Distinctively visual tools are manipulated by composers, so that images may be created in
a text, which allow responders to visualise the characters, events and experiences. John
Misto’s play The Shoe-Horn Sonata and Daniel Barnz film Cake explore how the hardships
faced by individuals reveal the truth of their experiences and effects on the relationships
they form with others around them. Respectively, The Shoe-Horn Sonata focuses on the
hardship and truth of war and the ways it effects relationships. Cake reveals how an
individual is challenged by the loss of a child and the true effects this will have on an
individual and their relationships. Therefore, distinctively visual techniques are used by
composers so that elements of their texts may be envisioned and understood thoroughly.
The truth about the women’s experiences of war is brought to life, as Misto uses
distinctively visual techniques in tandem with recollection. Through the use of various
techniques, an insight to the horrors of war experienced by the silenced female prisoners
are effectively conveyed. Projected images of the war appear on stage in the form of black
and white photographs. The images show emancipated men carrying large boxes with
great struggle, upon which Sheila comments “We were thinner than that” to contrast the
visual images, with the truth that the women endured the same treatment as men. This is
conveyed distinctively, so that responders are able to experience this hardship as it is
revealed in the play. Additionally, Sheila's humiliation and suffering is highlighted where
she tells Bridie the real truth of how she retrieved the quinine tablets. During this scene the
audience are too, presented with the truth of the sacrifices these women made at war.
Sheila hold’s up the Shoe Horn which evolves as a visual prop and symbol of the truth.
Bridie, notable confused questions this by asking “Didn’t you give that to Lipstick Larry...?”.
Here it is imminent that Sheila in fact gave up her body in exchange for medicine so that
she could save her friend. This revelation is brought to life through distinctively visual
techniques, so that responders too, can experience this with the women.
These mutual experiences however, effected the friendship shared by the women, as a
result of the suffering and torment imminent during the war. As the play progresses,
tension and periods of closeness are brought to life for responders through the distinctively
visual. Throughout the play, positioning is used as an integral technique for visually
conveying the experience of tested relationships. The tension in the play between Bridie
and Sheila is visually represented by Misto through the characters’ body language and
stage directions. Misto enhances this through Sheila’s vulnerability as she “nervously”
recounts the memories of the war through her stiff, mechanic and reserved movements,
demonstrating to the audience the ongoing effect of the suffering experienced. This is
juxtaposed by Bridie’s strong willed nature in her continual sense of dominance often
shown through the use of stage direction, for example “taking charge - as usual”. However,
a progressive reconnection is shown as the play continues. Misto unites them using stage
directions and dialogue, as he gradually situates the women “Side by side, holding hands”.
Subsequently, the end of the play leads to the Bridie and Sheila’s unification as they dance
to highlight their unique experiences that have enabled them to continue their life. The
music of the Blue Danube is a symbol of Bridie and Sheila's friendship and highlights their
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determination and resilience as they can put aside their differences and finish the dance
they were unable to complete when they were imprisoned.
Throughout Cake, distinctively visual images convey Claire’s emotional and physical pain..
Within the film, Claire is seen to be in pain and resentful towards the people and places
that surround her. The true cause of these circumstances is conveyed visually so that
responders are able to share in Claire’s experiences. The motif of landscape shots, show
Claire laying down and appearing immobile. This is portrayed in the scene where Claire
requests that her maid Sylvana, take her to Mexico so that she may purchase pain killers,
upon which she is dependent. Both characters appear to be in the car as the camera pans,
focusing on Silvana whilst Claire cannot be seen. Her voice, however, is heard over head
as she tells Sylvana to “Slow down”, in order to distinctively convey the experience of pain
she is undergoing, to the responder. A high angle shot of Claire station in the passenger
seat is further used to emphasise Claire’s vulnerability and conveys her reliability upon
Silvana’s support and need for care from the pain she endures. This is contrasted with the
motif of the box of toys which reveals that Claire’s circumstances have come about due to
the loss of a child. The toys are a distinctively visual enforcement of the true circumstances
of the film.
As a consequence of this hardship, Claire’s ability to interact with others was limited. This
significantly affected her relationships. As Claire struggles with the loss of her son, she is
unable to sustain normal interactions with others due to her grief. The responder identifies
this particularly through her relationship with her ex husband. The evidence of this is seen
when Claire’s relationship with her husband breaks down. Throughout the film a montage
of landscape shots of her mansion are used to emphasise that she is alone and that her
husband no longer lives with her. This is accompanied by purposeful silence so that the
responder is able to translate this distinctive image to understand the experience of a
relationship breakdown. However, this breakdown changes their relationship in the
concluding scenes of the film where Claire walks into her house to see the portrait placed
in the room. A close up shot of a large, portrait of her late son is filmed, accompanied by a
gradual zoom of a note attached to the portrait reading “this is where he belongs, with
you.” The note is evidently from her ex-husband. The purpose of these distinctively visual
techniques is to allow the audience to visualise how the hardship of losing a child has
caused a strain in her marriage due to the mutual experience of grief, which is brought to
life for the audience. As a result of the hardship endured, an individual’s relationships with
others is hindered.
Distinctively visual tools are influenced by composers as the images generates allow the
audience to visual the character’s experiences and events that occur. Both John Misto’s
play The Shoe-Horn Sonata and Daniel Barnz film Cake convey how the hardships faced
reveal the truth of their experiences which in turn effects the relationships they embody
with others around them. Therefore, distinctively visual techniques are manipulated by
composers so that components of these texts may be acknowledged and comprehended
thoroughly.
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