The reliefs on trajan's columns feature all of the following except

continuous format
crowding of figures
realism
unidealized figures

unidealized figures

Explanation:

The Trajan's Column belongs to the typology of Roman commemorative architecture and is thought to have been inspired by the Egyptian obelisks. It is an urban monument, simultaneously architecture and sculpture, which had the function of marking a historical moment, giving it a documentary and honorary character.

It was built in 112-114 in Rome at the Trajan Forum on the tomb of this emperor to commemorate the victory of the Romans against the Dacians.

Its construction was conceived and directed by the architect Apolodoro of Damascus and demonstrates the historical and triumphalist spirit of the Romans who, in an original way, glorified their emperor.

The column is about 37 meters. Its shaft is hollow - inside there is a spiral staircase, made of white marble, that rises to the top - and rests on a drum or pedestal, cubically shaped, also hollow and decorated with reliefs of military trophies. This one had a bronze door on which was a dedicatory inscription. Making the transition between plinth and column, there is a torus covered with laurel wreaths.

It is decorated with a historical reliefs that unfold around the column and tells the countless events of the two Dacia campaigns, covering the 43 windows that illuminate the interior staircase. At the top of the column is a monumental Doric capital, topped by a bronze eagle, symbol of the Empire. It was later replaced by a bronze statue of Trajan and now has a statue of St. Peter, placed in 1588.

The scenes are realistic and naturally treated, succeeding each other without separations or dividing lines. This narrative presents a true “horror of emptiness” due to its density and large number of characters.

The column is narrated through various marble scenes depicting geographical, logistical and political aspects of the campaign. But what stands out from the whole representation is the magnanimity of the emperor, who welcomes the vanquished with generosity. The emperor is shown as the great protagonist who directs and directs the works, intervenes in battles and acodes in complicated situations.

sorry. my computer broke down and i had about 3 doctor's appointments. i'm just catching up now after reinstalling a router.

i think you best answer to this is d. some film directors were very picky about roles and lighting and and which side of the face the camera should catch. they were also picky about sound and background noise and chatter and music and all sorts of what we would consider trivial things. a stage director has to have all this ironed out before the curtain goes up. if he doesn't he better do it soon. if he doesn't notice, critics soon will, and they are not a very nice bunch.

e: both have the power to ask for rewrites. theater directors are always yammering about act 2.

c is true. both can ask for any number of things during rehearsals. the reason i wouldn't pick c is because a film director can make changes anytime during shooting, including when he thinks they ought to be done shooting.

b i didn't know what blocking was and i can't find a good description. if you have one and think b is true, go for it.

a a film director quite frequency chooses the leading lady or man. he may not have the final word, but he chooses. sometimes a theater director has no choice. a is generally not true.