Speech Presentation: Distinctively Visual
Composers usually manipulate Distinctively Visual Tools with the intention of making the audience or readers to visualize or imagine the characters, events or experiences in a text or a presentation. In the play Shoe-Horn-Sonata, John Misto explores how people who experienced hardships in their lives can make them reveal the truth about the events surrounding them. The play focusses on how truths of war, especially Word Wars and hardships can affect relationships. Therefore, the use of distinctive visual techniques by composers is for the concepts in the texts to be understood perfectly.
Dramatic irony and visual representation
In the play, the experiences of women during the war are brought to life, as the composer uses recollection of the past to enrich the content. One of the descriptions or image representations used was during the start of the play where he conveys the way in which women were supposed to bow to Japanese soldiers. This visual representation technique to the audience, intents to convey the message of what was associated with bowing (image 5). In this case, the audience is left to determine the meaning of the gesture, in terms of powerlessness of the women or authority of Japanese. It can also mean the dominance of the Japanese culture during the war, submission of the women to their captors, or as an honor and respect to them. In this aspect, Birdie stands up to demonstrate how the females were supposed to behave when the guards called or summoned them. She bows stiffly and remains in that position, a bow or body position known as Kowtow, which is a salute to the emperor of Japan. A non-perfect bow was considered treasonous to the Japanese emperor and could warrant unfathomable punishment, something which can be understood as delusions of power and authority.
Projected images and emotive language
The images projected during the war are conveyed in white and black photographs. In the demonstration, the images show some emaciated men who are carrying boxes on their shoulders, with great struggle. It also shows other emaciated women in hospital beds managing sly smiles for the camera. As an indication, one of the participants Sheila, comments that “we were thinner than that”. (image 4) In that relation, there is a sense in which the audience can get a contrast of how things were during the war, a depiction that women were going through the same ordeal as men. This distinctive conveyance of visual images makes responders imagine the experiences as they are conveyed in the play.
Visual props.
In addition, the suffering and humiliation of Sheila is exposed when she reveals the truth to Birdie on the method she used to acquire quinine tablets for her. In a visual prop, which can be understood as a symbol of truth, she holds up the Shoe- Horn and question “Did you give that lipstick?”. This then gives the audience an impression of the extent in which Sheila went to save her friend that is, giving up her body for the medicine. This hard and humiliating revelation is brought about through visualization techniques, which makes the responders to experience and empathize with the plight of women during the war. The self -sacrifice which Sheila did to her friend is revealed in the most acquired of moments.
Stage directions.
These experiences affected friendships among women, which is as result of the torment and suffering experienced during the war. Periods of closeness and tensions are brought to the fore as the play progresses in a distinctly visual way. In this case, positioning is employed as a fundamental technique to convey tested relationships in the camp. Through stage directions and body language, the tension between Birdie and Sheila are conveyed by Misto to the audience. Considering Sheila, she conveys her experience of the war through a mechanical, and a nervous way which makes the audience understand the psychological effects of the war to her. Therefore, one can imagine the vulnerability and frailty of women in such stressful and tormenting moments in the prison camps. It demonstrates to the audience on the continuous post traumatic effects of the war to the victims.
Visual juxtaposition.
However, there is a line of visualization where Sheila is juxtaposed by Birdie who presents herself as having a strong personal will, which is exhibited in her continued dominance in the play, shown through stage directions. However, there is a sense in which the audience can see the reconnection between the two women as the show progresses, where Misto uses dialogue and stage directions to show it. The women are shown holding hands, standing side by side, indicating to the audience that the women are coming to terms with experiences of the war. In the end, the two women are engaged in a unification dance which highlights their distinct experiences during the war and their mutual respect for each other.
Music and songs
Music and songs are used in detail to visualize ideas and experiences. The song Rule of Britannia is used to convey a myriad of messages to the audience. The audience is compelled think of the influence the song has to the listener; either uplifting or dominating to those who are an oppressor or oppressed. The song can also evoke emotions of triumph, power or victory, which characterize the social and political significance of World War II. In this case, the audience is left to mull if the war was necessary, in relation to the suffering and torment of the people involved, especially vulnerable groups in the society such as women.
The women are shown as having come to terms with their suffering and torment which led them to continue with their lives, albeit the post trauma issues. The music they dance to is Blue Danube, which symbolically highlights the friendship of Sheila and Birdie and their determination and resilience in life. They have put their differences aside, which is a conveyance of the idea that sharing the same hardships and experiences can result to the creation of a unique bond. To conclude, distinctly visual tools are used by composers to enable the audience to visualize the events as they occurred. John Misto employs these techniques to ensure the embodiments of the messages are understood perfectly by the audience.
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