical compositions depends on controlled and shaped sound consistent in quality.

Four Basic Properties • • • •

pitch dynamics tone color duration

Pitch Pitch is the highness or lowness of a sound. Press one note on a keyboard and this gives you one pitch. Similarly, if you play do re mi, you increase the pitch. If you press the key backward mi re do, you decrease the pitch. Dynamics Simply put, it means how quiet or loud a sound is. Dynamic levels indicate the mood of the music and appeal to the emotions. Loudness indicates the mood of victory or suspense or happiness. Softness indicates calmness or sadness. The degrees of loudness or softness are classified into the following Italian terms: Dynamics • • • • • • •

Pianissimo Decrescendo Piano Diminuendo Mezzo Piano Crescendo Mezzo Forte

• • • • • • •

Forte Fortissimo Very soft Gradually softer Soft Gradually softer Moderately soft

• Gradually louder • Moderately loud

• Loud • Very loud

Tone How does tone differ from pitch? Tone is a sound that has a definite pitch. Play do re mi fa sol la ti do on the keyboard or simply sing it. Did you notice that you started with do and ended with another do? Both dos have different pitches and with the second do, you ended with the higher pitch, although they have the same sound. In cases where the tone sounds alike, it is separated with an octave. Timber is the “tone color” in music, much like how you have different colors when you paint. It is the quality of the sound. Take for example, a violin and an oboe playing at the same time with the same volume, note, and length. You can distinguish between the two instruments despite their similar performance because of their different sounds. They have differences in their timber. Duration Duration constitutes the length of time in which vibration is maintained without interruption. Duration in musical composition uses a set of conventions called musical notation. Example of a Musical Notation Musical Form Form describes how the music is set up. Most songs aired on the radio are in verse-refrain form. Songs may have forms with varied techniques called repetition (e.g. the refrain of a song), and variation

(as in songs where the rhythm changes within the song). In describing the form, each section of the music is given letters that identify each part of the song. For example, in Josh Groban’s song To Where You Are, he sings with piano accompaniment in the first stanza. Let us label this “A.” When it comes to the refrain, it is very different from the sound of the first stanza as the melody changes and few instruments are now being played. This can be labeled as “B.” It is in noticing the differences in each part of the song that you can recognize its form and give them labels. The difference can be in the melody, the harmony or in the rhythm and the lyrics. If the first stanza/chorus is exactly the same as the second stanza/refrain, then you can just repeat the label that you gave the first stanza/refrain for the second (e.g. A for the first stanza and another A for the second stanza). If there are similarities with the different sections but are quite different from each other (e.g. all stanzas are the same but differ in a little from each other), you can add another apostrophe to the letter. (e.g. A for the first stanza, A’ for the second, and A” for the third, etc.) If there are many differences in each part (e.g. a section is so different from your previous letter labels and you already have A and B), you can add letters like “C.” This kind of labeling is used by musicians in describing the form. The most common are the two basic types of form: Binary (AB), and Ternary (ABA).

Musical Instruments In the Asian and Philippine cultures, musical instruments are classified according to material, shape and size. In traditional Chinese music, the material of the instrument itself --- stone, metal, wood, and so on --forms the basis for classifying it under the major categories for tonal color. The materials represent the components of the physical universe and their presence in a musical grouping has philosophical and religious significance. Thus, in ya-weh (ritual music of Confucianism), eight kinds of instruments, representing the eight materials --- metal, stone, wood, earth, membrane, bamboo, gourd and string --- must be present, both to create a satisfying musical sound and to reflect a complete cosmic system. In the Philippines, musical instruments vary in shape and size. And example can be found among the Maguindanaon of Mindanao. The kulintang is made up of five instruments, four of which are differentsized brass gongs with bosses. Each of the four types of gongs laid out in a row, is struck on the bosses with light wooden sticks. The agung, a large, deep rimmed, hanging gong, is also struck on the boss, but it is damped by inserting a knee into the gong and holding the boss with one hand to produce a deep, muffled timbre. The gandingan are also large gongs, muffled as they are played, but they have large, shallow rims and produce a higher, resonant sound. Finally, the babandil, a small hanging gong, is struck on the rim to produce a crack sound.

When all the gongs are played together, they combine different types of gong timbres into a single ensemble. These musical instruments are used in rituals and social gatherings. Palabunibunyan instruments are heard in various occasions such as weddings (kailang), baptisms (paigo sa ragat), and healing rites (kapagipat). Festive gatherings become venue for musical competitions, which are opportunities for gong players to display their skill and virtuosity. Agung players are judged by the quickness of their rhythm and tempos, playing positions and techniques in beating the gong, while kulintang players are judged by the melodic-rhythmic ornamentations they create on the spot. In general, musical instruments are classified according to its operation. There are those that can be bowed or the strings, blown, or the brasses and woodwinds, and struck, or the percussions. The String Instruments Guitar The guitar is the most familiar stringed instrument of all. Generating the sound for instrument would be by strumming and plucking the strings with the fingers, or sometimes using a pick. The guitar usually has six strings, but interestingly, there are other versions such as seven string guitar, a four, an eight, a ten, even twelve strings. With its application in many music types, its versatility makes the guitar a very valuable instrument.

Violin Perhaps this reminds you of Sharon Corr (with the Corrs) or Lucia Micarelli (with Josh Groban). This is the famous instrument you see cradled over the shoulder and under the player’s chin. This beautiful instrument is called the violin. It is part of the violin family. Among them, the violin is the smallest and has the highest pitch. Sometimes, it is called a fiddle, so if you play the violin you can be called a violinist or a fiddler. It is a bowed string instrument. Lute It looks like a fat guitar with a broken end, but it isn’t; and neither is it a guitar. This instrument is called the lute, which is a general term for any plucked string instrument with a round deep back with a neck. Harp The harp is a stringed instrument usually used in most classical and ballad music. Its strings are either made of wire, gut nylon, or silk. Plucking the strings would produce its sound, and requires the use of all your fingers except the last finger in each hand. While harps as we know are operated by hand, there is an exception which uses the feet, called the Pedal Harp.

The Brass and Woodwind Instruments Trumpet Perhaps one of the most common instruments is the trumpet, which enjoys having the highest register in the brass section. Like the sax, it bears a cylindrical bore. Saxophone The saxophone (also known as sax) is another member of the woodwind family. This instrument is made of brass and has a curved shape. The Percussion Instruments Snare Drum The snare drum derives its name from the fact that it has a set of “snares,” cords that are placed together either made out of metal wire, gut, or cable (plastic or metal). Bass Drum The largest drum of the orchestra, the big drum on a marching band and the most visible drum part on band set-ups, the bass drum has a low pitch and due to its size has a boomy sound when struck. For this reason, it is usually muffled either by holding it or placing a foam, pillow, or blanket inside it.

Bongos The bongos are two drums connected to each other by a block of wood. The smaller drum called “macho” produces higher sounds than the bigger drum, called “hembra,” which is placed on the right side when held. Played by placing the instrument between the knees or on a stand and struck by the fingers and palms, the bongos are one of the most popular instrument today. Conga Looking like the bongos is the conga, which is played by using the hands for striking. It is made either of fiberglass or wood. Cymbals Made of different alloys such as brass and bronze, the cymbals are used in most music. The cymbal is designed according to its usage, such as cymbals to be suspended on a stand or held by hand, struck by stick or crashed to each other. Tambourine Usually heard in your local church, this instrument is the tambourine. It is made of frame (usually plastic or wood) and zils, which are small metal jingles paired together. Shaken or struck by hand or stick, the tambourine also can be made with a drum head for some types.

Triangle With the instrument and the beater made of metal, the triangle is struck to produce a ringing tone. It is either hung by string or by hand, used in different types of music including rock music. Marimba With its keys arranged like the piano, this percussion instrument called the marimba is struck by mallets to generate its sound.

THE AESTHETIC QUALITIES OF SELECTED MUSICAL PIECES The Use of Rhythm in Johann Sebastian Bach’s Badinerie The tempo of Badinerie is allegro. Since it has a fast tempo, it is natural for the listener to tap his foot, drum his finger/s on a surface or nod his head. It is not natural to be doing these activities while listening to a slow, meditative and somber piece of music. In the melodic configuration of the melody, its skips and relatively wide leaps are appropriate for the tempo and for the instrument used. Melody is played in the middle to high registers of the flute, contributing to its cheerful and light character. If in the lower registers, it would sound serious, ominous, or even threatening. It would also sound heavy. Besides, a composer has to take into consideration the possibilities of the instrument he is using: it range and timbre/tone, color/tone quality or the distinctive and unique sound of an instrument that allows the listener to identify the instrument. There is the use of the flute accompanied by a harpsichord. The flute is appropriate for birdlike, fast and cheerful passages. The use of the harpsichord, a 17th-18th century keyboard instrument, contributes to the light character of the piece; perhaps also to establish its historical authenticity as a composition that belongs to the Baroque period. As for the dynamics, there is not much contrast between soft and loud; it is generally moderately loud; thus, one can say that there is no drama in the piece; it simply gives the impression of children frolicking in the meadows, or simply having fun.

Using some guide questions, let us analyze the aesthetic qualities of J.S. Bach’s Badinerie The Form 1. What are the dominant elements? 2. How are these used in the musical? Analysis 1. The dominant element is rhythm as indicated by its melody. 2. In the melody, its skips and relatively wide leaps are appropriate for the tempo and for the instrument used. 3. Melody is played in the middle to high registers of the flute, contributing to its cheerful and light character. The Medium 1. What instruments are used in the musical piece? 2. How does the use of these instruments enhance the beauty of the music? Analysis 1. There is the use of the flute accompanied by a harpsichord. 2. The flute is appropriate for birdlike, fast and cheerful passages, although the instrument does not have to be stereotyped to such passages.

The Style 1. What particular characteristics does this musical piece have that are also present in other works by the same artist? 2. Describe the use of elements of music that identify the musical piece with the other works done in the same era or movement. Analysis 1. The use of the harpsichord, a 17th-18th century keyboard instrument, contributes to the light character of the piece; perhaps also to established its historical authenticity as a composition that belongs to the Baroque period. The Use of Melody in Amadeus Mozart’s Symphony #40, G Minor, 1st Movement In Symphony #40, G Minor, 1st Movement, the melody of the 1st movement is catchy, easy to hum and cheerful because of its allegro tempo. In terms of timbre, it is dominated by the strings, particularly the violin, and supported by the other string instruments such as viola, cello and double bass. The melodic configuration is by steps and skips where the notes are close to one another. This contributes to the easy recall of the melody, its simplicity and beauty and quality. Since it is dominated by strings, especially the violin, the range of the melody lies between the lower-middle to high registers, which gives the piece a child-like, innocent, cheerful and Mozartean quality. Mozart was able to separate his personal life full of sufferings, disappointments, etc. from his artistic life, full of optimism, oblivious to

what was going on in his personal life; perhaps, he was a child of his times, for Mozart, strictly speaking, belongs to the Rococo period, although he is classified as a composer of the classical period. There is evenness in dynamics or the loudness and softness of sound which contributes to the qualities already mentioned. It is a piece of music that is sans drama, precisely because of the evenness in the dynamics, whose range could be between pp (pianissimo or very soft), to f (forte or loud). Even the crescendo, which is the gradual increase of sound, is nothing more than gradual; no sudden change in dynamics. Using some guide questions, let us analyze the aesthetic qualities of Amadeus Mozart’s Symphony #40, G Minor, 1st Movement The Form 1. What are the dominant elements? 2. How are these used in the musical? Analysis 1. The melody of the 1st movement is catchy, easy to hum and cheerful because of its allegro tempo. 2. The melodic configuration is by steps and skips where the notes are close to one another. 3. This contributes to the easy recall of the melody, its simplicity, beauty and quality. 4. There is evenness in dynamics or the loudness and softness of sound which also contributes to the qualities of the music.

The Medium 1. What instruments are used in the musical piece? 2. How does the use of these instruments enhance the beauty of the music? Analysis 1. In terms of timbre, it is dominated by the strings, particularly the violin, and supported by the other string instruments such as viola, cello and double bass. The Style 1. What particular characteristics does this musical piece have that are also present in other works by the same artist? 2. Describe the use of elements of music that identify the musical piece with the other works done in the same era or movement. Analysis 1. Mozart belongs to the Rococo period, although he is classified as a composer of the classical period. 2. It is a piece of music that is sans drama, precisely because of the evenness in the dynamics, whose range could be between pp (pianissimo or very soft), to f (forte or loud). 3. Even the crescendo, which is the gradual increase of sound, is nothing more than gradual; no sudden change in dynamics.

