booklet 3 - shoe horn - blank (1)

7/26/2019 Booklet 3 - Shoe Horn - Blank (1)

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Kylie HetheringtonAbstractANALYSIS OF ACT TWO

THE SHOE-HORNSONATA

o!"le A# $istincti%ely &is"al


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Analysis o' the Te(t

Analysis - Act T)o* Scene Nine

The scene o+ens in the st"!io an! !o,inating the s+ace is a large i,age o' bothA"stralian an! ritish )o,en bo)ing to the .a+anese/ This h"ge i,age re,ainsthro"gho"t ,ost o' the scene an! the a"!ience cannot esca+e its ,eaning/ othri!ie an! Sheila are +resent an! ri!ie is o0 to one si!e singing the Ca+ti%e1s2Hy,n1 3)ith the )o,en1s choir4/ Sheila is s+ea5ing to the ca,era an! her ans)ersto the 6"estions are 7"(ta+ose )ith ri!ie1s singing/ In this inter%ie) )e learn abo"tthe sit"ation in elala" an! the .a+anese or!er that ha! been iss"e! to 5ill e%ery+risoner o' )ar/

ri!ie1s illness an! the )ay in )hich Sheila loo5e! a'ter her is ,a!e +"blic8b"tSheila ba"l5s at telling the )hole tr"th abo"t ho) she ac6"ire! the !r"gs to sa%eher* ,a5ing "+ the story o' theshoe-horn sa%ing her/ This in'or,ation is +ic5e! "+ by the inter%ie)er as i' it is highlysigni9cant/The scene en!s )ith the story o' C"rtin1s,essage# 2Kee+ s,iling* girls1/ The horror o'this co,,an! is e,+hasise! by the i,age o' C"rtin an! the +risoners an! the ."!y:arlan! song/

F"rther AnalysisThis scene 'oc"ses on Sheila1s re+resentation o' e%ents that contin"e the narrati%e o'the e(+erience/ isto has gi%en both )o,en a scene )here they are the +rotagoniste0ecti%ely allo)ing each )o,an to ha%e a %oice that is re+resentati%e o' both theA"stralian an! ritish )o,en )ho )ere hel! in ca+ti%ity/ The isolation o' eachcharacter on the stage in these t)o scenes +resents the a"!ience )ith theo++ort"nity to e(+lore an! note the si,ilarities an! !i0erences bet)een their+ersonalities ; o+en* 'orthright* at ti,es h"bristic an! reser%e! 3"nless rela(e! byalcohol4 an! ,o!est* albeit )ith a to"ch o' ,artyr!o,/


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Note a5ing Acti%ityYo" are to c"t o"t each o' the state,ents abo%e an! stic5 the, against the !ra,atic an! lang"age !e%ices that they ,atch to/Once yo" ha%e !one this yo" are to )rite a state,ent o' ho) the a"!ience %is"alises the e%ents an! e(+eriences o' the )o,enbeca"se o' the )ay Misto uses dramaturgy and lang"age in the +lay/

Dramaturgy and

Language

Analysis Distinctively Visual


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Writing Acti%ityOverview (Topic Sentence)

istouses vivid imagery in The Shoe-Horn Sonata topoint to the horrendous truth of the experiences

of the women during World War !

Level One (Technique and Example)Outline ONE use of imagery in this scene and provide an example

Level Two (P

urpose)!ow does this wor" with the stage directions or dramatic elements to create a distinctively visualimage#

Level Three (Analysis)!ow does the imagery (language) and dramatic techniques reveal the truth of the women$s

experiences# (Analysis)


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Writing Acti%ity%onvert your answers into a cohesive paragraph (Topic Sentence& TechniqueExample& Purpose& Analysis& Lin"ing Sentence)


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Analysis - Act T)o* Scene Ten

The transition tothis scene hol!s thei,age o' e,aciate!,ale +risoners in%ie) as )e ,o%einto a s+ace that isneither hotel roo,nor st"!io altho"ghboth characters arestill )earing bo!y,icro+hones/ Sheilahas not gone tol"nch an! is sitting!oing so,e 5in! o'ta+estry8an i,ageo' stitching thingstogether/ ri!ieco,,ents on the+hotogra+h o' the

sol!iers8a co,,ent that sti,"lates a ri+oste 'ro, Sheila abo"t the role o' thego%ern,ent in s"++ressing in'or,ation abo"t the )o,en1s role in the )ar/ Thisinteraction bet)een the on-stage action an! the +ro7ecte! %is"al i,ages connects+ast an! +resent/

