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Capturing the Past in Scenic Design of Video Films: Femi Lasode’S Sango As a Paradigm

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Capturing the Past in Scenic Design of Video Films: Femi Lasode’S Sango As a Paradigm 1 GOMBE TECHNICAL EDUCATION JOURNAL (GOTEJ) VOLUME 10(1), 2017 CAPTURING THE PAST IN SCENIC DESIGN OF VIDEO FILMS: FEMI LASODE’S SANGO AS A PARADIGM Hameed Olutoba Lawal Department of Theatre Arts Federal College of Education (Special), Oyo E-mail: [email protected] +2348062930756 Abstract Apart from the aesthetic function, scenic designs in stage and screen theatrical productions create enabling environment to enhance character interpretation of actors and actresses. This is more so in historical plays that compel capturing of the past in costume, make-up, set and properties. A close watch of some Nigerian Video films have revealed that, detail attention is not given to scenic design in modern and historical films. While this is made up for in rented well-furnished apartments and hotel rooms in films with modern setting, much still need to be done in films with traditional setting of the past in history. It is against this backdrop that this paper examines the use of scenic design to capture the past in the film, ‘Sango’ by Femi Lasode. With the enactment of the past in design of the film, Sango, it is recommended that historical or periodical films should always capture the past in set, costume and properties. Creating the architecture of the period in history will go a long way to authenticate the history being dramatised. Closely allied to this, is the fabrication of the attire in vogue to enhance characterisation. This should be spiced up with appropriate make-up and properties for aesthetic. Casting the minds of the audience back to the period in history therefore demands from the set designer, costumier and make-up artist thorough research and resourcefulness. Keywords: Capturing, the past, scenic design, video films Introduction stage and screen productions. The visual In simplest terms, scene design is the effect of scenic design is discernible in designing, executing and lighting of a stage creating the environment of the play that is setting. Scene design in the modern theatre is captivating to the audience. This is enhanced concerned with the total visual effect of a with appropriate costume, make-up and dramatic production. In any production, the properties relevant to the characterization and total visual effect is the sum of all elements the period of the setting. that depend upon being seeing to make their However, in the flourishing Nigeria impression on the audience. The scenic Video Film industry much attention is not background is the largest and most obvious giving to this creative aspect of the theatre. visual elements that support the spoken word There are only exceptions in some historical of the dramatic forms (Parker & Smith, plays that demand capturing the period in 1979:14). architecture, costume, make-up and This definition and postulation on properties. In plays with modern setting the scenic design underscores its importance in access to well furnished private houses and 2 GOMBE TECHNICAL EDUCATION JOURNAL (GOTEJ) VOLUME 10(1), 2017 hotels has contributed to the neglect of Scene the most imposing visual unit in a production. Designers to save cost. The flaw in this Its primary function is to support the spoken arrangement in video films with modern word of dramatic form. To attain the aesthetic setting, is the contrast in the furnishing of the in the scenic background, the depiction must sitting rooms and the bedrooms. This is truly be the visual interpretation of dramatic because the benevolence to use the sitting genre. For instance, a tragedy could not come rooms are not extended to the bedrooms. with a green or blue colour background. Nor An attestation to this relegation of scene could satire come with royal colours, Johnson designers to the background in home video (2004:199). This is aptly exemplified in productions is the fact that, there is no guild Amaco Investment’s Queen Pride and for scene designers in the industry. It is Palace Crises. The royal pride, love, betrayal pertinent here to note that, the choice of that characterized the two video films is tastefully furnished sitting rooms for stories portrayed in use of appropriate colours to with modern setting in particularly, Yoruba express emotion and passion. and Hausa films is a recent development Character interpretation has symbiotic inspired by the healthy rivalry from the relationship with the environment. English Segment of the industry. Characterisation may not be realistic if the scenery is not real. Scene design according to Essence of Scenic Design in Stage and Brockett and Ball (2004:361) virtually Screen Productions characterizes the acting space’. This is done The inevitability of scenic design in based on production concept. If the concept dramatic production lies in the fact that, it demands realistic setting, the