The Use of Harmony on Ludwig Van Beethoven’s Symphony #5, C Minor, 1st Movement In Ludwig Van Beethoven’s Symphony #5, C minor, 1st movement, the opening notes of the work, consisting of 4 notes played in unison by the orchestra, immediately call the attention of the listener. This is followed by the same configuration, one cannot help but take notice. The notes are played in the middle-lower register. As such, there seems to be something sinister that one has to watch out and be on guard. However, the next lines are in contradistinction, more relaxed and gentle, and these are played in the middle-upper registers which contribute to such feelings. Dynamics, which provides the color to a piece of music, are in sharp contrast to one another, ranging from pp (pianissisimo or very, very soft) to fff (fortessisimo or very, very loud). More importantly, Beethoven made use of subito piano or subito forte (sudden soft or loud respectively), which injects into the piece some element of drama. If you listen to the harmony, there are more notes sounded together, some are dissonant of the chord that gives a feeling of discomfort or anxiety. Thus, in traditional harmony, this has to be resolved so that there is a feeling of finality, relaxation or rest. Otherwise, just like in contemporary compositions, the impression given is one of “hanging,” no resolution or closure. By and large, the harmony of the piece is consonant, which gives a feeling of repose. Dissonant harmonies are simply for contrast, color and sudden “fits of insanity,” which are, as mentioned earlier, resolved. Considering that there are more notes played, the texture is thicker, which makes the wider use of dynamics possible, and with more

instruments used, there is a variety of tone color/timbre. Because of how the different elements are used, critics have subtitled this work “Fate Symphony.” Using some guide questions, let us analyze the aesthetic qualities of Ludwig Van Beethoven’s Symphony #5, C Minor, 1st Movement The Form 1. What are the dominant elements? 2. How are these used in the musical? Analysis 1. Harmony is the dominant element which is consonant, which gives a feeling of repose; dissonant harmonies are simply for contrast, color and sudden “fits of insanity,” which are, as mentioned earlier, resolved. 2. Considering that there are more notes played, the texture is thicker, which makes the wider use of dynamics possible, and with more instruments used, there is a variety of tone color/timbre. The Medium 1. What instruments are used in the musical piece? 2. How does the use of these instruments enhance the beauty of the music?

Analysis 1. The opening notes of the work, consisting of 4 notes played in unison by the orchestra, immediately call the attention of the listener. The Style 1. What particular characteristics does this musical piece have that are also present in other works by the same artist? 2. Describe the use of elements of music that identify the musical piece with the other works done in the same era or movement. Analysis • Beethoven made use of subito piano or subito forte (sudden soft or loud respectively), which injects into the piece some element of drama. • Because of how the different elements are used, critics have subtitled this work “Fate Symphony.”

THEATER ARTS How and when theater originated is uncertain but various kinds of rituals considered to be important in the lives and well-being of people already demonstrate some elements that make up the theater as we know it today. These are the performance space, performer, make-up, costume, music, dance and the audience. Although how it emerged is not clear, theater has achieved its own identity as an art form and has been developed and valued at different times or era. Theater as a form of art uniquely employs a specific language that applies to visual and auditory elements, media, techniques and conventions, which take place in both space and time. This aspect is precisely what sets it apart from other human activities and other forms of art. At the same time, this also serves as its unique creative device that helps us order and shape our perception about human experience and our views about the world in which we live. The stage or theater is a world that reflects different patterns of human behavior, and as such, possesses a great humanizing force. As theater uniquely relives or recreates innumerable happenings that occur in our lives, it reveals patterns of human behavior that help us reflect on ourselves and make us understand more what it means to be human. Broadly speaking, it also operates to make us understand the world through the varied human experiences that it represents. What Theater Art Is Theater refers to performance based on a dramatic text that is staged using techniques of theater production and enacted and interpreted by artists, directors, designers and other personnel before audiences who

are situated in sites of performance. The dramatic text that is interpreted into a theater piece narrates a story involving a character or several characters who struggle to pursue a desired goal or ideal. Its heart is the conflict, which develops into a series of crises that reaches a climax. It resolves either happily or unhappily in the end. The theme of a dramatic text practically comes from any human experience. In the tradition of the West, the function of theater is reduced to interpretation or communication of the dramatic text. However, within and across different cultures, the boundaries of theater are flexible and dispense with the requirements of drama. Theater then expands to religious rituals, cultural events such as fiestas and entertainments such as juggling and tumbling, small scale practices involving story-telling or event performed by one person to at least one other, among others, which only require minimum essentials to complete --- at least one person who demonstrates certain skills to at least one other. Peter Brook, one of the world’s greatest directors, alludes to these requirements as follows: “I can take an empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theater to be engaged.” Indeed, as Eric Bentley suggests, all it takes for theater to complete is for A to perform B for C, where someone (performer) performs something (performance) for someone else (audience).

How Theater Is Done A theater performance comes from many forces coming together. Its elements are varied and complex, and may include the physical presence of the actors, the colors and shapes of the costumes and scenery, sound and music, drama, and the ideas and emotions expressed by the playwright. Among other things, that dynamically interplay with each other within specific temporal and spatial frames at each point of the performance. This whole event of combining the elements, techniques and conventions results to a unique “shape,” which we call the theater Form. Eastern and Western theater traditions have their own unique set of elements, techniques, processes and conventions, and therefore differ in Form. The Performance of the Theater Actor In Theater, the performance refers to acting that takes place within the dynamics of space and time of the theatrical setting. A performance requires many special vocal and physical skills on the part of the actor or actress. There had been no devised method or system to carry out a credible performance. Constantin Stanislavski, Russian actor and director and founder of the Moscow Art Theater, forwarded a realistic acting grammar which is now called the Method of Physical Actions or simply the Stanislavsky system. Some of the major features of Stanislavski’s system for naturalistic acting include relaxation, concentration and observation, dealing with specific objects, use of the power of fantasy or imagination to achieve inner truth in a role, developing a thorough line or a spine which runs

through a character’s role throughout the play, ensemble playing, and developing voice and body. In contrast, Bertolt Brecht, German poet, playwright, and theater director, proposes a system that negates role identification and realistic portrayal in order to distance the audience from the stage events for critical viewing. He calls this alienation effect Verfremdungseffect which translates as to make strange. In this method, the actor or the actress shows or presents the character he or she portrays rather than becomes him or her. One of the many conventions that Brecht adopts along this line involves the actor speaking in third person and saying or verbalizing his character’s action, for instance. He also resorts to other theater devices such as changing the scenery in front of the audience, projections, treadmills, hoists and musicians on the stage to heighten this effect. Furthermore, Brecht insist that each element must make its own statement because such would highlight the disparity among them, and consequently help the audience to become critically aware of their implications. For example, Brecht would apply ironic lyrics to lighthearted songs to make the listener even more aware or critical of the implications of the song. In Theater, the demonstration of skill or performance of the actor or actress varies constantly as it depends on the kind of audience to whom the actor or actress responds. As a live event, a theatrical performance would always have a unique impact on the dynamic real-time interplay between the actor and the audience. The Audience Besides the performer and his performance, the audience is also important in a theater event. As spectator, the audience combines what he sees or hears within the theatrical set-up, and finally complete the

theatrical process through his imagination and mind. He is the final individual who brings all the parts of the play together. Viola Spolin, actress, director, educator, underlines this role by saying that without the audience there is no theater, and everything that formally makes up theater is simply for the audience’s enjoyment. The Theater Space Theater has a designated space. It is customarily assembled through visual and acoustic signs such as properties, performers, lighting and sound. An orchard, for instance, may be constructed acoustically through the blows of axes that cut down trees or a depressed area through an actual barong-barong structure on the stage, The theater space is usually set up on stage, which has four basic types. Each type has its own advantages and disadvantages, and uniquely provides different viewing experiences. The four basic theater stages: 1. 2. 3. 4.

The Proscenium or picture frame stage Arena or circle stage Thrust Stage with three quarter seating Created and Found stage space

Stage directions: L, C, R, US, DS etc., Plaster and Center Lines: The part of the stage in from of the Proscenium is the Apron, or sometimes the Thrust.

The audience seating is the Auditorium or the House. Proscenium, FOH, Wings, Apron, Traps and traproom: Scene house, Fly loft, Lock rail, Fly rail, Loading rail, Grid House, Box boom, Beams, Cove, Booth Ancillary areas:  scene and prop shops,  storage,  light storage and maintenance,  costume shop and storage,  dressing rooms, green room,  lobby & box office, publicity, administration. The Stage is usually set up at the Loading Dock end of the building for ease of setup. Opposite the stage is Front of House or FOH, sometimes called "Sound World", as the Mixing consoles are located here. Standard stage directions are usually used (Stage Right, Stage Left, Downstage, Upstage, etc.). The Monitor mixer often go SL in "Monitor World", and lighting dimmers go SR in "Dimmer Beach". The main floor at the Reisch Center is designed as a hockey rink, and is surrounded by a protective wall called a Dasher, even during concerts. Seating is located on the main floor between the Stage and FOH, and also in the bleachers. Audience entrances from the concourses (lobby areas) into the seating bowl are called VOMs, short for "Vomitories", the old Roman name for such entrances.

The Proscenium or Picture Frame Stage The most familiar type of stage, consist of a frame, which is originally in the form of an arch that separates the stage from the auditorium. As the term picture frame suggests, it looks like a large picture frame through which the audience looks at the stage. Since the action takes place behind the proscenium opening or frame in this type of stage, the seats in the auditorium face the stage like how seats in a movie theater face the screen. The auditorium is slanted downward from the house or the back of the auditorium while the stage is raised to aid visibility. Another term for this type of stage is the fourth wall, which comes from the idea of the frame being a glass wall through which the audience looks at the other three walls of a room. Arena or Circle Stage or Theater in the Round Parts of an Arena: An Arena is designed for sporting events first. Setting up a concert means fitting it into a space meant for a different kind of event. Compromise and accommodation is frequently required. The stage is usually set up as an End Stage, or occasionally in the center as an "Arena" Stage. Arena or Circle Stage or Theater in the Round It consists of a stage either in the form of a square or a circle with seats arranged around it.

The stage of this type may either be raised a few feet above the floor with seats rising from the floor level, or it may be on the floor with seats raised on levels around it. Some of the advantages of this stage is that it is more intimate and economical than the Proscenium Stage. Unlike in the Proscenium Stage, it does not have barrier in the form of a frame that separates the performers from the audience, and it dispenses with the elaborate scenery as it would block the view of the large parts of the audience. Thrust Stage The Thrust Stage has been the most widely-used stage space. It has its seats on three sides or arranged in a semi-circle, which enclose a stage that protrudes into the center. It has entrances and exists at the back of the playing area and a sort of stage house for scene changes. This stage is said to fall between the Proscenium and Arena stages as it combines the sense of intimacy and focused stage set of the Proscenium. Created or Found Stage Created or found stage spaces include non-theater buildings or virtually every kind of structure that maintain their original architectural elements intact as lofts, warehouses, fire stations, basements, churches, breweries and gyms. It also includes adapted spaces that fit the play, spaces outdoors such as streets, or multi-focus environments with several playing areas.

Additions and Modifications Proscenium and In-The-Round stage types are only the basic templates for stage layout. There are also extras which can be added in order to improve the stage. Aprons Are pieces of stage added to the front of a proscenium stage which protrude past the proscenium arch, pushing out into the audience in order to make them feel more involved. They provoke a feeling of being more part of the action, rather than just looking at it through a transparent fourth wall. Aprons can usually also be removed to uncover the theatre orchestra pit. Thus, it is only used when there is an event not needing an orchestra while taking place (i.e. a concert). Boxes Are a feature of more modern stage designs in which temporary walls are built inside any proscenium stage, at a slight angle to the original walls, in order to allow audience members located to the left or right of the proscenium (the further out, the larger the angle) to see the entirety of the stage. They enable the creation of rat runs around the back of the stage, which allow cast members to walk between entrances and exits without being seen by the audience.

The Aesthetics, Elements and Conventions of Noh Drama Zeami Motokiyo The greatest master of Japanese Noh Drama, presents a different approach to analyze drama by identifying the fundamental aesthetic concept of Noh. Observes that the pleasure of the audience resides in the experience of “no action” in Noh. The pleasure in watching this drama comes nit so much in the dialogue, dancing, singing and performance of the actors but in moments of no action” between actions. The delight springs from the strength of the actors shown as he or she holds the attention or the tension when the dancing, singing or action come to an end. Two Aesthetic Elements of Noh • Yugen – a Japanese term which means mystery, refers to a deep and tranquil beauty that is tainted with sadness. - greatest Yugen is shown in the display of exquisite emotional agony • Monomame - often mistaken for the Aristotlean of mimesis refers otherwise to non-representational and physical imitation. - it is shown in the many non-realistic elements or gestic performance of Noh which includes stylized or conventional movement and gestures, music, costume, vocal patterns and wordless sounds, choral and narrative speech Different Categories of Noh Drama • Waki Noh or Kami Noh – feature gods

• Shura or Bushi Noh – features warriors • Katsura Noh – presents beautiful women • Kiri or Miscellanous Noh – presents time figures and super natural beings like demons. Edo Period No drama are performed according to the order cited above during a full-day program. Series of performances starts off with ritual piece called Okina Sanbanso which is a ritual piece. • Kyogen play – a spoken drama based upon laughter and comedy which uses the daily life of the common people in a feudal society or folk tales as its subject. • Katsura Noh or women play – the slowest in tempo but the most poetic and expressive of Yugen. - it suggests quiet elegance and grace and subtle and fleeting beauty. Illustration of the Noh stage Noh drama is performed on a raised wooden stage with a roof held by four pillars. On the back wall of the stage is found a painted pine tree which represents the epiphany pine” where priest, possessed by a god once danced around. Under the floorboards, ceramic jars are placed to enhance the sound of the actors’ stamping feet. The setting, lighting and props are only minimal and symbolic. Connected to the stage is a bridgeway or hashigakari which leads from the stage to the curtained “mirror room” where actors prepare.