Their con%ersation re%eals the tension that is no) o"t in the o+en/ Recri,inations>o) as ri!ie tries to ,a5e sense o' )hat she has learne! an! Sheila tries to !e'en!her actions* not only )ith the .a+anese b"t also in lea%ing ri!ie a'ter the )ar/ Theinterc"tting o' Ric51s %oice into their altercation lea%es the, not 5no)ing ho) ,"chhe has hear!/ The 7"(ta+osition o' the song 2I1ll Wal5 Alone1 s"ggests the isolation o'each o'these %icti,s o' this !rea!'"l sit"ation/


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Note a5ing Acti%ity

Below, the boxes which have been shaded grey need to be completed.

deas Dramatic

features $

Language

features

%peci&c

examples from

the text

What is

visualised

through these

dramatic

features'

Analysis

&iolence against)o,en

(ro)ectedvisual images $stagedirections

The scene o+ens)ith the large+hotogra+h o'the ,ale


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deas Dramatic

features $

Language

features

%peci&c

examples fromthe text

What is

visualised

through these

dramatic

features'

Analysis

Sheila1s res+onsee(+oses thecontrolling o'i,age+er+etrate! bythe A"straliango%ern,ent)hich in +art*

has contrib"te!to the silence!re+resentationso' the e(tre,enat"re o' thee(+erience 'orthe )o,en/

Tr"th an! telling thetr"th

The !isc"ssionbet)een the t)o)o,en on the+erio! they

re,aine! inhos+ital* to'atten the, "+be'ore they )ereseen by the+"blic/

Find relevantexample.

Ill",inates an!s"ggests that )ecan an! !ocontrol i,age in

or!er toconstr"ct asociallyacce+table+ers+ecti%e/Si,ilar stories o'hi!ing the historyo' )o,en an!+ri%ileging thenarrati%e o' ,enare e%i!ent in

e%i!ence 'ro,Singa+ore 'or the,any )o,en)ho )ere hel! inChangi or 'orthose hel!+risoner in .a+an/

The )o,en1shistory o'i,+rison,ent inChangi history)as not )rittenabo"t"ntil BDan! only then


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deas Dramatic

features $

Language

features

%peci&c


What is

visualised

through these

dramatic

features'

Analysis

has it co,e tolight the e(tento' the illness*challenge an!ins+iration thatcan be !ra)n'ro, the'e,inine

e(+erience/

Telling the tr"th The !ialog"ebet)een the t)ocharactersret"rns to thehotel roo,re%elation o'Sheila1s secret/Find relevantexample.

The %is"alre+resentation o'the characterson the stage-their proximity-theaw.wardnessand tensioncontinues aswe see /ridiecoming toterms with%heila0s story!Find relevantexample.

The con'rontingi,ages o'

Li+stic5 Larry stillha"nt Sheila/

a tone o'isolation an!loneliness+er%a!es thescene/

contin"es thesense o' c"lt"ral

re+ression thathas le't Sheila


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deas Dramatic

features $

Language

features

%peci&c


What is

visualised

through these

dramatic

features'

Analysis

The challengingnotion o'sacri9ce an! there%elations o'Sheila1s ,otherre7ecting hernee! to tell herstory/

Find relevantexample.

There is gen"inebitternesse%i!ent in the'aciale(+ressions an!bo!y lang"ageFind relevant

example.

9r,ly +lace! inisolation* li%ingalone constantlyre,in!e! o' thee%ents that ha%ecirc",scribe!her/

a sense that)hilst Sheila canrationalise* i' not'orget hersacri9ce* ri!iecannot.

The nat"re o' historyto obsc"re the tr"than! silence the )ea5an! +o)erless insociety

The scene en!s)ith therealisation both)o,en ,ayha%e been li%eon their,icro+hones*)hich co"l! ha%ee(+ose! the,both/

The !ra,aticirony that thestory is no) tol!an! is no)+"blic/Find relevantexample.

re,in!s "s o' theo%ersha!o)ingnat"re o' historyan! e(+loresho) )e aresilence! by thee(+ectations an!constr"cts o' asociety that !oes

not al)ays )antto ac5no)le!getr"th/


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deas Dramatic

features $

Language

features

%peci&c


What is

visualised

through these

dramatic

features'

Analysis

The scene en!s)ith the+oignant strainso' AnneShelton1s I1llWal5 Alone3lyrics !o notstart "ntil #4/Find relevantexample.

