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Interesting in its own right is the filming technique of the performance itself. Because Shaw's performance is a solo act, there is not a lot of camera work required to capture it. As a result, many of the camera angles are reminiscent of a documentary interview (see image below). Suddenly, each new speaker within the poem becomes, in a sense, its own interview. Rather than a crowd of random voices, these characters get a chance to offer their testimony of their experiences. This can be seen in the opening lines of the poem as Shaw (in character, of course) tells of her memories with her cousin: | Interesting in its own right is the filming technique of the performance itself. Because Shaw's performance is a solo act, there is not a lot of camera work required to capture it. As a result, many of the camera angles are reminiscent of a documentary interview (see image below). Suddenly, each new speaker within the poem becomes, in a sense, its own interview. Rather than a crowd of random voices, these characters get a chance to offer their testimony of their experiences. This can be seen in the opening lines of the poem as Shaw (in character, of course) tells of her memories with her cousin: | ||
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| + | <blockquote>[[Image:male7-interview-shot-480.jpg]]</blockquote> | ||
And when we were children, staying at the arch-duke's, | And when we were children, staying at the arch-duke's, | ||
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This final line carries new weight when spoken directly to the camera. If unclear before, it is not unmistakable that this is the confession of insomnia caused by traumatic experiences. This interview-style filming makes a fairly inaccessible poem quite personal. Shaw creates troubled characters, and the filming captures her emotional vulnerability for the audience in an intimate setting. As a whole, the series of interview-like segments cause the performance to feel much like a war documentary. Given the context of the poem, this is an entirely appropriate mood. After all, the poem is an exploration of the various responses to World War I; it only makes sense that the 21st Century adaptation of this exploration would mimic the documentary. Each medium--the poem and the documentary--seeks to accomplish the same purpose. Thanks to Shaw's performance and the developers at Touchpress, we are now able to see a blend of both. | This final line carries new weight when spoken directly to the camera. If unclear before, it is not unmistakable that this is the confession of insomnia caused by traumatic experiences. This interview-style filming makes a fairly inaccessible poem quite personal. Shaw creates troubled characters, and the filming captures her emotional vulnerability for the audience in an intimate setting. As a whole, the series of interview-like segments cause the performance to feel much like a war documentary. Given the context of the poem, this is an entirely appropriate mood. After all, the poem is an exploration of the various responses to World War I; it only makes sense that the 21st Century adaptation of this exploration would mimic the documentary. Each medium--the poem and the documentary--seeks to accomplish the same purpose. Thanks to Shaw's performance and the developers at Touchpress, we are now able to see a blend of both. | ||
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==Pieces of Work Influenced By Eliot and The Waste Land== | ==Pieces of Work Influenced By Eliot and The Waste Land== | ||
