Distinctively visual techniques are predominantly used in both the play The Shoe Horn Sonata and the poem ‘War Photographer’. They each represent unique images of individuals by expressing the traumatising experiences of war on Bridie, Sheila and the photographer through stories. Misto’s visual play is, effectively a monument to heroic women who went through horrific experiences during World War II, He uses language, movement, props, lighting and screen projected images to convey his message while Duffy uses language format to represent the ways an individual can be affected by war and the impact it can have on their life. Distinctively visual is proficiently applied in Misto’s 1990s play as he creates two characters who are completely different
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
Being an active viewer while watching a performance allows yourself to understand the meaning behind different aspects of the performance in your own interpretations of the choreographers message. While watching Igor Stravinsky’s piece titled Rite of Spring, the opening dance resembles the theme of The Scarlett Letter novel. During the dance, I saw some movements and space recognition that represented a burden of this “letter” an individual dancer with corresponding a with the other dancers in the piece who symbolized a society. The “letter” in the novel was a woman who had a child out of wedlock with the society around her being angry with her action. This was a burden upon the women because this aspect wasn’t appropriate to others in 1850’s when the novel
Using distinctively visual, sensory language and dramatic devices in texts allows the reader and audience to view as well as participate and relate to different emotions. In the fictional play “Shoe Horn Sonata” written by John Misto, 1995, Misto sets the scene by using dramatic devices to address the extremely confronting circumstances that the protagonists, Sheila and Bridie experience. Similarly, in the poem “Beach Burial” by Kenneth Slessor, 1944, Slessor too uses extremely strong visual language on the subject of war to overcome the gruesome realities of the subject matter. Misto’s play “Shoe Horn Sonata” shares the impacting journey two young women are forced to face, spending 1287 days in captivity in a Sumatran war camp, during world war two.
This time period and this exile, is abhorrent but also a great catalyst for art and creation. Inspiration is born from frustration, at a society, at a culture, at the rejection of ones identity in the face of a
Alone, lies create the gray between right and wrong. The lines between storytelling and lying become blurred in the world of storytelling, but that is not a concern in the theatre. Theatre uses this gray area as a tool for self-reflection. Through the telling of other people’s lives, the audience is allowed a degree of separation and a more objective understanding of society and the conflicts that human beings face. Many times this grasping of self is achieved through understanding characters’ lives and the lies in which they live.
Dramatists' names included are about sixty-two like: August Wilson, Charles Gordone, Adrienne Kennedy, Oyamo and Richard wright. For each dramatis, Nelson provides a biography, major works and themes, critical appreciations, bibliography as well as aiding additional
The Aristotelian element of drama known as spectacle, or what is seen onstage, is important to the development of any play or musical. Spectacle plays an influential and essential role in Henrik Ibsen’s A Doll’s House. The specific things and actions the audience sees in this play provides them with necessary information to understand the characters, storyline, and many other aspects of the play. There are numerous examples of specific things Ibsen intended for the patrons to observe throughout the course of this show.
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
However, according to Rob Doggett, “Yeats now conceptualized ‘an unpopular theatre, with an audience like a secret society where admission is by favour and never to many,” (Doggett 1). Doggett is suggesting that Yeats bailed on the Abbey Theatre to create a new secret theatre for those who were wealthy enough for it: almost like a secret club with bouncers where only the elite were allowed on the guest list. Yeats didn’t want the middle class filling up his theatre anymore. Doggett observes, “he evokes the figure of the ‘hostess’ that clichéd reminder of Big House culture where the wealthy might dabble in art as rent-strapped peasants starve” (Doggett 2). Doggett is realizing the shift in Yeats as he starts to idealize the aristocrats and Big House culture which I would go further to say that one might see a shift in Yeats’ purpose for putting on shows.
1. Introduction ‘When any civilization is dust and ashes,’ [Jimmy] said, ‘art is all that’s left over. Images, words, music. Imaginative structures. Meaning – human meaning, that is – is defined by them.
In the drama “The Shape of Things”, Neil LaBute explores gender roles and exposes alternative visions of power, control and morality in human relationships. The drama narrates the physical and behavioral transformation of Adam, a part-time museum guard who is subject to the manipulation and control of a radical artist named Evelyn Ann Thompson. This essay will demonstrate that Adam is not responsible for his transformation, and that he is a victim of Evelyn’s manipulation and control. Gender reversal is one of the techniques employed by the author that allows the reader to perceive the character of Adam as a victim. In the beginning of the play, LaBute switches traditional gender roles by portraying Evelyn as a dominant figure and Adam as a passive character.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Such revivalists hardly knew the peasants they tried to present in their work so that they could construct them as per the idealization, inside the noble realm of poverty and suffering. Dublin audience did not know exactly – and did not want to know the real Irish. So that they created in their minds an idealized version of Irish peasant which was promoted by the plays of the Irish National Theatre Society, such as W. B. Yeats’s Cathleen Ni Houlihan (1902), or Douglas Hyde’s Irish-language plays. As a result of this blind idealization, Synge’s works were attacked for the actual presentation of Irish folks as they are. Breaking the very expectation of the Dublin audience about the portrayal of characters, his characters did not fit to the idealized ones.
Literature is a mirror of society. It has thousands of threads which can weave the beautiful piece of art. Each thread has its own importance in the creative work. In the same way there are different types of narrative techniques for the narration of literature. Realism, in literature, is an approach that attempts to describe life without idealization or romantic subjectivity.