The Plot of Noh Drama The plot often recreates famous scenes from well-known Japanese literary works such as the Tale of Genji (Genji monogatari) or rthe Tale of the Heike (Heike monoga.tari) The Characters and Order of Performance in a Noh Drama Noh (能, Nō), or Nogaku (能楽, Nōgaku) is a major form of classical Japanese musical drama that has been performed since the 14th century. Many characters are masked, with men playing male and female roles. A Noh performance often lasts all day and consists of five Noh plays interspersed with shorter, humorous kyōgen pieces. The repertoire is normally limited to a specific set of historical plays. While the field of Noh performance is extremely codified with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced. Characters • Shite (pronounced sh’tay) - the main character of a Noh play, mostly wearing a mask. • Waki – the secondary character • Tsure – companion of the Waki • Hayashi – musician/instrumentalist • Jiuta – chorus • Kouken – stage assistants

The main character in a Noh drama is the shite. The secondary character is the waki who is accompanied by the tsure. The progression of “action” in Noh starts off with the entrance of the waki or secondary character, usually a travelling priest, who describes the locale or scene. The main character or shite, who is disguised as a local person then enters and tells the importance of the site in relation to the theme of the play. Then the waki converses with the shite, and the latter to tell a story. He tells a story through a dance while the kyogen then recapitulates the story. The shite returns dressed as his true self with a mask and new elaborate clothes. His performance peaks in a dance at the close of the play. In the performance, the chorus, which is usually eight to fifteen in number, chants the words of the shite as he dances. They are found on kneeling position at the opposite side of the bridgeway or hashikagari or on the right side of the stage from the audience viewpoint. The musicians or hayashi, on one hand, who play flute and drums are seated in front of the painted pine tree. They also vocalize kakegoe or rhythmical sounds as part of the musical score. There are stage assistants or kuoken who are clearly visible to the audience when they fix and handle props, straigthen costumes, or prompt actors. Order of Performance in a Noh Drama 1. Orchestra enters 2. Chorus enters 3. Waki crosses bridge, traveling song; Waki goes to Waki pillar [waki-bashira] 4. Shite enters; song stating theme of play 5. Waki converses with Shite; asks Shite to tell tale 6. Shite tells tale; story dance

7. Kyogen or lower character recapitulates story 8. Shite returns in new costume, often with new identity; tempo increases; performance peaks in dance. The Performance in Noh Drama The actor makes his entrance. Previously, he had been standing in the mirror room where he looked into a full-length mirror to help him get in character. He leaves the room and the curtain between the mirror room and the stage is lifted from the bottom by backstage assistants. The actor moves to the bridge area, railed on either side, behind the stage of the Kasuga shrine in Nara, about 6.5 feet wide and from 33 to 52 feet in length. The bridge is roofed. On the rear wall of the stage is painted a stylized pine-tree which serves as a reminder of the pine trees. Basically in slow motion the actor moves towards the stage proper. He slides his feet alone the floor. When he reaches the stage proper he passes a pillar referred to as "the pillar of the principal character." The actor then usually moves towards the front of the stage. Since he is wearing a mask, it is difficult to see exactly where he is going so he focuses on a downstage pillar, called "the pillar on which the eye is fixed.” Opposite on the stage is the Waki's pillar since the subordinate character places himself near that pillar when the principal character makes his entrance. On the left side of the stage is an area about 4 feet wide where six or eight members of the chorus sit, having entered through the Hurry Door, a door in the upstage-left corner of the stage and also used by lesser characters.

The Noh Costumes The oldest surviving Noh garments date from the 15th century during the reign of the sixth shogun, Yoshimasu (reigned 1440-1473). The particular costume worn by the actor depends on the role played. Thus, a certain kind of costume indicates a certain kind of character type such as a young woman, a handsome man or a demon. The color of the Noh costumes is important. White is considered to be the most dignified color and is used for characters of nobility. Brown is considered to be the least dignified color and is used for servants and country people. Red is worn by young girls and older women wear darker colors. Light blue indicates a quick temperament. Dark blue indicates an extroverted person. Light green is used for menials. • Kara-ori (this costume from early 17th century). It is usually worn to indicate female but sometimes can be used to indicate very elegant young man. Another 17th century Noh costume worn for a female role. • Atsuita - for male roles. This is another type that indicate aristocratic gentlemen, Shiento priests and divine being are called the kariginu. Costumes is used to indicate deitis and men of high rank are lined and the ones worn to indicate Shiento priests are unlined. • Nuihaku and Surihaku - Are undergarments used when playing female roles. Nuihaku can be used for courtiers, the youth or children. • Happi - a common jacket used for males roles. This is a knee length garment with long hanging sleeves which are folded back.

Example of trousers Okuchi: Red ground with swirling water-and-shell motif with flowers Hangire: Purple ground with gold lozenge and arrow-wheel motif These costumes reveal the type of character being portrayed and follow prescribed conventions as to their use. Still, there is much variety. The detail of design, the color combinations, the richness of texture, and the strength of form give Noh its visual impact. Costumes in Noh are elaborately made with gorgeously dyed silk and intricate embroidery. All characters, whether rich or poor, young or old, male or female, are beautifully costumed. The costuming process is complex. Rather than the actor putting on his own costume, two or three costumers are needed to sculpt the costume on the actor. • Masks - Masks are used in many different cultures. In Japan, Noh masks are used for theatre and dance performances. Each mask represents a certain person, hero, devil, ghost, or legendary animal, depending on what the character is in the performance. Masks have been used in Japan since the Jomon period of time (10,000 B.C.- 300 B.C.). The Japanese masks are made out of materials such as clay, dry lacquer, cloth, paper, and wood. The oldest existing mask is the gigaku mask. These were used for an ancient dance drama that was brought up during the 7th century. The people that would perform the shows were professional dancers who were accompanied by music. There are 14 different gigaku masks. All these masks are different because they cover the whole face as well as the ears. Hair was sometimes put on the masks for decoration with black outlines for facial features.

Some masks were lion heads, bird- beaked creatures, demons, and super humans. A lot of the gigaku masks were influenced India, Indonesia, and China. Bugaku masks were used during the Heian period. The masks varied in size and were usually made up of cypress wood. The bugaku masks do not cover the ears like the gigaku mask. The mask can be 7 to 13 inches long, 6 to 9 inches wide, and 4 to 7 inches deep. The carvings on these masks are supposed to resemble Buddhist statues. The bugaku masks were used in only dances and since they were, the masks showed abstract looking expressions. Theses masks were used or dancing to different types of music such as togaku and komagaku. The gyodo mask was specifically used for Buddhist outdoor worshipping. The processions were held with an inauguration of a temple. The masks were made into things such as bodhisativas, guardian deities, dragon gods, bishamonten, and certain demons. These masks would cover the entire face and more, which represented a superhuman. The gyodo masks were used from the late Heian period (792- 1185) in towards the Muromachi period (1392- 1568). The masks that have been talked about above were the early masks of Japan. Noh masks were created from the traditions of sarugaku, dengaku, and many other rituals. Sarugaku was originally a combination of performances from China and some of them were acrobatics, juggling, and miming. The dances and rituals were performed inside of temples and shrines. The masks, which were used in okinamai, show the first signs of making Noh masks. The

masks were most likely influenced by bugaku and gigaku masks to form the unique Japanese design. There are about 80 different types of masks that are needed for Noh plays, but there are over 200 different types of masks. The normal Noh mask is designed to have a smaller face. These masks are carved from hinoki wood and if you move them a certain way then the shadow will make the mask look like its changing expression. Being able to allow the mask to do this is important because the actors have be allowed to change expression and mood. The only people that wear masks in Noh plays are the main characters, the shites, and their followers. In some Noh plays the shite will change masks to show the true character and his nature. Choosing masks for characters is very important because it is used to show what the shite is in the character. One type of Noh mask is the hannya mask. The person who wears this mask is supposed to play a jealous and evil woman who has turned into a demon. The pointed horns and the metal eyes and teeth are used to show anger and wrath. The hannya masks were designed based on the early snake masks and by painted scrolls, which were dated back to the Muromachi period. The coloring of the masks shows how much passion that certain character has in that demon’s anger. Ko-omote is another Noh theatre mask. This mask represents a young woman who is calm. The Ko-omote mask represents the traditional Heian beauty featuring shaved eyebrows, blackened teeth, and neat hair.

Some ko-mote masks have lips that are farther apart and fuller looking cheeks. You can tell how old a character is supposed to be depending on how wide the masks eyes. The ko-mote masks have eyes that are closer together to represent that it is a younger woman. Otoko masks are the masks that young man wear. There are many different masks that can be used to represent young men. Just like ko-mote masks, the eyes represent how old and wise that character is. In the beginning of Noh theatre, there were no masks for young and middle aged men. As time went on, the Japanese decided to make masks for men and young men as well. Uba masks were used to represent old woman. An uba mask is usually used in the Noh play Takasago. Woman that wear uba masks are usually shown with a broom and rake. The wrinkles and the gray hair on the mask show that this character has obviously experienced a lot. The uba mask was originally made for Takasago but then was later on added to other plays. The shikami masks are used as the demon masks. You can tell when you look at the masks that this is what they are used for because of the way they look. The fang teeth and the evil looking mouth show the fear that is portrayed in this mask. There is a red complexion on the mask. This shows the anger in the demon just like in the hannya mask. Both the teeth and the eyes are painted a metallic gold as well. The chujo mask is another mask worn by a young male. These masks have very light skin and high eyebrows as well as black teeth, which was normal for a court nobleman at that time.

This mask is said to represent the famous poet Ariwara no Narihira. The chujo mask is usually used for the character of Prince Genji in The Tale of Genji. This mask can also be used to show different parts as well. These are some of the masks that are used in Noh theatre. Noh theatre has been around for hundreds of years, and has almost always used masks to portray different characters. Each mask has a specific use and feeling to it. All of the masks that have been mentioned have been used in numerous different Noh plays in Japan for thousands of years. Masks are a very important part of Noh theatre and it would not be the same without them. Space and time In general, the use of space and time is not portrayed realistically. Rather, there is a freedom of portrayal which requires the audience members to use their imaginations. Characters take only a few steps and through their song or that of the chorus, the audience knows that they have traveled a great distance. Two characters may appear on the stage nearly side- by-side, but again the audience comes to understand that they are not yet in each other’s presence. While this may be confusing for the first time viewer, for many people who come to understand these and other conventions, Noh creates a much more powerful theatrical expression than realistic theatre.

Theatrical Elements in Ritual Performances Props The most commonly used prop in Noh is the fan, as it is carried by all performers regardless of role. Chorus singers and musicians may carry their fan in hand when entering the stage, or carry it tucked into the obi. In either case, the fan is usually placed at the performer's side when he or she takes position, and is often not taken up again until leaving the stage. Chant and Music (Nohgaku 能楽) Noh theatre is accompanied by a chorus and a hayashi ensemble (Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera." However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Clearly, melody is not at the center of Noh singing. Still, texts are poetic, relying heavily on the Japanese sevenfive rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion.

THE ELEMENTS OF WESTERN CLASSICAL DRAMA Aristotle, a Greek philosopher and scientist who lived from 384-322 B.C., identifies and describes the elements of tragic drama in the Poetics. In this brief book, he makes use of the tragedies of Sophocles as models to draw out and define its elements, which consequently have also been applied to all drama and art in general. There are six elements in a tragedy --- and by extension, all drama. The first three, the basic subjects of drama are Plot, Character and Thought. The last three elements deal with language and performance. They are Diction, Song and Spectacle. Hence, the organization of the Western Classical Drama may be approached through the parts of the dramatic action. Plot It is the most important element of the drama. Aristotle calls it the “soul of tragedy.” It refers to the arrangement of the incidents, which has a Beginning, Middle and End. The parts of the plot are unified such that if any of its parts is displaced or removed, the whole play will be disjointed or disturbed. This also means that this “single” action should take place in one day. During the Renaissance, dramatists derived the “unities” of action, time and place, which come from their translation or interpretation of the Poetics. Character The character is the principal material from which plots are developed. Characterization delineates a person from other persons. It operates on physical, or biological, societal, psychological and moral levels. The

physical or biological level defines gender, age, size, coloration, and general appearance. The societal level includes factors that place a character in a particular societal environment. It defines the economic status, profession, religious belief, and family relationships, among others. The third level is psychological and reveals the character’s inner workings of the mind and includes his habitual responses, desires, motivations, likes and dislikes. The fourth level reveals what characters usually do when he makes a difficult choice. These decisions differentiate his character more fully as such leads to scrutiny of his values and motives that reveal the true nature of his character. Thought It refers to the main idea or abstract concept that characters make concrete in the dramatic action. The meaning in drama is usually implied rather than expressed directly. Meaning is suggested or revealed through a variety of ways --- through the relationships among characters, by the ideas of the characters, by the conflicts and their resolutions, and by devices such as spectacle, music and song. Sometimes, meaning is stated clearly in the script. To convey the Plot, the Character and Thought, playwrights utilize two means, which are sound and spectacle. Sound includes language or diction, music and aural effects whereas spectacle refers to the visual elements of a production, such as the physical appearance and movement of performers or actors, the costumes, scenery, props and lighting.

