Lyapunov stability Analysis of Daisy chain control allocation
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Running head: POST-PERFORMANCE ANALYSIS OF DAISY
Post-Performance Analysis of Daisy
Student’s name
University
Author’s note
Post-Performance Analysis of Daisy
Student’s name
University
Author’s note
POST-PERFORMANCE ANALYSIS OF DAISY
1
Theatre is a medium of conveying a poignant message. However, it essentially differs
from text by virtue of being an audio-visual media. To elucidate, instead of just telling a story, it
is brought to life by several supporting elements. Commonly known as staging, such elements,
including cast, props, sets, lights, sound effects, music, costumes etc. help the audience
accurately visualize the vision of the playwright, thus living through the moments depicted on
the stage. The audio-visual aids further enhances the effect of the performance, creating the
much necessary spectacle to have a hard-hitting impact on the audience. Moreover, the accuracy
of such staging also helps the play become believable and relatable.
This element of reliability is appropriate to great extent in the context of Daisy. The much
talked about Canadian play, written by Sean Devin and directed by Eric Coates, a coproduction
by the Horseshoes and Hand Grenades Theatre and GCTC, created quite a buzz since its
premiere. Enveloped by powerful political nuances, the play revolves around the deliberation of
political propaganda, fuelled by the much criticized L B Johnson’s presidential campaign ad, and
its impact on the mass psyche of the contemporary American society. The commercial, aired
back in 1964, has a deep-rooted impact on how we deal with negative advertisement and political
manipulation till date. Considering the disturbing afterlife of the infamous commercial, Daisy is
nevertheless an important narration in today’s time (HHGTheatre.ca, 2016)
The play, based on the real events and characters of contemporary television and
advertisement world, that depicts the ongoing as well as aftereffects of the infamous political
campaign, presents a strong take on political manipulation. It takes place on 1964 America, in
the heart of the posh advertisement world of Madison Avenue, where a group of enigmatic ‘Ad
Men’ take the responsibility of persuading the electors in favour of President Johnson. With
brutal racial conflicts erupting across the nation, wounded by both past and imminent wars,
1
Theatre is a medium of conveying a poignant message. However, it essentially differs
from text by virtue of being an audio-visual media. To elucidate, instead of just telling a story, it
is brought to life by several supporting elements. Commonly known as staging, such elements,
including cast, props, sets, lights, sound effects, music, costumes etc. help the audience
accurately visualize the vision of the playwright, thus living through the moments depicted on
the stage. The audio-visual aids further enhances the effect of the performance, creating the
much necessary spectacle to have a hard-hitting impact on the audience. Moreover, the accuracy
of such staging also helps the play become believable and relatable.
This element of reliability is appropriate to great extent in the context of Daisy. The much
talked about Canadian play, written by Sean Devin and directed by Eric Coates, a coproduction
by the Horseshoes and Hand Grenades Theatre and GCTC, created quite a buzz since its
premiere. Enveloped by powerful political nuances, the play revolves around the deliberation of
political propaganda, fuelled by the much criticized L B Johnson’s presidential campaign ad, and
its impact on the mass psyche of the contemporary American society. The commercial, aired
back in 1964, has a deep-rooted impact on how we deal with negative advertisement and political
manipulation till date. Considering the disturbing afterlife of the infamous commercial, Daisy is
nevertheless an important narration in today’s time (HHGTheatre.ca, 2016)
The play, based on the real events and characters of contemporary television and
advertisement world, that depicts the ongoing as well as aftereffects of the infamous political
campaign, presents a strong take on political manipulation. It takes place on 1964 America, in
the heart of the posh advertisement world of Madison Avenue, where a group of enigmatic ‘Ad
Men’ take the responsibility of persuading the electors in favour of President Johnson. With
brutal racial conflicts erupting across the nation, wounded by both past and imminent wars,
POST-PERFORMANCE ANALYSIS OF DAISY
2
America was struggling to cope up and find peace. In such a timeframe, evoking the horror of
war once again, or manipulating the public holding peace at stake, is nevertheless a bold move.
This changed the course of the media history forever, as the issue of presidential election has not
been commercially promoted, neither did an advertisement incited a negative perspective to ‘sell
the product’. The play is also a brilliant effort, kudos to Devin’s intelligent and insightful script,
to reflect on present issues in the light of the past events. Encore Art Seattle most appropriately
reviews “What makes the play wonderful isn’t its big themes and its digging for the root causes
of political evil...but its more modest accomplishments as an embodiment of rational, civil
discourse and technologically driven psychological manipulation. We want both. ..Isn’t that the
power of art?” (Encoremediagroup.com, 2016)
Although Daisy could be attributed as a masterpiece by virtue of its message, or the
thoroughly researched narration, the mastery of the production lies in its staging techniques. The
playwright Devin himself dedicated the work to the mastermind behind the Daisy ad, Tony
Schwartz, the famous sound man of Madison Avenue. Therefore, it is only fitting that the play
uses the spectacle of sound and silence to enhance the theatrical effect of the hard-hitting reality
of the link between politics and media in influencing common mass. Schwartz, the eccentric
sound engineer, revolutionized the art and science of communication. He was obsessed with
human responses to ambient noises, and when entrusted with the sound design of the Daisy ad,
presented the production team with his theory of ‘subjective sound’, emphasizing the context of
hearing sound and thus manipulating the interpretation of sound. By the same logic, the Daisy ad
utilized the hypnotic sound of counting forward by a little blond girl, suddenly reversed and
culminated to a nuclear explosion in a dreadful male voice. It came as a shock, inciting horror
2
America was struggling to cope up and find peace. In such a timeframe, evoking the horror of
war once again, or manipulating the public holding peace at stake, is nevertheless a bold move.
This changed the course of the media history forever, as the issue of presidential election has not
been commercially promoted, neither did an advertisement incited a negative perspective to ‘sell
the product’. The play is also a brilliant effort, kudos to Devin’s intelligent and insightful script,
to reflect on present issues in the light of the past events. Encore Art Seattle most appropriately
reviews “What makes the play wonderful isn’t its big themes and its digging for the root causes
of political evil...but its more modest accomplishments as an embodiment of rational, civil
discourse and technologically driven psychological manipulation. We want both. ..Isn’t that the
power of art?” (Encoremediagroup.com, 2016)
Although Daisy could be attributed as a masterpiece by virtue of its message, or the
thoroughly researched narration, the mastery of the production lies in its staging techniques. The
playwright Devin himself dedicated the work to the mastermind behind the Daisy ad, Tony
Schwartz, the famous sound man of Madison Avenue. Therefore, it is only fitting that the play
uses the spectacle of sound and silence to enhance the theatrical effect of the hard-hitting reality
of the link between politics and media in influencing common mass. Schwartz, the eccentric
sound engineer, revolutionized the art and science of communication. He was obsessed with
human responses to ambient noises, and when entrusted with the sound design of the Daisy ad,
presented the production team with his theory of ‘subjective sound’, emphasizing the context of
hearing sound and thus manipulating the interpretation of sound. By the same logic, the Daisy ad
utilized the hypnotic sound of counting forward by a little blond girl, suddenly reversed and
culminated to a nuclear explosion in a dreadful male voice. It came as a shock, inciting horror
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