After reading the article in sad about gio wasn't can you connect some of her themes and materials or ideas to another artist we have studied this year? Who is that artist and what is the relationship between the two

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.

perimeter = 2l +2w, divide total perimeter by 2 for total length of 1 side and 1 width

172/2 = 86 (  total for 1 side and 1 width)

86-24 = 62 (since length is 24 ft longer subtract 24 then divide by 2 for width)

62/2 = 31

width = 31 feet

length = 31 +24 = 55 feet

check: 31*2 = 62, 55*2 = 110,  110+62 = 172