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Distinctively Visual
Question: Compare the ways the distinctively visual is created in The Shoehorn Sonata and in ONE other related text.
The Shoehorn Sonata 1995, a play by John Misto, and the poem Aftermath by Siegfried Sassoon both use various techniques to convey a distinctively visual text. These texts both address the ideas of war, power and survival and the composers have conveyed these in a distinctively visual way.
The Shoehorn Sonata is a play that focuses on the relationship between Sheila and Bridie, two women who have experienced much trauma in a Japanese Prisoners of War Camp. Through the course of the play, Misto allows the audience to learn many truths about the two women whilst uncovering the horrors of war. He uses distinctively visual techniques including symbolism, projected slides, music, stage directions and lighting to convey his ideas across to the audience.
In Act 1, scene 3 of the play, stage directions instruct projected slides of Singapore Harbour onto the screen, including photographs of the burning ships and clouds of smoke. These images show the fall of the British Empire in contrast to the rise of the Japanese empire in a distinctively visual way. The slides are a visualisation of the vulnerability of the hundreds of young women and children at sea, emphasising danger and aloneness. Projected slides have therefore been used to create a sense of sadness, pity and concern amongst the audience due to the distinctively visual image of women caught up in tragedy being created in the audiences mind. A projected image of the Japanese flag is also illuminated on the screen. "Large Japanese flag, the blood red rising sun". This projection is ironic and creates a sense of fear, showing in a distinctively visual way the impact that the Japanese had on the Prisoners of War. Further on in the play, images of the Japanese invasion of Singapore - Japanese soldiers riding bicycles, a sky filled with parachutes; Japanese battalions...
Question: Compare the ways the distinctively visual is created in The Shoehorn Sonata and in ONE other related text.
The Shoehorn Sonata 1995, a play by John Misto, and the poem Aftermath by Siegfried Sassoon both use various techniques to convey a distinctively visual text. These texts both address the ideas of war, power and survival and the composers have conveyed these in a distinctively visual way.
The Shoehorn Sonata is a play that focuses on the relationship between Sheila and Bridie, two women who have experienced much trauma in a Japanese Prisoners of War Camp. Through the course of the play, Misto allows the audience to learn many truths about the two women whilst uncovering the horrors of war. He uses distinctively visual techniques including symbolism, projected slides, music, stage directions and lighting to convey his ideas across to the audience.
In Act 1, scene 3 of the play, stage directions instruct projected slides of Singapore Harbour onto the screen, including photographs of the burning ships and clouds of smoke. These images show the fall of the British Empire in contrast to the rise of the Japanese empire in a distinctively visual way. The slides are a visualisation of the vulnerability of the hundreds of young women and children at sea, emphasising danger and aloneness. Projected slides have therefore been used to create a sense of sadness, pity and concern amongst the audience due to the distinctively visual image of women caught up in tragedy being created in the audiences mind. A projected image of the Japanese flag is also illuminated on the screen. "Large Japanese flag, the blood red rising sun". This projection is ironic and creates a sense of fear, showing in a distinctively visual way the impact that the Japanese had on the Prisoners of War. Further on in the play, images of the Japanese invasion of Singapore - Japanese soldiers riding bicycles, a sky filled with parachutes; Japanese battalions...