Diction It refers to language or the “expression of meaning in words.” It is the primary tool of a playwright’s expression. Language or diction is not only used to impart information but also to characterize, focus on important elements in the plot, convey meaning, establish a mood, tempo and rhythm and internal logic. In a play, language is always abstract and more formal than that of a normal conversation as the dramatist arranges, selects and heightens language. Diction must be appropriate to characters, situations, internal logic, and type of play. Song or Music This originally refers to the singing and dancing of the chorus, which is an integral part of drama during Aristotle’s time. Music in drama extends to all patterned sounds and may include the sound of actors’ voices, incidental songs and background music, and instrumental accompaniment. Music may serve to establish variety, convey a mood, characterize or suggest ideas. Spectacle This last element refers to all the visual elements of a production. It includes the character’s movement and spatial relations, lighting, settings, costumes, and properties or props. They serve as aid to visualize the action in a play and convey the play’s full power. All visual aspects of a production are composed of basic elements such as line, shape, space, color, texture and ornament. In applying these elements, certain principles are used such as harmony, variety, balance, proportion, emphasis and rhythm.

Adolphe Apphia, one of the 20th century’s major theoreticians of Theater, in Action, Space, Light, Painting, not only comments on the relative importance of these elements in staging but also forwards the idea of hierarchy in production design. In this hierarchy, he points to the first three important elements --- the actor, space and light. He places the actor on the first rung of the ladder as he carries out the action, and hence the drama. All other elements are subordinated to or put in the service of the actor. Space for instance, must conform to the plastic feature of the actor, and must work to serve the actor’s moving, alive and three-dimensional character. Light, the third important element in the hierarchy must also become active to bring out the drama established by the actor. In this order, the Actor presents the drama in a three-dimensional Space, while Light gives life to both. Moreover, the ultimate integration of all the elements of a play takes place in the spectator’s mind. He is the final individual who brings the parts together to complete the theater event. Theatrical Elements in Ritual Performances Rituals are solemn ceremonies consisting of a series of actions performed according to certain prescribed order. As special occasions, they intend to achieve a certain result --- to heal, to protect, to harm, to propitiate an ancestor spirit or god, or to mark a major transition in one’s status, such as birth, puberty, a new relationship or death. Within the ritual process, there are also elements that provide pleasure or entertainment. To achieve these ends, masking, costuming, impersonation, dance, music, narrative, humor are used or performed in rituals. The demonstration of skills or expertise by the ritualist in the

execution of an action or a series of action and recitation of chants always significantly counts in the performance of rituals. Guide questions in analyzing the aesthetic qualities of the theater arts The Form 1. 2. 3. 4.

What are the dominant theatrical elements? How are these employed in the performance? How do the dominant elements affect you? How do these elements effectively convey the main theme of the art work?

The Subject Matter 1. What is the theme of the art work? 2. What are the other subthemes that affect the central theme? 3. What is the significance of the central theme/s to you in terms of personal, historical, social or political value? The Style 1. What particular characteristics does this performance have that are also present in other works within similar genre? 2. Describe the use of elements, principles and conventions that identify the performance with other performances of similar genre.

The Aesthetic Qualities of Selected Performances Spatial Convention in Oedipus Rex by Sophocles Oedipus Rex or Oedipus the King by Sophocles is considered to be the epitome or perfect example of a Greek tragedy. Most historians assume that it was first staged in 427 B.C. in Athens. The play begins with King Oedipus learning that his predecessor, King Laius, had been murdered years ago, and that the incident has caused the plague in the ancient city of Thebes and the suffering of its people. Oedipus vows to bring back prosperity to the kingdom and to avenge the King’s death. He pronounces a curse on the murderer without knowing that he actually puts a curse on himself. The excerpts shows part of the first episode of the play, when Oedipus sends for Tiresias, the blind prophet, to ask what he knows about the murder. It is shown here that Tiresias refuses to tell Oedipus what he knows, so Oedipus curses and insults him up to the point of accusing him of the murder. This Tiresias into revealing that Oedipus himself is the murderer. Oedipus refuses to believe his accusation and turns the table by accusing Tiresias of conspiring with his brother-in-law, Creon, against his wife Jocasta, and by discrediting him for forsaking the city of Thebes when it was previously held captive by the Sphinx. At that time, the Sphinx refuses to free the city until his riddle is solved. Tiresias vindicates himself by saying that Oedipus’ parents believes him. Oedipus, who grew up in Corinth ask how Tiresias knew his parents but the latter rather puzzles him and puts forth another riddle before leaving the stage.

He says that the murderer of the former King is both father and brother to his children, and the son of his own wife. The major theme of the play conveys the precariousness of man’s destiny. In the Greek period, theater plays are first performed when springtime begins during the 5day religious festival held in honor of Dionysus, the god of fertility and wine-making. On the first day of this Greek festival, the major officials of Athens and its citizens together with theater actors parade in procession within the city, and dance and sing for various ceremonies at altars along the procession route until they reach the main alter where a bull is sacrificed. Just like other Greek festivals such as the pan-Greek Olympic games held I honor of Zeus which is held after every four years following the summer solstice, this festival includes competitions. Dithyramb (hymn songs and dance by a group of fifty men or boys) competitions are probably held on the second day, comedies on the third day, while tragedies on the 4th and 5th days of the Great festival. On the last day, prizes are awarded to the best plays. Oedipus Rex is first staged within this bigger festival framework. Though evidences are not conclusive, experts assume that just like other several Greek plays, the action in Oedipus Rex took place around an altar (thymele) dedicated to Dionysus that is set on the center of an open playing area called the orchestra (dancing place) set at the base of a curving hillside. The orchestra could be either circular or trapezoidal. A low wooden grandstand or theatron, which seats about 15,000 or so spectators surrounds it. Some records suggest that spectators from the theatron while looking downhill would respond with stomping of feet, whistling, prolonged noises, as well as heavy applause. Opposite the audience is a wooden building called the skene, which serves as an offstage are for

changes and entrances and as setting of the play. At the further back of the skene is a temple of Dionysus and a sacrificial altar where the slaughtering and roasting of bulls took place. Actors are given the chance to explore not only the interior but also the central and peripheral playing spaces (through the orchestra and the skene) in this kind of physical set-up. Greek actors also rely on large simple gestures or movements and their ability to declaim the script since facial expressions and vocal inflections could not be depended on with the theater‘s physical expanse. The actors would wear masks made of lightweight wood, cork or linen to help portray their character and other roles including female characters. Some experts say that masks also work as a megaphone to help project the actors’ voices. Using some guide questions, let us analyze the aesthetic qualities of Oedipus Rex Form 1. 2. 3. 4.

What are the dominant theatrical elements? How are these employed in the performance? How do the dominant elements affect you? How do these elements effectively convey the main theme of the art work? Analysis 1. Space is a dominant element in the play.

2. Space is employed not only to facilitate the movement of the actors in the performance arena but also to accommodate a huge religious community in the conduct to appease god. 3. As a part of a religious festival, the element of space in this play actually extend beyond the orchestra. 4. It reminds me of man as part of the vast cosmos. 5. The expanse of the performance area reinforces the idea that man is a part of a vast universe with which he has very little control of. The Subject Matter 1. What is the theme of the art work? 2. What are the other sub-themes that affect the central themes 3. What is the significance of the central theme/s to you in terms of personal, historical, social or political value? Analysis 1. The play speaks of the uncertainty of human destiny. 2. The other subtheme points to the incapacity of man to control his fate. As a Christian, it reminds me God's divine plan for man. The Style 1. What particular characteristics does this performance have that are also present in other works with similar genre? 2. Describe the use of elements, principles and conventions that identify the performance of similar genre?

Analysis 1. This play follows the staging conventions of drama during the Greek Period. 2. Some of the elements or conventions in this play include the use of space, dramatic plot, limitation of talking characters into 3 male actors, performance of the chorus between episodes, performance of female roles by male actors, use of embroidered tunic or ample length native dress or chiton as costume, among others. The Conventions of Movement and Space in the Japanese Noh Play, Dōjō-ji, attributed to Kanze Kojiro Nobumitsu Kanze Kojiro (?1435 or 1450-July 7, 1516) He was a Japanese noh playwright and secondary actor during the Muromach Era, from the house of Kanze. He was the grandson of Noh playwright Zeami Motokiyo, and is considered one of the last important playwrights of the golden age of Noh. The Japanese Noh Play, Dōjō-ji This play starts off with the waki, a male Buddhist Abbot of the Dojo Temple or Dōjō-ji announcing that a new bell would be dedicated in the Temple, which has had none for years. He leaves the temple with warning, forbidding the priests to admit women. The shite, an elegant woman dancer then appears who declares that she should be allowed to perform the shirabyoshi dance in the dedication. The priests allows her to enter. The shite starts to dance in triangular patterns, which later

become disarrayed and chaotic. The dancer finally knocks the hat she's wearing, stamps her feet and looks at the bell. The Dōjō-ji Bell Then she swings her fan back and forth and then leaps up causing the giant bell to crash to the ground around her. The bells become fiery hot. The Abbot (waki) then returns and tells why women are forbidden in the temple by telling a story about a girl who was told to marry a priest. The girl asked the priest to marry her but the latter fled in terror. The girl transformed into a serpent because of fury, and chased the priest until the temple of Dōjō-ji. In the Temple, the priest hid in an unraised bell to which the serpent coiled itself around. It set a fire because of the latter's intense passion, and burned the priest alive. In the play, the girl's ghost comes back through the shite and reveals herself as a snake-demon when the bell is finally raised in the dedication. The priests attempt to defeat her but to no avail, so she is simply chased away in the end. One of the highlights of this play is the ranbyōshi, which is performed by the shite or the principal character and the small-drum player. In this part, the shite dances according to the playing of the drummer and vice versa as if they are locked into each other's world for about fifteen minutes. Here, only breathing cues each other's performance. The shite dances and moves in a very stylized manner according to the convention of Noh, to express strong emotion and a kind of suppressed tension that come from her profound misery and internal anguish. It requires the shite's perfect timing because he can be injured or even killed as the bell is very heavy. This scene also focuses attention on

the verticality of the theater space, which is not so common in Noh. As a convention, the movement in a Noh stage generally maintains or follows a horizontal progression, but with the bell as a prop, the vertical dimension of the theater space is also explored. The highest point of this drama is the scene where the shite jumps underneath the falling bell. Using some guide questions, let us analyze the aesthetic qualities of the Dōjō-ji Noh play. Form 1. 2. 3. 4.

What are the dominant theatrical elements? How are these employed in the performance? How do the dominant elements affect you? How do the conventions of Noh apply to the dominant elements to effectively convey the main theme of the art work? Analysis 1. The dominant elements in the play are the movement, gesture and music. 2. The actions or movements and music are controlled or performed in a highly stylized or conventionalized manner. 3. They lead me to think about those who are gripped with indignation, and to the ways with which they cope such experience. 4. The controlled or stylized movement and gesture conveys restrained tension and certain deep and mysterious sense of uncertainty, which is the principal theme of the play.

Subject Matter 1. What is the theme of the art work? 2. What are other sub-themes that affect the central theme? 3. What is the significance of the central theme/s to you in terms of personal, historical, social or political value? Analysis 1. The play speaks of unseen or uncertain future as the bell hides unseen forces of evil that might break off any moment. 2. The other sub-themes are indignation and requital. 3. It alludes to some difficult transformations that people and society go through. The Style 1. What particular characteristics does this performance have that are also present in other works within similar genre? 2. Describe the use of elements, principles and conventions that identify the performance with other performances of similar genre. Analysis 1. All the conventions of Noh theater that apply to stage, movement, props, costume and language are present in almost all theater works of this genre. 2. The use of the elements is unvarying in all Noh plays especially during the Tokugawa period. 3. They are utilized according to the theatrical prescriptions' or conventions of Noh theater.

Diction and Central Ideas in William Shakespeare's Hamlet This play concerns Hamlet who is tasked to punish the murderer of a king who happens to be his father. Hamlet finds out that his father was murdered by Claudius, his uncle; that his mother, Gertrude, has been unfaithful to his father; that his mother agreed to his uncle's usurpation of the throne which was supposed to be his; And that his supposed friends, Rosencarntz and Guildenstern have become his uncle's spies. Apart from pervasiveness of betrayal (between brothers, husbands and wives, parents and children, and between friends) as theme. The play also points to another equally important idea-----revenge. In the play, Hamlet express revenge by stating his desire to kill Claudius in a way that would damn his soul eternally. This theme of immortal revenge is captured in one of the specific situations that Hamlet envisions: When he is drunk asleep, or in his rage, or in the incestuous pleasure of his bed; At gaming, swearing, or about some act that has no relish of salvation in 't; Then trip him that his heels may kick at heaven, And that his soul may be as damn'd and black as hell, whereto it goes. In the foregoing paragraph, he expresses his plan to take revenge on Claudius by killing him at the state of sin it eternally condemn him to hell. Moreover, Hamlet does not only desire to kill Claudius but also takes a specific action to carry out his plan. In the end, Hamlet's revenge lead to death. On the question of revenge, however, Shakespeare reiterates that no matter how evil one's enemy, or how hopeless one's chance for a legal redress is, it must be left to Heaven.