designer may encompasses all the visual elements that select architectural details, furniture and arrest the eyes of the audience to sustain decorations that will indicate the period in interest. These visual elements are namely history. For instance, the persistence setting the set, costume, make-up, light, colour and of witches and cultist scenes in most Nigerian sound effects when necessary. The symbiotic Video Films with red background, black relationship of these visual elements in outfit with an embellishment of fetish design beautifies the environment and symbols emboldens the priests and prepares enhances action, characterization, establishes the mind of the characters in the scene and the time, place and mood. The thematic focus of audience to the unfolding of evil a play is also reinforced with expressive machinations. Plays are in time and place. design. This is particularly applicable to historical To Albright as cited in Jacob (2011:3) plays. Capturing the past in time and place is “design is the visual scheme of the mostly achieved in scenic design. A specific production, including scenery, costume time in the historical past, Ododo (2015:38) properties and stage lighting”. Design affirmed that the scenery is most dominantly therefore constitute all the elements of noticed, so it appears before the actor and production that contribute to visual effect of remains, even when the actor has left the the production. Actors and actresses do not locale. It is also obvious that in any theatrical act in a void but on a set with a background production that the scenery goes a long way to relate with. For instance, the level of in interpreting the action being seen. furnishing in a sitting room depicts the social This is dramatized in Tunde Kelani’s class of the characters. The scenic Oleku which captures University of Ibadan in background, Johnson (2004:199) contends ‘is the 1960s in setting, costuming make-up and 3 GOMBE TECHNICAL EDUCATION JOURNAL (GOTEJ) VOLUME 10(1), 2017 properties. A similar scenario is replicated in Oyo Empire long before the arrival of Alaafin’s palace in the film, Afonja which is Europeans in Africa. set in ancient Oyo town. The audience The film depicts the story of legendary watching these scenes is translated to the Sango before he became king. His ascension place and time of the event. to the throne, coronation, reign, love with Scene design aims to create in the first Oya and the historic face-off between Sango impression an expression of the mood its and his famous war generals. relationship to the action and characters. It featured these top and seasoned Mood can be described as the quality of a actors and actresses among others; Wale play that, when properly transmitted, effects Adebayo (Alaafin Sango), Bunmi Sanya a state of mind and emotional response in the (Oya), Racheal Oniga (Oba), Bukky audience. It can be expressed in such words Ogunnote (Osun), Jide Ogungbade (Alaafin as sparkling, warm gloomy, violent, earthy, Ajaka), Antar Laniya (Olowu), Jimi Solanke mystic, and so forth (Parker & Smith, (Oranmiyan’s ghost), Albert Aka-Eze (Eliri), 1979:20). The two visual elements normally Peter Fatomilola (Babalawo Oyo), Wale used to express emotion and moods are Ogunyemi (Lagunna), Kola Oyewo (Ashipa), colours and light. It could also be enhanced Joe Layode (Elempe), Gbenga Richards with sound effects. This can be portrayed (Samu), Laide Adewale (Agbaakin) and Ayo with blue background, light and costume for Akinwaled (Basorun). a love scene. In contrasts, the mood of a The film opens with warriors in the bereaved family can be visually expressed in battle field to re-enact the confrontation all black outfits with a set and background between Alaafin Ajaka and Olowu of Owu. that is devoid of decorations. The Oyo warriors are eventually subdued Theme to Park and Smith (1979:23) is with many causalities. Back at the palace, closely linked with mood as well as with the Alaafin Ajaka discusses the war with his storytelling part of the dramatic form. The chieftains as he awaits his warriors. The expression of theme in scenery cannot always discussion is still on, when Olowu’s be done pointedly. More often the theme is emissaries arrive to arrest Alaafin Ajaka. treated with subtlety and in symbols known Amidst protest by his chieftains, Alaafin only to the designer and his muse. For Ajaka oblige. As he leaves for Owu, he asks instance, the home setting of Ukwa with only Basorun to hold forth for him. chairs in the sitting room and his shabby At Owu, as the Olowu awaits the arrival mode of dressing capture the personality of a of his messengers, he reiterates the fact that, loiter and unserious person in contrast, the he cannot spare a king who does not accept well furnished apartment of his brother, his supremacy. He contends that, the invasion Aguiyi in Lagos and his flamboyant lifestyle of Oyo kingdom by the Fulani warriors is an reinforces the thematic focus of questionable attestation to Alaafin’s weakness.
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