Question

ben. (very jovial) i suppose i have been. and why not? horace has done hubbard sons many a good turn. why shouldnt i be anxious to help him now? regina. (laughs) help him! help him when you need him, thats what you mean. ben. what a woman you married, horace. (laughs awkwardly when horace does not answer) well, then ill make it quick. you know what ive been telling you for years. how ive always said that every one of us little southern businessmen had great things—(extends his arm)—right beyond our finger tips. its been my dream: my dream to make those fingers grow longer: im a lucky man, horace, a lucky man. to dream and to live to get what youve dreamed of. thats my idea of a lucky man. (looks at his fingers as his arm drops slowly) for thirty years ive cried bring the cotton mills to the cotton. (horace opens medicine bottle). well, finally i got up nerve to go to marshall company in chicago. what would be similar about a stage and a film interpretation of this scene? viewers would have to infer the emotions and motivations of ben and regina. viewers would have to envision the physical descriptions of ben and regina. viewers would have to imagine the few props being used by ben and regina. viewers would have to visualize the actions and movements of ben and regina.

Explanation:

Tanto en una representación teatral como en una película, los detalles emocionales y motivacionales de los personajes deben ser interpretados por el espectador a partir de lo que se dice y se hace en la escena, ya que no siempre están explícitos.

Answer:

A. Viewers would have to infer the emotions and motivations of Ben and Regina.