Shoe Horn Essay

The use of distinctively visual elements allows responders to interpret and create meaning from otherwise complex concepts. John Misto’s play ‘The Shoe Horn Sonata’ and Mike Subritzky’s poem ‘Sister’ both challenges the audience’s interpretation of the traumatic experiences of war. Through a range of distinctly visual techniques both composers help create an understanding of the power of time and the human spirit as overcoming adversity of war.

As Misto’s The Shoe Horn Sonata develops, the distinctly visual stage positioning of Bridie and Sheila changes to demonstrate how the protagonists’ friendship strengthens over time. Initially Bridie and Sheila are seated at a distance for each other, demonstrating the need for them to reveal their stories as a way of overcoming the metaphorical barriers created by the war. Whilst this metaphorical barrier creates a tone of tension, during their reconciliation a contrast in characterisation occurs. The protagonists now hold hands and sit beside each other on stage. This contrasts creates a shift in tone from one of dissonance to one of hope and friendship. Misto’s use of juxtaposed distinctively visual stage positioning allows the audience to recognise that time has allowed the protagonists to resolve their relationship flaws, and therefore shows how their relationship has changed over time from one of incongruence to one of togetherness. Despite the growth in Bridie and Sheila’s relationship however distinctively visual projected imagery is used to portray that while time can help heal bad experiences, it cannot completely erase these memories. Through strategic stage positioning, Misto places Sheila beneath projected images of “Starving male prisoners” as “she does some of kind of needlework with great intensity”. By positioning such distinctive and confronting images above Sheila, Misto shows that even when doing simple tasks such as needlework, the memories of war will always remain at the fore of the