It's the Circle of Life (Lion King review)

“Nants ingonyama bagithi Baba 

Sithi uhm ingonyama”

The words that ignite my inner child, the words that send a small shiver down me spin. As long as I can remember I have known the lyrics to such a powerful song and seeing it brought to life in front of my eyes was just as magical. “The director and costume designer of the stage performance ‘The Lion King’, Julie Taymor, wanted the audience to acknowledge that the actors were the energy behind the animals so she worked with Michael Curry, a renowned puppet designer, to create a collection of masks and puppets to represent the creatures”. I was reminded of my experience of the stage production of Warhorse in which the horse character Joey was a wooden puppet with 1 or more actors manoeuvre the frame. Alternatively I was looking to see how the original Disney film of ‘The Lion King’ would be anthropomorphised  as it was a film recognised as being a key part of people’s lives and it encouraged peoples imagination to see the actors as the animals.

Walking into the Mayflower Theatre Southampton there is a hum of excitement whirling around the room; children waiting to see the mighty Mufasa, older generations revelling in nostalgia and myself interested to see the costumes, African masks and of course sing-a-long to childhood tunes. I followed the huddle of people into the main foyer to find programs being bought; t-shirts being tried on. Little did I know the stairs to the Dress Circle await…

Extremely out of breath, I was shown to my seat. Having been so focused on my assent to my seat I didn’t realise quite how high I was until I had my tip-toes rocking over the top step. At that point, looking at the panoramic view of the theatre I know I was going to be in for a good show. The stage was then lit, just as much as the little girl’s face in the left hand box. She looked so amazed to be sitting next to an Antelope. Seeing the animals emerging from all direction of the stage was fascinating, my eyes darted from corner to corner trying to take in the costumes and physicality that the cast were in. But I could not take my eyes away from the Cheetah; every movement encapsulated what I imagine a Cheetah to look like and immediately I was in Africa awaiting Simba at the top of Pride Rock.

As the play developed I realised that I was completely engulfed in the performance, every small detail caught my eye and every so often I would realise I was actually seated in the theatre rather than amongst the wildlife of the African planes. I was particularly intrigued about the Lions and Lionesses as they were the only animals that were dressed in African tribal wear with pull down masks whereas the rest of the cast where in full body costumes except Rafiki and Zazu. I found that the dominant roles were the ones who had the more artistically exotic masks. The masks of the Lions were very similar to African tribal designs; this gave a reference to African culture and that the kingdom of the animals can relate to the tribal ranking in the human life.

Moreover, the tribal culture was features throughout to remind the audience that the musical is set in the Savannah. For example, at the start of the second half it is a complete contrast in the animal format of the musical and as it is the chorus singing an African song in traditional attire to match the theme. Language was a key motif throughout the musical as Rafiki was the sole character that spoke Swahili to emphasise her ancestral presence. Her character was in full tribal gear which references to the heritage of African tribes.

Although the original Disney film is one that a lot of the audience probably would have seen so the stage performance is expected to follow the same storyline. This made me more engrossed as I watching and waiting for the next part of the story to follow, this mainly helped by the featured songs that I couldn’t help but sing-a-long to. The film being released in 1994 and the musical just 3 short years after; the film and the musical have grown together as a pair. There were certain iconic motifs featured within the musical referenced from the film for example the sunset; created by a circle curtain being lift from the floor to mirror the sun coming up (in the Safire sky- “Circle of Life). Another is the revolved pride rock set which was central to the progression of the storyline and established status.

Despite the intake of so many details I was taken through a trip down memory lane. The significance of the music inspired certain memories from my childhood. When I realised that the play had drawn to a close I realised my inner child was brought to life just by watching a musical. The overall stage presence and energy from the character encapsulated me. The magical essence that is prominent in all of the Disney films was portrayed through the stage enactment. So as the sunset on Pride Rock and I left the theatre with a sense of nostalgia but wonderment because of the ability to portray man and animal as the same being. Just as it had been intended.