At the %ery least*society str"gglesto !eal )ithcon'rontingi,ages this

narrati%e+resents abo"tthe )ar an! o"r+artici+ation in itan! ho) iti,+acte! on arange o'in!i%i!"als


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Analysis o' Act T)o* Scene This scene is bac5 in the st"!io an! the %is"al i,age o' the +ostcar!s see,s !)ar'e!besi!e the +ro7ecte! i,ages that )e ha%e +re%io"sly seen/ The recitation o' the

)or!s o' each o' the +ostcar!s lea!s the )o,en bac5 into their ,e,ories/ The,o,ents o' !ar5ness highlight the+ain o' these e(+eriences/

In this scene the i,age o' the sonata beco,es signi9cant as the )o,en tra)l bac5thro"gh their,e,ories together/ In this scene* one o' the ,ost i,+ortant iss"es o' the +lay ishighlighte!8theco,+lete lac5 o' ac5no)le!ge,ent by the A"stralian go%ern,ent 7"(ta+ose! )iththe +iti'"lly s,all a,o"nt o' co,+ensation +ai! by the .a+anese go%ern,ent tothese %icti,s o' the+o)er +lay o' these so%ereign states/

Literal i,ages are +resente! 'ro, the o"tset o' the scene )ith the +ostcar! beinghel! "+ 'or the a"!ience to see? the +ostcar!s* sent thro"gh the Re! Cross* re+resentconnection an! !isconnection/ ri!ie1s +ostcar! ,essage has )ar,th an! re+resentsher connecte!ness to 'a,ily* Sheila1s* rea! by ri!ie 'ro, ,e,ory* !es+ite the Gyear ti,e s+an* re%eals the stoicis, o' the ritish %ie) she has been li,ite! by herentire li'e/ The staging o' the )o,en* si!e by si!e +resents "nit? the 5no)le!ge o')hat )as on each +ostcar! re%eals the inti,acy o' the relationshi+ +resenting aninnate s+irit"al connection bet)een the t)o/

ental i,ages are +ro%o5e! in the ,in!s o' the a"!ience as the )o,en relate

!igging gra%es an! singing songs* an! the ins+iration they !re) 'ro, the ,"sic thatnot only strengthene! the, b"t the other re,aining )o,en le't in the ca,+/

Sheila1s e%ocati%e reco"nt o' her ret"rn to the ca,+ is +resente! in halting +hrasesallo)ing the a"!ience to a++reciate e%ery i,age ; or the absence o' the i,ages ;h"ts* 'ences that no) only hol!s ghosts* both +resent an! +ast/ The shoc5 e(+resse!by Ric5 echoes the shoc5 that is 'elt by the a"!ience at the realisation o' the lac5 o'!ignity an! co,,e,oration a0or!e! these )o,en an! chil!ren/ The e(tent o' theloss o' li'e is +ro'o"n!/ Sheila +resents the ,eta+hor that she has ne%er le't this+lace ; the !ar5ness that shro"!s the stage 'or 7"st a 'e) ,o,ent echoes the,eta+hysical !ar5ness that has o%er)hel,e! her li'e/

As the lights go "+ again the a"!ience sees ri!ie stan!ing besi!e Sheila* a %is"alre,in!er o' their "nity* a +rotecti%e stance/ She relates* )ith ob7ecti%e clarity* the+iti'"l co,+ensation o0ere! by the .a+anese an! the shoc5ing e%i!ence that theA"stralian go%ern,ent )o"l! not s"++ort the, in a bi! 'or ,ore co,+ensation/ It)o"l! see, that the i,ages o' )o,en as +risoners* an! the silences that ha%es"rro"n!e! their re+resentation* )ill contin"e/

The contin"ity o' the +lot is s"++orte! by the re'erence to 2s,iling1 'ro, Scene Nine/The irony +resents the !isco,'orting re,in!er o' the years o' !e+ri%ation a! ab"se'ro, the .a+anese as an ongoing tra",a that both )o,en carry )ith the,/


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The scene en!s in !ar5ness* !eliberately con'ronting as a ,eta+hor o' an en!ing* aclosing o' the re+arations that can be ,a!e 'or the losses o' those )ho )erei,+acte! on by this e(+erience/

4echni5ues 6xamples of

4echni5ues and

5uotations from

Shoe Horn

Visual 6lements

7 68ect of

visual elements

of the textTensions in theirrelationshi+Loo5ing an!seeing the tr"th&iolence against)o,en


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Writing Acti%ityOverview (Topic Sentence)

istothro"gh intense !ra,atic an! lang"age in The Shoe-Horn Sonata inten!s 'or the a"!ience to be +artici+ants in the

realisation of the lac. of dignity and commemoration

a8orded these women and children!