Shakespeare succinctly echoes this plea in another play, when Clarence in Richard III addresses his assassins. If God will be revenged for this deed, O, know you yet, he doth publicly; Take not the quarrel from his powerful arm; He needs no indirect or lawless course, To cut off those that have offended him. Another important element in this drama is figurative language. Shakespeare effectively uses figures of speech to make direct and indirect comparisons to emphasize meaning without withdrawing attention from the dramatic situation. During performance, this kind of language would require from the actor an acute sense and expression of the emotional content of Shakespeare's poetic language. Otherwise, his performance would be contrived or pompous. Guide questions to analyze the aesthetic qualities of Hamlet by Shakespeare Form 1. 2. 3. 4.

What are the dominant theatrical elements? How are these employed in the performance? How do the dominant elements affect you? What are the dominant principles, conventions or techniques that are used in the play or performance? 5. How do these principles apply to the dominant elements and vice versa to effectively convey the main theme of the art work?

Analysis 1. The plot and use of language are some of the dominant theatrical elements in the play. 2. They are employed to emphasize the theme or meaning of the play. 3. The play makes use of the thematic convention of immortal revenge. The Subject Matter 1. What is the theme of the artwork? 2. What are the other sub themes that affect the central theme? 3. What is the significance of the central theme/s to you in terms of personal, historical, social or political value? Analysis 1. The other sub theme centers on how an evildoing can affect a chain of other wrongs. 2. The central themes of the play are the pervasiveness of betrayal and deception between brothers, husbands, wives, parents and children and between people in general and revenge. 3. It reminds me of the importance of trust and the implications of the betrayal of that trust in one's relationship with another. The Style 1. What particular characteristics does this performance have that are present in other works within similar genre of the playwright?

2. Describe the use of elements, principles and conventions that identify the performance with other performances of similar genre. Analysis 1. The same convention of immortal revenge as theme is played out in other plays during the Elizabethan era. 2. The convention of immortal vengeance is expressed either in the desire to ensure the eternal damnation of his victim or to carry out a specific action to fulfill such a plan.

CINEMA Cinema is aesthetic communication through the design of time and three-dimensional space compressed into a two-dimensional image. Cinema is one of the youngest art forms with only about a century of history tucked under its belt. Its popularity is easily proven by the long queues in theaters across the country and the world. Its integrative character lies in the fact that it brings together several of the art forms and uses them as material to its unique form. These two things: popularity and integrative character; are the reasons why it is important to study cinema and used as a tool to influence how people think and live. Cinema’s integrative character makes it a complex art form that demands a complex spectatorial activity. It brings together painting, music, theater and literature and adds dimensions that only it possesses: cinematography and editing. Because of this, cinema demands from the spectator certain skills that will allow him to understand the non-relation of images spread across a flat surface or screen, the relation of sound to the said images, the patterns of movement of the images to create actions on the screen and follow a plot and construct a story based on the actions portrayed. Add to this the ability to understand the movement of the camera and the transitions from one moving picture to the next in relation to the plot and aesthetics, and the result is a spectatorial activity that requires undivided attention and makes one realize that watching a movie is not at all easy and relaxing as commonly thought. What Cinema Is?

Cinema comes from the Greek word, kinema, which means movement. Cinema as an art form uses skills to make beautiful moving-pictures. As such, any moving-picture skillfully made properly belongs to cinema, and it includes movies that do not have a story, e.g. Jean Renior’s movie of Pablo Picasso painting. But more popular form of cinema, the one that incorporates theater and literature, is that which tell stories. Cinema properly deals with recorded movement, and movement necessarily takes place in time. For these reasons, cinema can be classified as a “time art”. But cinema is also projected on a screen, a flat surface with specific dimensions or aspect ratios. Images are composed for the screen as in a painting and can be studied as a painting. This allows cinema to be classified as a space art. In fact, in the film medium a movie is composed of a series of still pictures that are projected at the rate of 48 frames per second. Each frame is composed as paintings are composed. Even the movement that takes place when the frames are projected is staged in consideration of the spatial boundaries set by the screen. What happens is that when a spectator goes to a movie, he/she watches movement projected on a static, stable, 2-dimensional surface. Because cinema presents recorded movement projected on a flat, stable surface it is reasonable to conclude that it straddles both classifications, i.e. time art and space art, and requires the spectator to be sensitive to the nuances of the artistic manipulation of time and space.

Techniques of Presentation Narrative This technique tells a story, using the techniques of theatre. This type of film follows literary construction in that it begins with expository material, adds levels of complications, builds to a climax, and ends with a resolution of all the plot elements. Documentary This type attempts to record actuality using either a sociological or journalistic approach. It does not use reenactment by professional actors and is often shot as the event is occurring. Absolute This film exists for its own sake, to record movement or form. There is no story and rarely runs longer than twelve minutes (one reel) and has no commercial intent. Shots What the camera records over a period of time: the basic unit of filmmaking.  Master shot - A single shot of an entire piece of action, taken to facilitate the assembly of the component shots of which the scene will be composed  Establishing shot - A long shot introduced at the beginning of a scene to establish the relationship between time & place, which will then be elaborated upon during subsequent shots

 Long shot - a shot taken with the camera at a considerable distance from the subject  Close-up - a shot taken with the camera quite near the subject  Two shot - a close-up of two persons with the camera as near as possible while still keeping both subjects within the frame  Bridging shot - a shot inserted in the editing of a scene to cover a brief break in the continuity of the scene Editing The editing process creates or builds the film. Artists rarely record cinema in the order of its final presentation. They film it in bits and pieces and put it together • Plasticity - is the quality of film that enables it to be cut, spliced, and ordered according to the needs of the film and the desires of the filmmaker Editing: How the film is put together • Cut - the joining together of shots during the editing process • Jump cut - a cut that breaks the continuity of time by jumping forward from one part of the action to another that is separated by an interval of time, location, or camera position • Form cut - cuts from an image in a shot to a different object that has a similar shape or contour, and is used to create a smoother transition

Director films - then arranges the segments • Montage - compression or elongation of time; also rapid succession of images to illustrate an idea or create comparisons • Crosscutting - alternates between separate actions related by theme, mood, or plot but usually within the same time period Camera movement- adds variety & impact • Track - shot taken as the camera moves in the same direction and speed as the object • Pan - rotates the camera horizontally, while remaining fixed vertically • Zoom - moves the camera toward or away from the subject Viewpoint: elaborates on director’s ideas • Objective viewpoint - allows us to watch the action as a universal spectator • Subjective viewpoint - present the scene as if we are actually participating in it Camera Focus • Depth of focus - clear focus of images both near and far • Differential focus - focuses on one element within a shot, while other parts are left out of focus

Dissolves: Smooth Transitions Transitional devices can be worked into a scene during the editing and usually indicate the end of one scene and the beginning or another. The camera can cut or jump to the next scene, but a smoother transition occurs if the scene fades out into black and the next scene fades in. This is a dissolve. As viewers, we need to develop an awareness of how the director articulates movement from one section to another and how that form of articulation contributes to the rhythm and style of the film. Types of Dissolves • Lap dissolve - occurs when the fade-out and the fade-in are done simultaneously and the scene momentarily overlaps • Wipe - a line moves across the screen, eliminating one shot and revealing the next • Iris-out or iris-in - a transition is created by the closing or opening the aperture of the lens Sensory Impact The aim of film and all arts is to involve us in its product, either emotionally or intellectually. Filmmakers enhance their final product by using techniques that manipulate us toward a deeper involvement or heightened intellectual response. Cross-cutting – alternates between two separate actions related by theme, mood, or plot but usually within the same time period. Its most common function is to create suspense.

Tension Tension release- if the plot of a film is believable and the director talented a feeling of tension will be built up. If this becomes too great, the viewers seek some sort of release to break the tension and destroy the atmosphere. Magnitude & Scale Magnitude - large panoramas and full-scale action scenes do not translate effectively to TV. TV films should be built around the close-up and concentrated action and movement because the TV audience is closer to than image. Accepted Practices Convention - accepted practices of the medium. We do not ask where the orchestra is playing when music enhances an exciting chase scene, or a performer begins singing in a musical film- we accept the background music as part of the totality of the film. Dynamics Structural rhythm - this reflects the manner in which the various shots join together and juxtapose with other cinematic images, both visual and aural. The filmmaker creates a rhythm and pattern based on the way they choose to tell the story and indicate deeper meanings and relationships.

Symbolic images - are used by filmmakers to direct our attention to the ideas inherent in the philosophical approach underlying the film (hero dressed in white, villain dressed in black) Audio Techniques In addition to dialogue, audio techniques are used to • create symbolism • to reinforce the emotional quality of a scene • for stronger emphasis More About Audio • Abrupt cutting done to beat of a soundtrack • Sound effects - amplified ambient or accompanying sound • Audio motif to introduce visual elements or convey meaning symbolically • Create sentimentality by accompanying dialogue with certain songs • Changing the tempo and timbre of songs replayed during scenes Critical Viewing • • • • • •

Cinematic style impact Characters with complex inner lives Relevance to the times: response to social conditions Integrity: serious problems have believable solutions Avoidance of stereotypes Gravity of theme- timeless subjects

The Types or Medium of Cinema Cinema refers to the art form, and hence includes all the art works that deal with the beautiful moving pictures. Two sub-categories classified according to the type of recording and projecting medium used: Film and Video. Film - uses colluloid strips divided into several frames to record images. - to create movement films project still images in a rate fast enough---(24-48 frames per second)---for human eye to miss the gaps Video - uses either tape or digital recording devices (VCD, DVD, Mini DV). - video create movement by changing pixels regularly. The Types or Medium of Cinema  “cinema” will be used to refer to the art form as a whole.  “movie” will be used to refer to artworks regardless of medium. Film and video will be used when the need to distinguish the medium arises. (this section only provide a sketch of the production process. For a detailed look at how movies are made, please refer to Sidney lumets making movies or watch the extended edition DVDs of lord of the rings.) The creation of a movie is a very long and tedious process

that demands the cooperation of a group of artists that share a cinematic vision. The process starts with the creation of a script by a screenwriter, which is then turned over to a director who breathes life to the contents of the written page translating it to visual reality. Aiding the director in realizing his vision of the story and plot are a myriad of talented people that give flesh to the words. Among them is the production designer that designs and supervises the building of the physical structures and costumes. Then there are actors that give vitality to the characters. All these things are part of the pre-production stage when all the things needed for shooting are prepared. When the sets are up, the actors in character and the scene is staged, then the cameras, begin to roll. This part is commonly called the shooting, filming or production stage. This stage records all the things that will be shown on screen, in film or video. For budgetary and practical reasons, shooting is never done following the plot. Because of this, the contents of film rolls are never sequential. To put scenes in order, the services of the editor is sought. The editor primarily assembles the movie by arranging the shots according to the plot sequence. After passing through the editor's keen eye and able hands, the movie passes to the sound designer who supervises a team that dubs sound: voices, affect and music, to the footage. This pre-production stage wraps up the whole production process, and soon after, the movie is released to be watched in whole process, the hand of the director is always felt to ensure that the directional vision is achieved in all stages of production. For this reason, the creation of a movie is given to the director, because it is vision that people see on screen.

Understanding a Movie Ideally, watching once allows the spectator to understand the meaning of a movie. But a single encounter with a movie definitely does not allow one to see and hear everything. Although a good director presents a movie in a clear way, not everything is gasped the first time. While watching the movie several times, the spectator should analyze the movie. It is therefore recommended that a movie be seen twice or more to understand more fully its meaning, purposes and form ( Boggs and Petrie 5 ) This requires him to break down the movie into parts or elements and understand how each of these interrelates with the others and to the whole with a view to the plot and aesthetics. In this way, the spectator becomes accustomed to noticing finer details. After constant practice , he/ she accounts for more things even during the first watch and leaves the theater understanding more of the movie.

THE ELEMENTS OF CINEMA What then are these elements that the spectator need to consider? A movie can be divided into seven elements: 1) script or narrative; 2) acting; 3) production design; 4) stage or directing; 5) cinematography; 6) editing; and 7) sound design. Script or Narrative The script is the basis of a movie. It provides the story that a movie presents to the spectator. This story is composed of several elements namely: 1) Characters 2) Dialogue 3) Setting 4) Plot Characters Are the agents of an act that constitutes an event. They are usually persons --- human beings --- but there are occasions that animals, machines, ordinary things, and fantastic creatures play the role of characters in an animated film. There are two basic types of characters in a movie: protagonists and antagonists. • Protagonists - are the main characters in movies. The protagonist causes the chain of events that will unfold. The narrative usually centers on the actions that this character does to achieve his goal.