House of flying colours

Chinese culture has never been something I have particularly interested in but purely because I had never taken the time to find out the reasons behind their vibrancy and intricate mask an clothing designs. One thing I have become really interested in since researching into China is their use of colour, it is such a key part to their personality and characteristics. However, it is also key in setting the mood in a film. I decided to do an experiment and watch 'House of flying daggers' by Zhang Yimou; when I noticed a distinguishable amount of colour influence I would stop and think what am I feeling or what do I understand about this seen.

The most prominent to me at first was the Green:

(Unknown)

At first the green signified to me peace and safety. However, going by the colour imagery used in Chinese Opera masks it means violence and impulse. Which also applies to this scene as the green would come before or follow a fight scene. So they appear to be the symbol of violence in the film as they are the members of the house of flying daggers.

The colour that Mei firsts emerges in is Blue:

(Anon, 2012 http://cleighcreations.blogspot.co.uk/2012/05/top-movie-costumes-8-house-of-flying.html)

The blue dress that Mei is seen wearing when she first comes onto the screen and it is long and fluid and it moves so softly when she dances; almost mirroring water. Again in Chinese Opera masks it signifies bravery, which is so apparent as she appears to be a timid girl who is blind but still dances for a living. She originally comes across as a character to admire.

The end scene of the film is a snow scene with the main colour being White:

(Unknown, http://comelybankingcrisis.leithermagazine.com/tag/house-of-flying-daggers/)

The significance of white at the end of the film is mainly seen as a dramatic ending but it also makes the other bright colours stand out. The end scene sees the central female character sacrificing herself to be free of pain and angst. So its like her innocence is most prominent in the final scene. The Chinese definition for the colour would suggest deceit which is apparent through Mei's feelings for a past lover and a current lover. And the deception from her past lover as he kills her for loving another man. It is amazing to see how much colour influences the mood of the scene.

A more subtle use of colour is the blossom which is a field of Pink:

 (Anon, 2012 http://romanticideasinlife.wordpress.com/2012/07/page/2/)

The field of pink suggests reconciliation and trust between the two characters. It is also where the love between the two characters begins to blossom (excuse the pun). Whereas the Chinese definition implies old age, which could be translated as maturity in their relationship.

Lastly the colour motif thoroughout is Red:

(Anon, 2004 http://www.fareastfilms.com/reviewsPage/House-Of-Flying-Daggers-824.htm)

RED is the colour of love and blood which is seen throughout this film. Mei always has something red on her until you find out she is part of the house of the flying daggers. Her lipstick being the first noticeable thing. Which would suggest lust and femininity however with the white purity of her face it is a complete contrast in themes, However if you look at the Chinese translation of these two colours put together it matches the warriors masks in the Opera. So there is a correlation between those two colours. This can also be seen with the white snow and blood dripping from her mouth in the final scene which shows defeat but also bravery- like a warrior.

Colour significance is apparent in so many films.

For example similar connotations can be seen in such films as the 'Wizard of Oz' with the red glitter shoes which are taken from the witches feet and given to Dorothy. They are feminine and beautiful but also come with a dangerous battle against the Wicked Witch of the West.

(Unknown http://www.google.co.uk/imgres?imgurl=&imgrefurl=http%3A%2F%2Fs710.photobucket.com%2Fuser%2Fryno18000%2Fmedia%2FThe-Wizard-of-Oz-House-on-witch.jpg.html&h=0&w=0&tbnid=kRFmUUtG3HthfM&zoom=1&tbnh=180&tbnw=281&docid=BJM0khZ_MtcVqM&tbm=isch&ei=MKgoVP21Cs7e7Abqm4DoBQ&ved=0CAQQsCUoAA)

The colours they use in scenes are there to evoke a feeling so that if it is a bold colour it will be iconic  and well remembered. 'Wizard of Oz' is a perfect example as it laced with colourful motifs that are laced throughout. Like the blue ribboned pigtails worn by Dorothy. A little girl's hair style that is youthful and innocent. Or the Emerald City supposed to be a place of magic and peace but then the same green is applied to the face of the Wicked Witch and it is an ugly colour filled with jealousy and hate. So there are different connotations to even the same colour but it is so interesting to interpret.