Level One (Technique and Example)Outline ONE use of imagery in this scene and provide an example

Level Two (Purpose)!ow does this wor" with the stage directions or dramatic elements to create a distinctively visual

image of the lac" of official commemoration or memory for these women#

Level Three (Analysis)

!ow does the imagery (language) and dramatic techniques reveal the tragic negligence inmemorialising the women$s sacrifice and resilience#


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Writing Acti%ity%onvert your answers into a cohesive paragraph (Topic Sentence& TechniqueExample& Purpose& Analysis& Lin"ing Sentence)


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Analysis o' Act T)o* Scene G

This scene ta5es +lace in the ,otel roo,/ ri!ie is atte,+ting to re-establish theirrelationshi+ !es+ite the ob%io"s tensions bet)een the,/ It is in this scene that )elearn o' ri!ie1s 2cri,e1 in the $a%i! .ones1 'oo! hall/ We no) "n!erstan! ho) she'eels an! )hy she reacte! in this )ay/

Sheila1s reaction to this con'ession allo)s "s to see ho) !ee+ly scarre! these )o,enha%e been by their e(+eriences8not only by the .a+anese* b"t also by the res+onsesan! inaction o' their o)n co"ntries/ Sheila1s realisation is that it is i,+ortant not only'or the,sel%es b"t 'or the tho"san!s o' others si,ilarly aicte! to tell these storiesin +"blic/ ri!ie is not yet con%ince! an! the tension bet)een the, arises again/ Weare no) a)are that this tension is abo"t the +resent* the +ast* ,e,ories*recollections* reconstr"ctions* tr"th* sha,e an! g"ilt/ The ,o,ent o' !ar5ness

ret"rns* 'ollo)e! by i,ages o' 2great ,en1 o' history an! the song* 2Whis+ering:rass1/

This scene ret"rns the hotel roo,* Sheila1s* )here the re%elation o' e%ents too5 +lacein Scene Eight/ ri!ie an! Sheila are engaging in a dualogue that vacillates*etween *ic.ering and intimacy implying that this has *een the nature oftheir relationship since their &rst meeting! We are once again reminded ofthe imagery of the &rst meeting of the women and their earlier de*ates on%inatra and 9ros*y! Misto is reminding us here of the continuance ofrelationships and the memories they have of each other as vivid and real /

The i,age in!"ce! thro"gh the relating o' one o' the other )o,en 'orgi%ing aChinese )aiter the +re%io"s e%ening re,in!s "s o' the en!"ring i,ages o' theatrocities 'or all the )o,en an! ho) they ha%e ongoing i,+act/ Misto cleverlyreveals here the ways in which (:Ws have had to shift their perspective ofpeople and events in a world that has changed and moved on and to someextent- politically- culturally andsocially* )ants to ignore the i,age o' atrocity)e ha%e seen thro"gh the +hotogra+hs an! thro"gh the stories )e ha%e been ,a!e)itness to/ F"rther e%i!ence o' this i!ea is +resente! thro"gh ri!ie1s relating toSheila o' being ca+t"re! sho+ li'ting* beca"se o' 2the Ni+s1/ The )ay she na,es the+eo+le i,+lies the negati%e connotations she still associates )ith the .a+anese/Misto highlights here the di;culties and challenges of overcoming hatredand pre)udice when you have *een su*)ected to such devastating e%ents an!e(+eriences/ We i,agine an! thro"gh thatexperience the visceral terror /ridiefelt when surrounding *y


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recognise the +o)er o' secrets/ Ironically* it has been Sheila )ho has been acc"se!o' 5ee+ing "+ a 'ace o' !ecor", thro"gho"t )e no) see ri!ie as being a %icti, o'that sa,e nee! to hi!e her sel'-i,+ose! sha,e an! secrets/