Superwant - is a term used to describe principle that drives the protagonist to do what he does; a deep inner longing of a character which impels him to act. It is to satisfy this desire that makes the character put himself in out-of-the-ordinary situations. For a spectator, knowing the superwant is important to understanding the motivations and actions of both the protagonist and the antagonist. • Antagonists - are characters that oppose the protagonists. An antagonist’s sole aim is to prevent the protagonist from acquiring his goal thus thwarting the acquisition of the superwant. Ordinarily, the antagonist is another character that is the polar opposite of the protagonist, but there are occasions when the antagonist is not even a person. Sometimes animals, monsters, machines, nature, in fact anything imaginable can be used as an antagonist in a movie. There are also instances that the protagonist also functions as the antagonist which is the case in most psychological movies. It is important to note that the protagonist-antagonist paradigm does not equal the hero-villain paradigm. Not all protagonists are good people. Take for example the numerous movies involving thieves as protagonists like Bonnie and Clyde or Ocean’s series or the local biopics about criminals of the late 70s to the mid 80s like Ben Tumbling and Alias Waray. These protagonists are not exactly paragons of virtue. In the same way, not all antagonists are villainous. The same movies that revolve around the life of criminals often have good people as antagonists. The cop that chases and arrests or kills the criminal is not the bad person;

he may actually be the good guy. This protagonist-antagonist paradigm belongs to the form of the movie while the hero-villain paradigm falls under its content. The former is a technical tool, something used in creating the narrative while the latter is more a tool used to define characters. Character Traits Are personal qualities that a character possesses. They are important because these make a character convincing. Knowing the character traits allow the spectator to empathize and root for some characters and despise others. It also explains why certain characters act in a particular way. Traits also explain the actions a character takes to achieve his goal. Anything a character does that does not coincide with the traits he possess is considered an action done out-of-character and is a mark of inconsistency. Being aware of character traits also makes it possible for a spectator to construct hypotheses on how characters will act. The confirmation and rejection of these hypotheses trigger reactions from the spectator --reactions that constitute an indispensable part of the cinematic experience. The tension that flows from the formulation of a hypotheses and the confirmation or rejection of it is one of the causes of excitement. Character traits are revealed through what the character says, chooses and does. While watching then, the spectator needs to account for the patterns that emerge with regard to these things. This will enable him to tract how the character develops throughout the whole movie.

Dialogue It is composed of the words that a character utters. In sound movies, dialogue is delivered orally by the actors but in silent movies, dialogues is shown as text inserted between shots. Perhaps the most expected function of dialogue in cinema is the same as the function it serves in everyday life, to reveal the thoughts of characters. These thoughts are, more often than not, unfilmable, i.e. very difficult, even impossible to express visually. For some radical directors, this is the only justification for dialogue --- to express orally what cannot be otherwise expressed visually. Oftentimes, dialogue becomes a major element spectators consciously use to understand the ideas a movie is expressing. Ask someone to point to something in the movie that will support what he understands to be the idea being expressed and chances are… he will quote from a line of dialogue. This reliance on dialogue perhaps originates from the fact that people primarily use verbal language to communicate their thoughts and, sometimes, feelings. And since cinema, with the exception of animation, is very naturalistic, allowing the spectator to easily overcome the limits set by the medium and experience the subject as if first hand, it is almost automatic for every spectator to pay very close attention to dialogue. Dialogue can serve as a means to explicitly state the point of the movie. It can also function as a tool to reveal character. The choice of words, for example can reveal the type of character the spectator is watching. Scatological quips revel a juvenile pervert, incomprehensible technical jargon characterizes a college geek, aphoristic phrases mark a sage, and so on.

Setting It is the spatial and temporal locus of the events in the plot. It ensures that events enacted by the characters happen in a particular place and time. More than spatially and temporally containing the events, the setting also contributes to the narrative by providing the context of the action. To some extent, the setting shapes the characters and events by providing the basic assumptions the movie uses. It gives the spectator a framework in which to “participate” in the events. The setting shapes the world that the movie presents to the spectator. And the spectator should respond to the movie based on the context provided by the setting. If the setting makes it possible for a man to fly or for hobbits to roam the fields, then the spectator should accept it. The setting disposes the spectator to the suspension of disbelief. Plot It is the arrangements or sequence of events and the things that are shown on the screen. It is sometimes mistakenly used interchangeably with story but the two are different. Story and Plot, a Distinction Story and plot are actually two different, though related things. This lack of distinction is due to the fact that both the story and plot deal with the same thing, i.e., actions or events that take place in the movie. But closer study reveals that there are two very important differences between the two. The first has something to do with the sequencing of events while the other refers to the quantity of narrative information present. With regard

to sequence, story events are always ordered chronologically while plot events are not necessarily so. A plot may be temporally disjointed, relying heavily on flashbacks or flash-forwards. There are occasional movie plots that deliberately blur and confuse the temporal structure of the narrative. When the spectator watches, what he sees are the events are ordered in the plot. And while watching, he needs to understand how each event temporally relates to other events. This means that he needs to mentally situate events in their chronological place. Understanding the story thus requires an active mental chronological re-ordering of the plot events. In this sense, the plot events serve as raw material in the attempt to mentally construct the story. The story is a result of re-ordering the plot events. The plot is what the spectator watches; the story is what he mentally possesses after re-ordering the plot. To make sense of events, the spectator considers certain things that he sees, hears and infers in the movie and relates them with each other. These things: actions, persons, voices, noises, buildings, cars, etc. form what is called diegesis - which Bordwell and Thompson define as “ the total world of the story action.” As the definition suggests, all the narrative or diegetic information present in the movie constitutes the story content. The plot, on the other hand, simply contains diegetic information that the spectator actually sees and hear. Some diegetic information may simply be hinted or altogether ignored in the plot. The plot also includes visual and aural elements that are neither present nor essential to the story’s deigesis like some instances of voice-over narration.

Background music, inter-titles, superimposed texts, etc. (Bordwell and Thompson 61-62) These things are not present in the world of the story in that the characters do not hear or seem them; only the spectator does. These non-diegetic elements contribute not so much to the articulation of the story but serve to create and or enhance the effect that the movie has on the spectator. Moreover, the plot also presents some information that does not contribute anything to the flow of the story but is nonetheless present to emphasize ideas related to the meaning and purpose of the movie. The most basic goal of a spectator is to follow the plot and then mentally construct the story using plot information. On top of this, the spectator also needs to think about the intended meanings or purposes of the movie as elaborated by the plot that do not directly affect the casual flow of the story. The point of the movie becomes clear after considering the information contained in both the story and the plot. The events in the plot are caused by a protagonist driven by a superwant and meets antagonists which prevent him from achieving his goal. Conflicts arise as the protagonist struggles to overcome the obstacles presented by the antagonists. These events unfold in three major parts: Beginnings - introduce the major characters especially the protagonist and establishes his superwant and the conflict. Middles - contain the series of events that the protagonist goes through to fulfill his goal. Ends - begin with the climax when the protagonist and antagonist meet in a final confrontation and continue in the denouement which shows

the aftereffects of the climax and finally complete the movie in the resolution. A plot can resolve in three possible ways: • reward the desire • frustrate the desire • leave the resolution open Not all plots are done in this conventional way, though. There are some plot structures that do not follow the cause and effect principle throughout the whole movie. The more common of these is the episodic plot. This kind of plot divides the movie into a series of self-contained units that are not related causally. These units are called episodes. Episodes are small conventional plots, meaning each of them has its own beginning, middle and end. An episodic movie strings together these episodes and usually unites them with the presence of a single character in each. These episodes may also be linked by a common theme. To make sense of an episodic movie, the spectator needs to understand the plot of each episode and discover how each of the episodes relates to each other to bring out the meaning of the movie. In well written movies of this kind, the episodes may not be clearly defined from each other. They may be inter-weaved, with episodes unfolding gradually as events from each alternate as the movie progresses. A spectator gains access to the script content through visual and aural elements employed by film makers. These elements are the raw materials that the spectator processes to follow the events presented by the movie.

The three elements: production design, acting, and staging or direction is easily referred to by anybody as mise-en-scene. Mise-en-scene, originally a theater term, refers to the things that happen on stage. In film, it refers to the things present in the shot the things the spectator sees on screen ( Bordwell and Thompson 156). The elements that fall under mise-en-scene are: Production Design It transforms the setting into cinematic reality. It aids the spectator to immerse himself in the “reel world” created by the movie. The movie highlights the world of mental instability, thus the production design creates precisely that effect, a world that is distorted and disorienting. Sub-elements of Production Design Set Design Deals with the look and construction of the physical structures in a movie. Sets are usually built on studio lots in order for the film makers to have control over the shooting. At other times, movies are shot on location where the set is a real, functioning structure. Costumes Are the clothes worn by the actors to portray a character. People often claim that the clothes a person wears show his personality; “You are what you wear” as the saying goes. This is very true in cinema where costumes play a vital role.

Props Are the things that a character uses. Day-to-day existence places people in situations where they utilize objects that aid them in their tasks. Movies re-create this reality by making use of props. Like the tools people use, props are handled by the actors. Props are also meant to convey meaning. Decoration Are the things that are not touched by the characters. On the superficial level, decorations make the set of a movie visually appealing. It is like make up on the face of the set. On the other hand, decorations help establish the setting and give veracity.

ACTING AND STAGING Acting Element that allows the spectators to understand the characters in a movie. Brings to life the characters sketched out in the script. Through it characters traits, emotions and reactions are displayed. These are conveyed through gestures, mannerisms and facial and vocal expressions. Together with dialogue, acting reveals the complexity of the character being portrayed. Staging Staging makes the event in the plot a reality. Complete control of what will happen. Importance of Staging It is through this art that the spectators gains primary access to the meanings and effects is making. The Director • Art lies in his ability to stage the event to be shot in front of the camera. • Blocking • Placement and movement • Screen dimension and aspect ratio. Considerations in watching the staging of scene the spectators needs

• Pay attention to how the actors physically interact with each other and with the set. • Account for how these elements are arranged on the screen • Pay attention to how the production elements and the actors are used in relation to one another.

CINEMATOGRAPHY The main source of narrative information for the spectator is the miseen-scene. He can access it through the meditation of the camera and the projector. Since the projector simply projects what the camera records, it is passive medium in the transmission of cinematic information. It does not contribute anything to movie narrative and aesthetics; rather, it allows the spectator to see what is achieved using the camera. The most basic use of camera is to record what is placed in front of it. The camera, which has the aesthetic and narrative uses, are achieved through the following aspects: 1. photographic quality 2. framing 3. Distance 4. Movement 5. Rate of recording/projection speed Photographic quality is an effect primarily of the film stock (see Bordwell and Thompson’ s Film Art: An Introduction and Monaco’s How to Read a Film) and the amount of light exposure it receives. These have cinematic uses in that the image values, color intensity, tactile quality and focus depend on it. Value is the relationship of dark and bright images in a movie. It is caused by lightning conditions and the amount of exposure the film undergoes under the light. Value may be used to evoke certain moods or emotions. Darker values have a tendency to convey heavy emotions like grief and melancholy while brighter values usually evoke lighter, happier things.

Intensity of colors is the degree of color saturation of an image. Most movies approximate the colors of daily experience but there are movies that exploit the artistic effects of color intensity. Tactile quality refers to the feeling of roughness or smoothness of the movie image. While most movies have a somewhat crisp smooth texture, some movies have a course, grainy feel.As the camera records images to the film strip, the light reflected from the subject passes through a lens to the film, and it helps create the tactile qualities. The type of lens used also affect the quality of the image on film. There are four types of lenses used in cinema: 1. 2. 3. 4.

Normal lens Short-focal lens Long-focal lens Zoom lens

Normal lens approximates the quality of images as seen naturally and are produced by the normal lens. This lens that has virtually no distortion in the image is used in all movie. Short-focal lens or wide-angle lens emphasizes the distance between objects and very useful for photographing wide spaces and big crowds. Long-focal lens or telephoto lens has the ability to make far things look closer by compressing the spaces between objects. This results into flat, depthless, almost two-dimensional images.

Zoom lenses have the ability to frame a panoramic scene and then move closer to a subject and isolate her and vice versa, without changing the position of the camera. Making an image appear to come closer is called “zooming-in” and making an image appear to go farther is referred to as “zooming-out.” Focus refers to the degree of sharpness or blurriness of an image. These are three kinds of focus, namely: 1. Shallow focus or soft focus 2. Racking focus 3. Deep focus Shallow focus or soft focus Shallow focus or soft focus shows images that are blurred. The more common use of shallow focus is to have one plane in the picture sharp and the rest clear. It is common, for example, to see shots where the foreground is clear while the middle-ground and background is blurred. Racking focus Racking focus shifts the positions of the sharp and blurred images. It shifts the attention of the spectator from one subject to another. Deep focus Deep focus keeps everything in the shot clear. This allows the spectator freedom to choose what he will look at. It also forces him to pay attention to how the shot is composed.

