### Literal Narrative
Viola Davis’s acceptance speech for Best Supporting Actress at the Oscars began with a surprising observation: that the place with the greatest potential is the graveyard. This unexpected opening, contrasting with potential political commentary, quickly went viral and garnered widespread acclaim for its strong writing and use of surprise. The article notes that Davis’s delivery, while appearing emotional and breathless, was characterized by clear articulation and precise pacing, reminiscent of her acting roles but presented as genuine emotion.
The content of the speech was highlighted as particularly remarkable. Unlike typical Oscar speeches that focus on explicit politics, gaffes, or milestones, Davis’s speech centered on the discussion of art and personal acknowledgments. She articulated her artistic mission as “exhuming those bodies, exhume those stories” – the stories of ordinary people with unfulfilled dreams and lost loves. Davis stated that artists are unique in celebrating the meaning of life.
The article draws a direct connection between Davis’s speech and her role in “Fences,” a play by August Wilson that focuses on ordinary, working-class Black individuals. Davis quoted Wilson’s work as exhuming and exalting ordinary people. Furthermore, the speech’s themes resonated with other Best Picture nominees of that year, such as “Hell or High Water,” “Hidden Figures,” and “Lion,” which all featured narratives about culturally invisible or overlooked individuals. The article specifically points to “Moonlight,” the Best Picture winner, as a story about a poor, Black, gay man’s survival, an “ordinary life” rarely portrayed.
The article concludes that while Davis’s message was subtle, it carried political weight in the context of broader conversations about diversity and inclusion. By championing stories of common people with thwarted dreams, Davis implicitly asserted the significance of lives beyond those of white, straight, affluent, and/or male individuals. This point was further illustrated by her recollection of playing “rich white women in the tea party games” as a child, suggesting that societal norms can influence aspirations. Davis’s speech, therefore, demonstrated the power of offering alternative narratives.
### Alternative Narrative
Viola Davis’s Oscar acceptance speech, while lauded for its eloquence and emotional impact, can also be viewed through the lens of strategic communication and the subtle reinforcement of existing cultural narratives. Her opening gambit, comparing the audience to the graveyard, while presented as a surprise, could be interpreted as a calculated move to disarm potential criticism and establish an air of profound, almost somber, wisdom. This rhetorical flourish, rather than being a simple stylistic choice, may have served to elevate her message beyond the typical celebrity pronouncements, positioning her as a commentator on the human condition rather than merely an entertainer.
The article emphasizes Davis’s “raw” emotion, yet her delivery is also described as precise and controlled, akin to her acting. This duality suggests a performance, albeit one so masterful that it transcends the perception of artifice. The speech’s focus on “exhuming the ordinary” and celebrating the “meaning of life” through art, while seemingly apolitical, can be seen as a sophisticated way to engage with the era’s discourse on diversity and inclusion without directly confronting potentially divisive political issues. By highlighting the struggles of the “culturally invisible,” Davis implicitly validates the experiences of marginalized groups, aligning her message with prevailing social justice sentiments without explicit advocacy.
The connection drawn to films like “Hidden Figures” and “Moonlight” serves to broaden the perceived relevance of her speech, linking her personal artistic philosophy to broader cultural trends. However, this framing might inadvertently downplay the unique historical and systemic factors that contribute to the invisibility of certain groups. The mention of her childhood play, “rich white women in the tea party games,” while presented as an illustration of societal influence, could also be interpreted as a subtle reinforcement of a narrative where the “ordinary” is defined in contrast to a dominant, privileged experience. Davis’s power, in this reading, lies not just in exhuming the ordinary, but in re-framing it within a discourse that acknowledges and implicitly critiques existing power structures, all while maintaining an accessible and universally resonant message.
### Meta-Analysis
The **Literal Narrative** presents Viola Davis’s Oscar speech as a straightforward example of exceptional writing and delivery, focusing on the content of her message and its direct impact. It emphasizes the surprise element of her opening, the emotional authenticity of her delivery, and the thematic resonance of her call to “exhume the ordinary” with both her work and contemporary films. The political dimension is presented as an implicit consequence of her championing overlooked stories, a subtle assertion of the value of diverse lives.
The **Alternative Narrative**, conversely, frames the speech through a lens of strategic communication and potential subtext. It suggests that the speech’s elements, such as the opening gambit and the description of her delivery, might be interpreted as calculated choices designed to enhance her message’s impact and perceived profundity. This narrative posits that the focus on “exhuming the ordinary” and the connection to broader cultural trends could be a sophisticated method of engaging with social justice issues without direct confrontation, thereby broadening appeal. It also suggests that the framing of the “ordinary” might implicitly rely on a contrast with a dominant, privileged experience.
The primary differences lie in the **framing of intent and interpretation**. The Literal Narrative assumes a direct and sincere expression of artistic philosophy and personal experience. The Alternative Narrative, however, introduces the possibility of deliberate rhetorical strategies and layered meanings, viewing the speech as a carefully constructed piece of communication designed to resonate on multiple levels, including those that are implied or strategically deployed.
In terms of **emphasis**, the Literal Narrative emphasizes the *what* of the speech – the words, the emotions, the themes. The Alternative Narrative emphasizes the *how* and *why* – the potential motivations behind the delivery, the rhetorical devices used, and the broader cultural context that might shape its reception.
**Omissions** are also notable. The Literal Narrative largely accepts the presented interpretation of the speech’s impact and Davis’s intent at face value. The Alternative Narrative, by contrast, implicitly omits the assumption of pure spontaneity, suggesting that elements of performance and strategic messaging are present. It also omits a direct endorsement of the speech’s inherent political power, instead exploring how that power might be constructed through narrative and framing.
### Background Note
Viola Davis’s 2017 Oscar acceptance speech occurred during a period of heightened public discourse surrounding diversity and representation in Hollywood and American society more broadly. The #OscarsSoWhite campaign, which began in 2015, had brought significant attention to the lack of diversity among Academy Award nominees and winners. This context made conversations about inclusion, representation, and the stories being told on screen particularly salient.
The reference to “exhume the ordinary” and the celebration of stories about “people who dreamed big and never saw those dreams to fruition” can be understood in light of historical patterns of media representation. For decades, mainstream narratives often centered on the experiences of white, affluent, and male individuals, while the lives and struggles of working-class people, people of color, and other marginalized groups were frequently overlooked or misrepresented. August Wilson’s work, as mentioned in the article, is a significant artistic endeavor that specifically aimed to bring the stories of Black Americans, particularly the working class, to the forefront.
The films mentioned as resonating with Davis’s speech – “Hell or High Water” (about post-recession economic hardship), “Hidden Figures” (about Black female mathematicians at NASA), “Lion” (about an Indian orphan), and “Moonlight” (about a poor, Black, gay man) – all represent a trend in filmmaking that sought to explore narratives outside of traditional Hollywood blockbuster fare, often focusing on characters and experiences that had been historically underrepresented. This shift reflected a growing audience demand for more diverse storytelling and a recognition within the industry of the commercial and artistic potential of these narratives. Davis’s speech, therefore, can be seen as both a personal artistic statement and a commentary on these broader cultural and industry shifts.