Sheila1s e%ocati%e !ialog"e re%eals that the )ar is not o%er 'or her* an! that she hasco,e to the realisation that only the telling o' the tr"th* e(+osing the i,ages o' loss

an! sa!ness* o' her o)n integrity are the )ay 'or)ar!/ Cle%erly* isto re,in!s "s* inthis ,o,ent o' %"lnerability* o' the nee! to 5no) the tr"th i' )e are to e(+ose the+ain an! the, )or5 to acce+t o"r circ",stances an! their conse6"ences o"rsel%es/The balance o' +o)er bet)een the )o,en has clearly shi'te! as it is no) ri!ie )ho)ants to 5ee+ the secrets an! Sheila )ho is e,+o)ere! by the +otential 'ree!o, o'sharing the tr"th/

The en! o' the scene is both +oignant an! h",o"ro"s/ Sheila* the characteren!o)e! )ith all +ro+riety an! !ignity* ,oc5s ri!ie as she lea%es the hotel roo,)ith ono,ato+oeic cl"c5ing rein'orcing the stage !irections that tell "s she is%is"ally >a++ing her ar,s as )ings/ We see a 'ree!o, o' e(+ression an! )illingnessto con'ront an! challenge the attit"!es o' a society that )o"l! +re'er the i,ages an!

stories o' )hat occ"rre! in the ca,+ to re,ain hi!!en/ The stage shi'ts to !ar5ness*a ,eta+horical re,in!er o' ho) )e hi!e tr"th in !ar5 +laces so that )e are notcon'ronte! by the,/


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Writing Acti%ity Eight

To+ic Sentence

The distinctively visual positions the responder to gain an experiences about past events and

personalities. This acts as a catalyst, exposing the responder to the experiences of the women

and the long term effects of war that they suffered.O%er%ie)

/ Ho) has the i!ea in the to+ic sentence been re%eale! in Scene

Le%el One 3Techni6"e an! E(a,+le4

List three 5ey "ses o' !ra,atic* %is"al an! lang"age techni6"es "se! in thisscene/ 3Ens"re yo" also note the re'erences or !escribe the e(a,+les/ a5e s"rethey connect to the to+ic sentences/4

Le%el T)o 3


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Le%el Three 3Analysis4Ho) !o the !ra,atic techni6"es an! the !istincti%ely %is"al ele,ents in thisscene )hich enhance o"r "n!erstan!ing an! e,otional res+onse o' the horroran! sacri9ce o' )ar

Writing Acti%ityCon%ert yo"r ans)ers into a cohesi%e +aragra+h/ 3To+ic Sentence* 4echni6"e6(a,+le* ("r+ose* Analysis* Lin5ing Sentence4


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Writing Acti%ity Nine

To+ic Sentence

The distinctively visual allows the audience to intellectually and emotively experience the

betrayal of the women through secrets and hidden history.

O%er%ie)/ Ho) has the i!ea in the to+ic sentence been re%eale! in Scene

Le%el One 3Techni6"e an! E(a,+le4List three 5ey "ses o' !ra,atic* %is"al an! lang"age techni6"es "se! in this

scene/ 3Ens"re yo" also note the re'erences or !escribe the e(a,+les/ a5e s"rethey connect to the to+ic sentences/4

Le%el T)o 3


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Writing Acti%ityCon%ert yo"r ans)ers into a cohesi%e +aragra+h/ 3To+ic Sentence* 4echni6"e

6(a,+le* ("r+ose* Analysis* Lin5ing Sentence4


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Analysis Act T)o Scene ThirteenThis scene c"ts straight into the inter%ie) as both ri!ie an! Sheila reco"nt theire(+eriences as the )ar !ra)s to an en!/ We hear abo"t the !iaries an! the

b"rning o' these by the ritish/ This is o%erlai! )ith i,ages o' Hiroshi,a an! thene)s o' the !eath o' oo!ing in o' their li%es +rior to the )ar/ The nostalgia is e%ocati%e/The +ro,ise ,a!e at that +oint in history is reiterate! on the stage an! is a


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'oresha!o)ing o' the en! o' the +lay/ The scene ,o%es to e(+lore ho) the)o,en )ere 'o"n! in the last !ays o' their ca+ti%ity/ They reco"nt the historical'acts o' Hay!en Lennar! 9n!ing )o,en