Framing Framing refers to how a camera is placed in relation to the subject with respect to what side or angle is shown. The most common framing angle places the camera in a position that sets the spectator vertically at the level of the subject and horizontally face-to-face. It is as if the spectator and the subject character are the same height and looking at each other. This creates a sense of equality and some extent, familiarity between the subject and the spectator. This eye-level (vertical), straight-on (horizontal) shot allows the spectator to see the face of the character as clearly as possible without distortion. If the straight-on angle shows the facial features as clearly as possible like an ID picture, profile shots can add a dramatic flavor to a face because of shadows cast on some parts. It is also used to hide some facial flaws on the actor’s face. Aside from the eye-level angle, the other framing angles are: highangle, low-angle and canted frame shots. • High angle shots place the camera, and consequently the spectator above the subject. • Low-angle shots have the camera placed below the subject and usually accompany high-angle shots. • Canted frame or Dutch angle shots present the image in an eschewed position. This angle is commonly used to show imbalance or express tension and disquiet. Although in rare instances of cinematic genius, the Dutch angle is used to create the opposite effect commonly associated with the technique as in Zhang Yimou’s Hero, for an example. Distance indicates the

space interval between the camera and the subject. The distance of the camera to the subject plays a significant role in the delivery of story information and the creation of effects on the spectator. Camera distance has a direct bearing on the amount of information given in a shot. This achieved through several distances particularly: the extreme long shot, long shot, medium shot, medium close-up, close-up and extreme close-up. Extreme long shots show the subject as a very small figure on screen. It makes the spectator imagine and aware of objects around the subject even when these things are offscreen in tighter shots. Long shots shows images occupying almost the entire height of the screen leaving less room for the background. Medium shots show a character from the knee up. Directors in Hollywood believe that the medium shot affords the best view for the spectator because the distance allows the body language, gestures and facial expressions to be sufficiently seen. It also reveals more of the background without it overwhelming the character. Medium close-ups show part of the torso and the whole face. The subject dominates the screen and little of the background is evident. The subject dominates the screen and little of the background is evident. Close-ups fill almost the entire screen with the face of the character for emphasis. It calls attention directly to the subject. Due to the closeness of the camera to the face, facial expressions can be seen more clearly and allows the spectator to emphasize more with the character. The closeness establishes a sense of intimacy that enables the spectator to feel with and for the character. Extreme close-ups give undivided attention to features or things smaller than a face. It emphasizes features as small as, say, a pimple. Medium close-ups, close-ups and extreme close-ups are very valuable to suspense and

horrors films. By stitching together a scene composed of only these kinds of shots, the movie can put the spectator in a very suspenseful mood. Movement refers to the mobility of the frame due to the action of the camera. The early days of the cinema has the camera mounted on a fixed position to record whatever subject is placed before it. The technology then does not allow the camera to be mobile. But now it is common to see the camera change angles and positions in one continuous shot. The camera can move in basically two ways: it can move on axis from a stationary point or the whole camera- - lens, mechanism, and base - - can physically change in location. Axial movement is further divided into the pan, tilt and roll. The first two mimic the head turning sideways or nodding up and down. Rolling approximates the head rotating from side to side with the tip of the nose as axis, although it is possible to complete a 360 degree camera roll. • Panning has the camera swivel horizontally on a vertical axis. • Tilting has the camera swivel vertically on a horizontal axis. • Rolling moves the camera along the axis of the lens. It creates an uneasy and dizzying effect because the base is shifty while a reference point in the image is fixed. Aside from recording a scene, cinematography is also responsible for controlling the pace of the images movement. This is achieved by manipulating the recording and projection speed of the film. Slow motion occurs when the images move slower than normal. It is achieved by recording the image fast (more than 24 frames per second) and projecting it at a normal or slower rate. Fast motion is an effect created when the image is recorded at a slower rate than 24

frames per second and projected at normal or faster rates. As the elements show, cinematography is not simply used to record moving images, it is also important in conveying the story and in creating aesthetic effects. To be sensitive to cinema, then, requires an understanding in the use of the camera both as a narrative and as an aesthetic tool. EDITING Is the process through which a movie is put together. In this process, some footages take n in the production stage are included and others discarded. This is done to ensure that only the best footage that contributes to the plot find their way into movie. It also makes sure that the movie flows as it should with the proper rhythm. To achieve these results, the editor creates temporal, spatial and graphic matches in the movie. Temporal Match Guarantees That the timeline of the plot is adhered to. This does not mean that the plot always needs to have chronological sequencing. Continuity Editing Requires that all shots in a movie flow continuously and smoothly in another. The idea is for the editing to be invisible.

Match-On Action Shows a movement from different angles without breaking its continuity. The shot after a cut is a continuation of the movement in the former shot, even though the views are different. Non-Continuity Editing Together shots without regard to a smooth flow of transition. Elliptical Editing Passes over dead plot time and jumps directly to a point in the plot that is significant. A movie may jump only a few seconds to a span of years depending on the requirements of the plot. Montage Is an editing technique where individually unrelated shots are juxtaposed to create a third meaning. Jump Cuts Shift to shots later in the timeline without regard to continuity. It results in a choppy pace and forces the spectator to notice the editing involved.

Spatial Match Requires that the spaces in shots in scene are the same. The positions of characters and things in the shots should not change location so as not confuse the spectator. Parallel Editing Puts together two scenes of different locations while suggesting that they are happening at same time. It is achieved through cross-cutting which alternates shots from the two scenes. Graphic Match Establishes unity by using similar objects in at least two consecutive shots. Superimposition Presents a frame with an image that is a composite of two or more images from different frames. Images from separate frames are made to overlap in another frame, forming a new image. Shot Overlaps Repeat the same shot or shots of the same image taken from different positions two or more times. It only shows one action several times consecutively. A scene is usually composed of several shots and the changing of one shot to the next is called a transition. There are several transitions in cinema that are used to achieve myriad of effects depending on what the filmmaker intensions are:

• Cut - is a transition where a shot is immediately replaced by another shot. • Fade - is a transition where images in a shot either gradually disappear into a black or white screen. It is used to introduce a scene a fade-in or to conclude it fade-out. • Dissolve - is a transition where images from a shot are gradually replaced by imaged from another. There is a point in the dissolve where the images from both shots overlap. • Wipe - is a transition where a second shot takes over the first by sliding over it. A visible bar that marks the edge of the second shot is seen passing over the first shot. • Iris - is a transition and a framing technique that uses a circular frame around images. As a transition, an iris can close or open to conclude or introduce a shot respectively.

MOVIES They are sometimes judged to be slow and boring or fast and exciting. This is primarily influenced by the movie’s pace and rhythm which is dictated by the duration of the takes or how long a shot lasts before a cut is made. • Long takes are shots that go over a minute in duration. They have a tendency to slow down movies to a more relaxed, even to a boring pace. • Short takes are shots that are less than a minute long. The usual short take is around three to five seconds and hasten the pace of movies. • Rhythm Depends heavily on the combination of long and short takes. The movie’s rhythm has a strong aesthetic impact on spectators. Sound Design Although early cinema does not use sound extensively, and many a good directors claim it is dispensable, it is now an integral part of cinema. Sound has special uses in cinema. Even during the so called “silent days” when movies are accompanied by live music to enliven it. This is still applied today although contemporary cinema is no longer purely ornamental. Its design now has narrative and aesthetic functions. Sound design refers to the interrelationship of sounds and silences in a movie. It includes every auditory sensation from noises to music as well as silences. Sound is done during post production which is designed according to the rhythm and pace of the images created during editing.

Sound in Cinema has two kinds • Diegetic Sounds - Diegetic sounds are sounds that are present in the story world. These sounds are heard by at least one of the characters and fall into two categories: • External diegetic sounds • Internal diegetic sounds External Diegetic sounds are sounds that come from the objects in the story. These include ambient noises, voices, music, etc. These sounds are used to make a scene realistic. Internal Diegetic sounds are sounds heard only by one character because the source is internal, usually his imagination. These sounds may be found on or off- screen and may either be synchronous or not. • On-Screen sounds come from a source that is visible on the screen. • Off-Screen sounds are sounds whose source is not visible on screen. • Synchronous sounds are sounds that match the source and its movements. • Non-Synchronous sounds are sounds that do not match the source and its movements. • Non-Diegetic sounds are sounds that are not present in the story world. The most common of these is background music. They used to enhance or create moods or to explain things as in narration.

Aside from the abovementioned functions, sounds, like editing ensures that unity in the movie is maintained. Sound bridges are used for linking together two scenes. It is achieved by a sound overlap wherein sound from a previous scene continuous into the next or a sound from the proceeding scene is introduced at the end of the preceding time. Sound is also responsible for rhythm in the movie. A rural rhythm complements visual rhythm and the speed of the sound is usually congruent with the speed of image movement and shot transitions. When studying the use of sound, therefore, it must always be done in connection with the cinematic elements. The Aesthetic Qualities of Selected Cinematic Artworks The Script (Conventional Plot) and Production Design in Edward Zwick’ The Last Samurai • Fade-in hills to Japan. A Samurai meditates and receives a vision of a white tiger. • Cut to San Francisco: John Algren (Tom Cruise), ex-war hero, gets drunk, ruins his presentation and is fired. • Algren accepts a job to train the New Imperial Japanese Army in modern warfare. • Algren travels to Japan and experiences nightmares about massacred Indians. • Algren engages the rebel samurai and is captured. • Algren learns the way of the samurai • Algren is released, returns to Edo and sympathizes with the rebels. • Algren is ambushed by government agents and gets visions of the impending fight. • Algren joins the rebels.

• Algren fights with the samurais and survives. • Algren visits the Emperor and offers to commit seppuku when so ordered. • Algren returns to the samurai village. Algren • Algren participates in the massacre of Indians. (Hinted in the nightmares and inferred by the spectator) • Algren self destructs and works as a spokesperson for Winchester rifles. • John Algren, ex-war hero, gets drunk, ruins his presentation and is fired. • Algren accepts a job to train the New Imperial Japanese Army in modern warfare. • Algren travels to Japan and experiences nightmares about massacred Indians. • Algren engages the rebel samurai and is captured. • Algren learns the way of the samurai. • Algren is released, returns to Edo and sympathizes with the rebels. • Algren is ambushed by government agents and gets visions of the impending fight. • Algren joins the rebels. • Algren fights with the samurais and survives. • Algren visits the Emperor and offers to commit seppuku when so ordered. • Algren returns to the samurai village.

Katsumoto • Katsumoto (Ken Watanabe) mentors the emperor Meiji. • Against Katsumoto’s advice, Meiji directs the total modernization of Japan. • The Meiji government does away with class distinctions. • Some samurai clans revolt, including Katsumoto’s. • The Japanese government modernizes the Imperial Army to quell the rebellion. • The government hires American consultants, one of which is Algren. • The samurai attack and defeat the ill-prepared Imperial Army. • The samurai capture Algren. • Katsumoto, the clan leader, befriends Algren and learns the way of the West. • Katsumoto releases Algren and appeals to the emperor. • Katsumoto fails, is placed on house arrest and is pressured to commit seppuku. • A group of samurai and Algren rescue Katsumoto. • The samurai prepare for the last battle. • The samurai are defeated. In the example, it is noticeable that many things in the story are missing in the main plot of the movie. Although both versions of the story share some same events, some of the events that revolve around the Japanese are either implicit in the plot or inferred by the spectator. This is also true for the first event in Algren’s story, where the plot revolves around. In The Last Samurai, the spectator is introduced to John Algren, an emotionally and physically scarred Indian Wars veteran, who sets out

on a mission to train the fledging Japanese Imperial Army in the ways of modern warfare in exchange for a handsome fee. The accomplishment of his goal is put on hold when he is captured by rebel samurai under the leadership of Katsumoto. It appears here that the desire of the protagonist is to get paid for services rendered to the Japanese Imperial Army. Conflict is achieved when Algren is captured thus preventing him from his paycheck. The stumbling block is Katsumoto who is presented as an antagonist. As the plot develops, Algren discovers the reason behind the rebellion. His captors introduce him to the ways of the samurai, ways which Algren begins to imbibe. In his captivity, Algren begins to experience an inner piece brought about by the values he is beginning to make his own. Returning to Edo upon his release, Algren experiences a dramatic reversal when he shifts allegiances from the Japanese Imperial Government to the samurai rebels. He leaves the government and the money and fight alongside the samurai for honor and the samurai for honor and restoring the good values of the old samurai way. His new desire is to do the honorable act of fighting against the eradication of a group of people and the tradition they embody. Blocking his goal is another American military consultant, Col. Bagley and the Japanese merchant, Omura, adviser to the young Emperor. The second up to the last part of the film reveals a deeper longing in Algren much different from the need of financial compensation. Algren is in search of inner peace by restoring lost honor; honor which he loses in his participation in the massacre of another group of people, a Native American nation. The inner turmoil raging in Algren, which comes as a result of his ignoble act, is conveyed to his nightmares.

