Oluwanifesimi Oyesiji is a 300-level Dramatic Arts student at OAU (Obafemi Awolowo University) who understands that the concept of acting is widely perceived as just a fragment of what it actually is. TV drama and stage play lovers rarely question the technicality of the roles their favourite movie stars play.
Getting into character is a psychological procedure. It is a mental routine that involves the actor completely leaving the comfort of his charisma with the motive of diving totally into a new persona. To get into complete act/character, the actor has to entirely assume the mind of the character, which helps the actor to fully understand the role and gives them a better context of what the character is like. This encompasses sharing emotions with the character—feeling his pain, happiness, anger, and fear.
Oluwanifesimi Oyesiji has a pervading love and an unyielding passion for theatre arts; she has both directed and participated in a vast number of theatre productions at OAU over the years. Some of her popular productions include her roles in Segun Adefila’s ‘Golden Fleas,’ Zulu Sofola’s ‘Wedlock of the Gods,’ and Ola Rotimi’s ‘Grip Am’ (stage plays on campus), among others. Speaking in an exclusive interview, Oyesiji shares her process of getting into character:
How do you approach understanding a new role? Do you have a specific method or technique?
Well, I don’t have a specific technique. I just thoroughly study the character that the director wants me to be and I become that person. The only time I ever tried method acting was when I was required to act as a conductor in Segun Adefila’s Golden Fleas.
I took a bus to and fro Sabo Market just to see actual conductors and how they behave and relate with passengers. Although I couldn’t fully dig into their inner emotions or why they executed their duties the way they did, I was able to link it to the frustration of my character as Jonah in the play.
You mentioned not being able to understand the inner emotions of the conductors. How do you connect emotionally with a character, especially if their experiences are vastly different from yours?
It’s not an easy task to embody a character that isn’t yours, and so I just study the character effectively and start to live like it and when I say live like it it is not just in my day-to-day routine but on stage. I also make sure to return to my normal self after intense embodiment of other characters because, you know, it gets really hard for certain actors to get out of another character.
Are there other times you’ve struggled to relate to a character?
Yes. Normally, I do not like tragic stories and I am not a romance girl. It was really hard playing Ugwoma in Zulu Sofola’s ‘Wedlock of the Gods,’ and it was a challenging period for me. Although I manoeuvred things in such a way that my inner struggles were unnoticed by my audience, I didn’t feel fulfilled after the production. I still think I need to effectively work on catharsis and love stories.
Do you have any rituals or practices to help you stay in character while on set?
I just eat and sleep well before a performance if I have the time to and I do a lot of rehearsals and previews to keep me in check.
Have you ever had to drastically change your appearance or body language for a role?
Yes, a lot of times. The use of costumes is pivotal for every production. In a play, ‘Queen Idia,’ I played the role of a man, ‘Attah of Igala,’ and the customer fixed gigantic beards from my chin down to my jaw and lower lip area. I also had to appear in war clothes, and certain special effects were fixed on my skin. This had to take place for people to see me as a warlord even before I speak.
Seeing that you’ve acted in a discrete number of roles, can you share a moment where portraying a character deeply impacted you personally?
Playing Oye in Ola Rotimi’s ‘Grip Am’ changed me. I learnt a lot because it was my first major appearance on stage and I fell in love with comedy. I ventured into stand-up comedy after a while and it is all traceable to the experience I had in grip am.
How do you balance staying true to a character while adding your own creative touch?
I just try my very best to never overreact or overact. I add just the right amount of creative touch.
Does working with directors and co-actors influence your creativity and character development?
Sometimes, my co-actors make getting into character and understanding my lines easier for me, and most times, the picture the director creates and the liberty I am given to do my thing pave the way for my growth.
Are there any actors or performances that inspire the way you approach your craft?
Yes. I love Funke Akindele and how she works. I am also in love with the performances of Riele Downs, Kehinde Bankole, Nse Ikpe-Etim, and Viola Davis, particularly their versatility across different productions.
What advice would Oluwanifesimi Oyesiji give to aspiring actors in universities about finding and connecting with their characters?
Be ready to give what it takes! Getting into character takes hard work, perseverance, determination, discipline, confidence, and sacrifice. You have to go all in.
David Ojo is a certified campus journalist and undergraduate at Obafemi Awolowo University. His key interests are in entertainment and sports journalism/TV reporting.