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Analysis Act T)o Scene Fo"rteenThe 9l,ing has 9nishe!* an! ri!ie is rea!ing a ne)s+a+er8a +oignant sy,bol o'the oMcial %ersion o' ne)s/ The t)o colleag"es an! 'rien!s are no) re"nite! an! this

is containe! in thei,age o' the li'ting o' the s"itcase/ While ,ost o' the tension has been release!there is still so,e "nresol%e! b"siness to be !ealt )ith/ Sheila hol!s o"t the shoe-horn* no) the sy,bol not only o' their re"nion* b"t also o' their reconciliation/ Thet)o )o,en e,brace/ The +lay en!s )ith the, )o,en !ancing to the 2l"e $an"be1an! in the slo)ly !ar5ening s+ace the 9nal s+otlight 'alls on the shoe-horn/

The 9nal scene o' the +lay begins )ith Sheila sitting on stage? the set is her hotelroo,/ The stage !irections in'er that her s"itcase is +ac5e! an! she is rea!y tolea%e a'ter saying her goo!byes/ ri!ie enters the stage=roo, an! +resents thesi,ile that ill"strates Ric51s sense o' s"ccess? it is a clich! si,ile an! yet!e,onstrates that the inter%ie)er 'eels he has been s"ccess'"l in con%eying thestory an! insights that )ill ,a5e his !oc",entary ,eaning'"l ; the !ra,atic

irony is that the style o' !eli%ery on stage* as a !oc",entary )ith the +ersonalinsights integrate! thro"gho"t* has +resente! an insight'"l an! +oignante(+erience 'or the a"!ience/

The )o,en +resent banter in the scene b"t the +ro'o"n! i,agery co,es 'ro,,ention o' Christ,as* e%o5ing the nee! that they e(+erience! in the ca,+contin"es to resonate an! that these )o,en )ant to share so,e o' thosee(+eriences in the '"t"re as their o)n 'or, o' re+aration* a!!ressing the,e,ories by creating the tangible ; the ones they 2!rea,e!1 o' in the ca,+/

Sheila gi%es ri!ie her shoe-horn )hich is a +oignant ,o,ent? the sacri9cee,be!!e! in its +resence is o%er)hel,ing/ The e,brace by the )o,en +resentsa 9nal ,o,ent o' gen"ine a0ection 'or the a"!ience allo)ing "s to see theircon>icts an! tensions resol%e!* altho"gh not in a 2,a"!lin1 ,anner* to reiterateSheila1s earlier +hrase/

The scene an! the +lay en!s to the strains o' The l"e $an"be an! the t)o)o,en )alt@ing celebrating 9nally* the 'ree!o, they no) en7oy* not 7"st literal'ree!o, b"t a 'or, o' s+irit"al 'ree!o, 'ro, the horrors that li,ite! the, bothan! ha! been the ca"se o' tension thro"gho"t the +lay/

The h",o"r "se! in the 9nal scene creates bathos? this is not a ,a"!lin or!e+ressing ,o,ent? )hilst there is nostalgia isto re+rises the barbs an!

!ebates o' E,+ire an! c"lt"re ; Sinatra or Crosby ; that s"staine! the )o,enthro"gho"t their ti,e in the ca,+s/

The s+otlight on the shoe-horn 'oc"ses "s on not only these )o,en )ho ha%es"r%i%e! an! their share! narrati%e* b"t the sy,bolis, it con%eys* o' ,any)o,en an! ,any songs an! %oices )ho !i! not s"r%i%e or* 'or those )ho !i!*,ay still not be in a +osition to share their story an! be 'ree as the 9nal,o,ents o' score an! action on the stage o' the t)o )o,en !ancing con%ey/

Mistoleaves his audience uplifted= the signi&cance of this &nal scene-the &nal image is that we too can rise a*ove even the mostextraordinary and dire experiences and *e uplifted and inspired and in

turn- uplift and inspire others!


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The,es an! I!easHistory an! historiogra+hyWhile the 'oc"s o' the +lay a++ears to be on the t)o in!i%i!"al characters* it is

thro"gh their story that )e !isco%er an e%en bigger story8the )ays in )hich oMcialso"rces constr"ct histories so that tr"th beco,es a central cas"alty/ In one sense the+lay is abo"t historiogra+hy or the )riting o' history/ This is e%i!ent in %ario"sas+ects o' the +lay incl"!ing the 7"(ta+osition o' the 2'act"al1 in'or,ation in thesli!es an! the 9ctional characters/ "t it also o+erates )ithin the stories o' thecharacters the,sel%es ,o%ing )ithin the stage s+ace/ The hesitation o' the )o,ento tell their stories +"blicly has hel+e! to s5e) the )riting o' the history/ "t )eco,e to "n!erstan! the )ays in )hich the )o,en ha%e e0ecti%ely coll"!e! )ith.a+anese* ritish an! A"stralian oMcial!o, by 5ee+ing their o)n co"nsel/ It isinteresting that no)* 9'ty years a'ter the )ar* they are telling their stories in an oral,e!i", beca"se* "nli5e other oMcial )ar stories* they ha%e not been recor!e! in)riting/