Images of this event appear earlier in the movie. When the images of the massacre connect with other information present in later expositions, the longing for inner peace and honor emerges as a deeper and stronger driving force behind all the protagonist’s actions. The movie then resolves when Algren fights alongside the samurai; a decision which, to his mind, is the honorable choice. Set design In The Last Samurai, the production design brings back the spectator on the end of 19th century San Francisco and Japan through the set, costumes, props and decoration. San Francisco is depicted without the modern skyscrapers that are a familiar sight in the city. A shot of the city street showcases wood buildings side-by-side brick structures; images which hearken to the days when the city is transitioning into a modern cityscape. The set design accomplishes two things: • it establishes the locale through the rolling terrain and the cable car commonly associated with the city and • it establishes the historical situation through the absence of skyscrapers and juxtaposing wood and masonry buildings. The set design also makes it possible to distinguish between San Francisco and Edo. The Edo set comprises of busy narrow streets and all wooden structures indicating “non-modernity.” This lack of industrial progress is further emphasized by the absence of mechanized vehicles like the cable car present in the San Francisco set. The primary means of transportation is the human-pulled rickshaw. It is similar to San

Francisco though, in a way that the structures line-up along the street leaving no spaces in between buildings. Later in the film, Edo is show as a more “modern” city throughout the use of Western looking masonry structures. A chaotic mess of telegraph lines also line the once clear skyline of Edo. In both the sets of Edo and San Francisco, there is a strong feel of overcrowding and hard, fast-paced living. The village of Katsumoto is starkly different from San Francisco and Edo. In this set, the houses are farther apart from which gives a sense of peaceful serenity. The houses are made in the traditional plan using traditional materials: wood, thatch and washi– paper walls. Compared to the other two sets, the village appears more rustic and definitely non-modernized but also more comfortably habitable. Aside from the structures, this is made possible through the greenery that is very much present in the village set which contrasts sharply against the absent of plant life in the other two industrialized sets. Costume Algren’s blue uniform reveals that he is an army officer but the way he wears it suggests that he is wary of his profession; he is burned-out soldier. He wears his uniform sloppily with the coat unbuttoned. The only time the spectator sees him wear it with pride and in full regalia is during the audience with emperor after the battle. Used this way, the uniform seems to be the outward image of his once lost and now restored honor. Another significant use of this costume in the movie is when Algren dons the armor of the samurai he slew. It tells the viewer that he is

resolute in fighting alongside the samurai. It also suggests that is now fully accepted by the people, whom he was hired to exterminate, as one of their own: a warrior, a samurai. Moreover, the armor belongs to the husband of Taka (Koyuki), the sister of Katsumoto who is now in love with Algren. Donning the armor with the aid of Taka shows the latter forgiving her husband’s killer and also reveals her feelings. It also suggests the close affinity between Katsumoto and Algren. In a way, the two are now brothers. The armor reveals that Algren is now part of the family. The change in costume from the US army uniform to the samurai armor is a visual indication of the character’s reversal. Once a mercenary tasked with the extermination of the samurai, Algren is now part of the rebellion. But this transition is gradually achieved and costumes play an important role here too. In his captivity Algren wears the kimono and hakama, the traditional garb of the Japanese men. He wears this as he learns the culture of the Japanese and is slowly introduced to the Japanese society. After his “education,” Algren is made a samurai by being given the armor. He now takes the place of the samurai that died by his hand. Props The katana given to Algren before the battle is used as a symbol of the man who will wield it. The etching of the blade, which Katsumoto reads, reveals it: “I belong to the man where East meets West.” This use of props exploit the metonymic power of the object by using the sword as an image that stands-in for the person of Algren. Placed within the context of the whole narrative, the sword also alludes to the theme of

the movie. The etching serves as a thematic statement. Being given to Algren, the sword also implies that bushido, which the sword symbolizes in Japanese culture, is now embodied in the American. Decoration In the scene that introduces the main character of The Last Samurai, Algren, in his army uniform, is shown slumped, drunk, on a chair surrounded by crates and irreverently hung flags in a dimly lit room. The state of the roof somehow reflects the state of the man occupying it – a soldier that lost his sense of patriotism. This is confirmed in the later scenes especially by the flashbacks to the slaughter of Native Americans. After this pathetic image of Algren, in the room, a strong sense of irony is achieved when he is introduced as great American hero to the public. This would not have been possible if the room decoration is neat and orderly. It is clear then that the decorations deserve as much attention as the costume and props, because it, too, has a story to tell.

THE NARRATIVE Elements What are the important components of the narrative? Treatment How are the elements employed in the movie/scene? Purpose Why are the elements employed in this way? The important elements of the narrative are the characters, setting, plot and superwant. The major character is presented as a dishonored ex-soldier. The setting shows turn of the nineteenth century San Francisco and Japan. The plot is conventional and begins in the middle of plot, a deeper longing is revealed – to regain lost honor. The personality of Algren is a reflection of his inner longing and a result of his past. His behavior only makes sense when his superwant is understood. This want is only given in the middle and is hidden beneath the other wants to give the character depth. The setting is appropriate to underscore a point being stressed by the movie. The ramifications of progress are clearly illustrated in the Japan caught in modernization efforts.

Production Design Elements What are the important components of the narrative? Treatment How are the elements employed in the movie/scene? Purpose Why are the elements employed in this way? The set, costume and props are key aspects of production design in the movie. The set shows San Francisco without the tall buildings. The Tokyo set is set like San Francisco with its rows of structures and crowded streets. These two sets are contrasted with the spacious fields of the village. The American military costume of Algren is always worn lousily. He trades this for a set samurai and clothing and armor in the middle and end of the movie respectively. In the epilogue, he dons his Army uniform again, but this time with proper bearing. The katana is given to Algren by Katsumoto. It is emphasized by being focused on and by translating the engraving on the blade. The set not only shows the spectator a picture of the late 19th century Japan, it also shows the effects of a false sense of modernity as shown in the set of Tokyo which lost its old charm, pleasantness, and Japanese character. The contrast of Tokyo with the village offers an alternative that is threatened by advance of “progress.” The costume reflects Algren’s personality. Exchanging his old uniform for samurai garb indicates his reversal and redemption. The sword is the symbol of

Algren where the “Old meets the new.” The engraving serves as a thematic statement. Acting, Staging and Cinematography in Akira Kurosawa’s Akahige Akahige is the story of a young haughty doctor who is assigned at a public clinic instead of his dream assignment, the sogun’s medical team. The poor clinic is administered by Dr. Niide Kyojo (Toshiro Mifune) who continues the education of the new doctor on the real nature of healing. In one memorable scene, the young Dr. Katsumoto (Yuzo Kayama)confronts a psychotic female patient people call the “mantis” played by Kyoko Kagawa who seduces men and then stabs them with her hairpin. The “Mantis” enters the room of inebriated Yasumoto and confides to him the reason behind the murderous condition. Initially, her gestures and soft, high-pitched voice evoke a pitifully fragile girl, embarrassed of her past and fearful death. With the hapless doctor playing into her trap, the “mantis” restrains her victim with her hairpin. In this turn and events, the woman’s voice and facial expression change. Suddenly, her face, especially her eyes betray wrathful insanity. The veins on her forehead begin to bulge as if ready to explode. This physical feat of acting by Kagawa is complemented by the effective use of her voice. Her voice once high and small, drops to a low guttural drone and then rises to a high, painting moan: bedlam sounds that underscore her mental instability. In the confrontation scene between the “ Mantis” and Yasumoto, the placement of the two characters at the opposite ends of the screen suggests a sense of uncomfortable tension between the two characters. The actual physical distance also reflects the emotional and psychological distance of the two

The movement of the actors around the set and in the relation to the other actors also creates the same narrative effects. As Yasumoto closes in on woman n the same scene, his interest in the madwoman’s tale is very clearly evident. The slow and gradual approach reveals caution on the part of the doctor. The girl’s reactions and gestures, on the other hand, betray her dark motives. Through her movements, the spectator is given access to her real motive: deceive and seduce the doctor with the story She represents herself as a fragile and submissive by sitting down. When the doctor becomes more comfortable, she baits him further by turning her back, which arouses the man’s interest even more. When they’re already touching, and the doctor’s guard is down, the madwoman makes her move, traps the doctor and attempts to stab him. Aesthetically, the actor occupying the foreground usually receives the most attention because his placement makes him larger than the other actors placed at the back. This is shown in the scene preceding the confrontation when the mantis” enters the doctor’s room. Yasumoto is in the foreground and occupies most of the scene, this directs the spectator’s attention to him. But to give emphasis to the woman, Kurosawa shows the man’s back. Because of this placement attention is drawn from Yasumoto to the girl whose face is clearly seen. Faces have a tendency to attack more attention than the back of heads. Also, Kurosawa makes the girl brighter to make her standout of the dark background. The pattern on her kimono also adds emphasis. The final effect is the spectator’s attention is given to both characters. In the confrontation scene, the placement of the characters at the opposite sides of the screen not only

emphasizes the two’s distance, it also makes the scene very symmetrical. Even when the doctor closes in on the woman, the symmetry is still maintained. The angle from where the spectator watches the scene allows him to see both characters. This omniscience results in a heightened suspense because spectator knows something-the “Mantis” intention-that Yasumoto does not. As Yasumoto moves closer, the spectator becomes excited and at the same time realizes the doctor’s folly. The pace of the movement, which starts slow, gradually accelerates and ends fast, contribute to the excitement of the scene. It also gives the spectator a vicarious experience of the deceitful seduction taking place but form a distant position. This scene is also a good example of how actors interact with the set and its contents. As Yasumoto listens to the story, the “Mantis” is weaving, the spectator will notice that a candle separates the two characters. The candle divides the set in two equal parts. As the man is drawn in by the tale, he slowly approaches the candle and when he finally crosses the imaginary barrier it creates, the girl begins to panic or at lest feign it. The relation of the movement of the actor to the candle suggest that the decoration serves as a territorial mark that when crossed the girl who occupies the space inside the barriers feels threatened. Crossed the girl who occupies the space inside the barriers feels threatened. On the girl’s part, the crossing of the line is the signal that the seduction is successful and therefore begins to play-up her condition to bait the foolish doctor even more.

Let’s analyze the aesthetic qualities of Akahige ACTING Elements What are the important components of acting in the movies/scene? Treatment How are the elements employed in the movie/scene? Purpose Why are the elements employed in this way? The important components of the acting are facial expression, bodily gestures and vocal expression. The facial expression of the “Mantis” change from scared that implies her weakness to fierce, which betray her psychosis. Her voice, too, transforms in this manner: from a pleading high –pitched tone to a low guttural grunt. Her bodily gestures in the beginning of the scene where small and restrained showing timidity and embarrassment which then transforms into very forceful movements towards the end. Acting was used to show the deceitfulness and insanity of the Mantis.

STAGING Elements What are the important components of staging in the movie/scene? Treatment How are the elements employed in the movie/scene? Purpose Why are the elements employed in this way? The important components of staging are blocking, movement and screen composition. The actors blocked opposite each other with the big distance between them. Their movements are slow, small and controlled in the beginning. They accelerate when the action is nearing the climax. Each character reacts in a particular way depending on how the other moves. The blocking of the characters contributes to a balanced composition on the screen. It also highlights the psychological and emotional distance between the two characters. Their movement betrays their intentions and allows the spectator to understand what is happening, at the same time, creating suspense and excitement.

CINEMATOGRAPHY Elements What are the important components of cinematography movie/scene?

in the

Treatment How are the elements employed in the movie/scene? Purpose Why are the elements employed in this way? The important components of cinematography in the scene are: distance, movement and lens. The scene opens with a long shot and then slowly dollies forward and to the right until a medium shot is achieved. As the girl panics, the camera becomes dynamic and follows the girl’s movement across the room, keeping up with her speed. It then utilizes close –ups on the characters faces and other body parts finally cuts to medium shot in the end. Throughout the whole scene, a long –focal lens is used thus flattening the scene. The camera distance shows the blocking of the actors and keeps them in a balances frame even as they move closer. It allows the spectators to see the movements of the characters. It also increases anticipation and suspense and draws the interest of the spectator as it moves closer to the characters. The flattened images contribute to creating surprise and tension especially in the introductory shot of the scene.

Editing and Sound Design In the Mood for Love Sound in “In the Mood for Love” is as sensual and leisurely as its visuals. The rhythm of the music complements the visuals. The music breathes romance into the movie and an occasion intentionally leads the spectator to make abrupt conclusions that the movie later-on proves false. The music in the restaurant the first time Mr. Chow invites Mrs. Chan to dinner does this. It is easy to assume that what is taking place is a date, but the conversation that takes place proves it is not. The combination of the music and dialogue results in powerful sense bitter irony in the scene. In some instances, the music somewhat suggests what characters are thinking as in the scene when Mr. Chow proposes to elope. He invites Mrs. Chan to move with him in Singapore. In the waiting hours, before his departure, the spectator is treated to Nat King Cole’s smooth rendition of “Quizas, Quizas, Quizas” as in the music is giving us the answer to the mystery on whether the woman will accept the offer. Will she come?...”Perhaps, perhaps, perhaps!” The music suggests an answer to the question in the spectator’s head as the tune brings about a nostalgic feeling for the 50’s. There are no bombastic sound effects in the movie; just the conversation of people and the noises of daily life. Although the voices of the subject characters in a scene are unnaturally amplified, the choice of what sounds to use makes the movie very realistic. Listening to what the characters hear also puts the spectator in the uncomfortable position of an eavesdropper, as what the cinematography does with its concealed camera effect. Like editing, the

sounds also contribute to the unity of some scenes as sound bridges are constantly used to connect some graphically mismatched shots. GUIDE QUESTIONS Editing Elements 1. What are the important components of sound design in the movie/scene? Analysis 1. The important components of editing in scenes cited are cuts, fades, slow-motion and montage. 2. How are the elements employed in the movie/scene? 3. Cut appear like wipes in some scene. Transitions cut to an object while maintaining a pan or tilt. Fade-outs create slow transitions and are used as an ellipsis to condense the plot time. 4. Slow-motion is used in private scenes. Montage in the scene mentioned above is cut very fast and shows images randomly. The Purpose 1. Why are the elements employed in this way? Analysis

1. The cuts contribute to the unobtrusive fluidity of the transitions. Together with the fades, the cuts contribute to the leisurely pace of the movie. 2. The slow-motion also contributes to the rhythm and pace of the movie while it is also giving sensuality and grace to the movements of the images.

SOUND DESIGN Elements 1. What are the important components of sound design in the movie/scene? Analysis 1. The important components of sound design in the movie is music. Treatment 1. How are the elements employed in the movie/scene? Analysis 1. Music is used as background in scenes. The Purpose 1. Why are the elements employed in this way? Analysis 1. The music complements the pace of the movie. It is also used to create a feeling of romance. 2. In some instances, it serves as a way to answer some of the spectator’s questions.