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limitation in extensity is, however, fully compensated by richness in intensity. The spoken word may be exploited in man) unique ways and, further, the art of conveying sound reaches its best expression in abstract and symbolic characters. Visual reproduction is not only more true to nature, it is more tied to it (Chaplin's art being an exception). Radio plays, on the contrary, can be so full oi philosophical visions that they could not be satisfactorily produced on the stage (such as Goethe's " Faust," which, with all its symboli* characters, is more a radio play than a stage drama . The mechanical reproductions of visual and auditory perceptions thus lead to diverse results in film and radio, even though they have in common many important principles of form.
It was an exciting event when the discovery was made how to copy naturally visual and auditory perceptions with newly invented apparatus. That is the reason why we find in the early stages of each subdivision of reproductive art only one aspiration: to copy nature. They have, then, nothing to do with art. Gradually in the hands of artists who feel the possibilities of the new medium, the factors by which reproduction may become an art come into the foreground.
At first we are satisfied with a normal position which helps us to copy visual and auditory perceptions as accurately as possible The camera is placed in the position which enables the object to be most clearly reproduced. The singer is placed before the microphone so that his voice will be neither too loud nor too soft — that the balance will be natural. In the next stage an attempt is made to vary the distance from the apparatus so as to create through the characteristic space between the object and the apparatus a personal relationship between the actor and the audience — the intimacy, for instance, of the close-up, the remoteness and softness of distance. The object is shown not only by itself, but also perspective!}' with its world, and relatively with its surroundings, and its fellows. AH the objects which appear at the same time and place are each selected so that symbolic and universal relations will be created. Objects may be placed in characteristic settings and lighting, jusl as sounds and dialogue may be produced in radio and film studioby varying means, such as non-echoing rooms and muffled resounding of highly reflective walls. There was, at first, nothing but a quite ordinary sound-studio.
In the same way we find in the early stages of film and radio the uninterrupted passage of time, keeping to the principle: Unity of Time. The Zasur only indicates, as on the stage, the end of a long-drawn-out scene. Then we realize that, at the film cuttingbench and before the microphone, a change of scene is made moi easily than on the stage. Certain scenes are cut to a minimum
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