It is also signi9cant that in the telling o' these stories it is the ,ale inter%ie)er )ho issee5ing the in'or,ation 'or another +"blic ,e!i", o' recor!ing history8one that isas +otentially selecti%e as the oMcial go%ern,ent recor!s can be/ In both cases it isthe stories that are not tol!82the negati%e in'or,ation18that lea!s to a s5e)e! an!"ntr"th'"l acco"nt o' e%ents/ This is a +lay abo"t the stories that are not tol! 'or%ario"s reasons/

Acti%ity/ Fin! three e(a,+les 'ro, the +lay

>istory and

>istoriography

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>istory and

>istoriography

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Tr"th* honesty* can!o"rTr"th is central to the i!eas o' this +lay/ The i!ea o' tr"th* telling the tr"th an!recognising the tr"th is not locate! only in the interrelationshi+ bet)een the t)o)o,en/ Certainly* )e co,e to "n!erstan! that there has been a concealing o'tr"th bet)een the, !"ring their ti,e in the

ca,+ an! a'ter their release/ This conceal,ent is ai!e! by Sheila1s geogra+hicalisolation/ For ri!ie* telling the tr"th has arisen as an iss"e in relation to the the't'ro, the $a%i! .ones 'oo! hall/ Telling the tr"th is also sho)n to be an iss"e intheir interactions in the +resent? b"t honesty8or ,ore signi9cantly8lac5 o' it* isalso sho)n to be +art o' the ,o!"s o+eran!i o' the ritish* A"stralian an!

.a+anese/ OMcial conceal,ents ha%e their oMcial s+in* b"t they areconceal,ents* ne%ertheless/


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Herois,The +lay re%ol%es aro"n! the heroic !ee!s o' the )o,en !"ring the )ar/ These!ee!s )ere acts o' +hysical co"rage o' the highest or!er/ For Sheila* the s"+re,esacri9ce o' selling her bo!y to the .a+anese in or!er to obtain the necessary !r"gs'or her 'rien!1s s"r%i%al is all the ,ore +oignant as )e "n!erstan! the c"lt"ral an!

social bac5gro"n! that she ha! co,e 'ro,/ "t these are not the only !ee!s o'herois,/As the stories "n'"rl )e enco"nter the heroic s+irit not only o' these t)o )o,en* b"to' others )ho )ere in the sa,e sit"ation/ We co,e to "n!erstan! herois, not onlyas a ,asc"line characteristic* an! not ,erely associate! )ith great +hysical 'eats/Sheila1s greatest heroic act is to gi%e her bo!y to the .a+anese sol!iers in or!er tosa%e the li'e o' her 'rien!/


>eroism and

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e,ories* !ealing )ith +ain* reconciliationA 5ey 'oc"s o' this +lay is on the reconciliation that e%ent"ally occ"rs bet)een thet)o )o,en/ This reconciliation is not easily co,e by an! in!ee! at so,e +ointsthro"gho"t the +lay it see,s !o"bt'"l )hether it is +ossible at all/ The re"nion o' thet)o ,eans that layers o' ,e,ories ,"st be recalle!* reli%e! an! reconstr"cte! so

that "n!erstan!ing an! acce+tance can co,e into +lay/ This is a +ain'"l +rocess b"tboth characters co,e to "n!erstan! that r"nning a)ay 'ro, +ain is only one )ay o'!ealing )ith it an! there is so,ething satis'ying 'or the, in !ealing )ith it in a ,oreo+en )ay no) that they are together again/For each character )e see that there is both a +ersonal reconciliation )ith +ain'"l,e,ories as )ell as a reconciliation )ith each other/ The reconciliation o' their'rien!shi+ can only occ"r )hen the +ersonal reconciliation has been achie%e!/ Whatis ob%io"s at the en! o' the +lay is that there has yet to be a +"blic reconciliation 'orthese )o,en )ith the )i!er )orl! )hich is still to ac5no)le!ge the,/


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booklet 3 - shoe horn - blank (1)

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