From Opera to Catwalk

The guest Lecture spoken by Pacino Wan and Victor Tong explored the ‘The Fashion Battlefield in China’ and ‘Chinese Opera Mask Art and Chinese Tradition’ individually; the first through a chronologic journey of his success and a Fashion show clip featuring his collection. The other by explaining the significance of colour in the Chinese culture and contextualising it through film and tribal Chinese paintings. The 8^th of May lecture in the Sir James Matthews building featured an explanation as to why warriors in Chinese culture have different colours and designs on their faces. In contrast to the cultural side of China, Victor Tong, talks from a Fashion perspective about his success as a designer and how he created his collection.

Wang began by giving translations of certain words in the Chinese language and how there is correlation between the type of character in the performance and the Make-up that they wear. Every part of the face is painted in a particular way to define the character, for example the eye and eyebrows are shaped and positions to define status; the straight eyebrow and straight eye shape is usually worn by warriors whereas the curved eye and brow is usually seen on monks. So the small change in shape is actually a complete different social status. This completely contrasted with my understanding of the Chinese masks as I wasn’t aware the significance of the facial shapes. The purpose of the different shapes on the opera masks is to define what each character is. Shapes are also used through china for the specific symbols that are also featured on the warrior masks.

The famous ‘Ying Yang’ or ‘Taiji’ symbol signifies infinite potential or ultimate power. It is featured on the mask of character Jiang Wei who is seen as a powerful character. The mask and its shapes and symbols are all significant to his status. Similarly, Seal Script is a selection of symbols that are traditionally used in traditional Chinese decorative paper art.  Part of the symbol is called ‘Bat’ in Chinese which signifies good fortune which is often placed together with Longevity. Symbols like these, especially the ‘Ying Yang’ are used commonly in modern day tattoos and they contrast completely with the use of them in Chinese opera masks as they speak less power than the original meaning behind it.

(Anon, Date Unknown http://lowcadence.com/2013/08/12/utah-yin-yang/)

The most defining part of each Opera mask are the colours as they depict the status and personality of each character. Wang explained through visual stimuli that the colours on the masks are used throughout all opera and that it isn’t just story specific. For example the colour red represents luckiness and righteousness; an overall positive colour. Whereas my perception of red is that it is danger, anger, a colour to be disliked and cautious of. Yellow is a colour of cruelty, green violence and impulsiveness, blue the colour of neutral and bravery and gold the spiritual colour. I realised that the Chinese cultural definitions of colour are completely different to my perception of colour connotation. The colours being used throughout opera make it easier for the audience to automatically distinguish what type character is in front of them.

(Anon, Date Unknown, http://www.china-tour.cn/Chinese-Arts/Beijing-Opera.htm)

Moreover, the colours were transferrable to a modern day situation during a campaign for Puma in which Chinese mask designs and colours were collaborated with the colours of the representatives flags. This was an example of applying the colours the way the Chinese perceive characteristics. The green was largely featured on an athlete’s face which suggests impulsiveness and violence. So attacking the sport and winning could have a correlation.

(Anon, 2008 http://www.sportstrader.co.za/pages/News%20Trader/12/1203.html)

The second part of the lecture was a complete contrast the Chinese opera masks as it delved into the Chinese fashion industry, something I was not very educated on. Pacino Wan talked about how he went straight from education to trying to start his own business. He started small and went big! His clothes were a complete contrast to what is seen in the Western part of the world today. However, his 2004 collection featured a lot of denim which was very popular during the late 90’s early 20’s. One thing I did notice throughout his collection was the use of embroidered flowers and pastel floral shapes. This is something I found I recognised from Chinese culture as I have noticed it before on Chinese umbrellas and general Chinese patterns on clothing. Colour is also another significant part of the fashion world because everything is full of colour to portray the personality of the clothing.

The lecture gave a completely new idea about Chinese Opera masks and how to interpret colour and mask design in a cultural way. I left with an overflow of ideas on how to interpret the colours and shapes into bold lines filled with colour or the theatrical character idea to create my own mask. The information I learnt gave me another platform for inspiration. It also gave me a good contextual reference for future reference.