‘A tableau vivant is a representation of a personage, character, scene, incident, etc., or of a well-known painting or statue, by one person or a group of persons in suitable costumes and attitudes, silent and motionless. Historically, tableaux vivants denoted figures posed, silent and immobile, for twenty or thirty seconds, in imitation of well-known works of art or dramatic scenes from history and literature. The phrase and practice of tableau vivant originated as medieval liturgical dramas when a mass ended in a short, dramatic series or tableaux. Although its emblematic and allegorical characteristics recall medieval drama, the “tableau” emerged as a true art form on the Continent and in England in the eighteenth century.
‘Another facet of the use of tableau vivant was the pose plastique, where the performer would imitate classical statuary, introducing the nude and transforming these larger portrayed scenes, while still portraying a decided moment. One could compare the manifestation of the tableau vivant with Roland Barthes’ consideration of the film still; both being an analysis of a pregnant moment. Barthes believes the film still has the capacity to extract the whole diegesis of a film. In The Third Meaning, Barthes cites Eisenstein’s thoughts about the film still offering us “inside the fragment.” He agrees with Eisenstein’s belief about the film still being the, “basic center of gravity.”
‘Tableau vivant’s beginnings were associated within a class structure that could not only afford time but consideration of this activity. Goethe acknowledges this by saying “Here the place is to think of still another decided hobby of the Neapolitaner …. presenting angels and kings, more or less completely, richly and preciously together grouped. Goethe believed that tableaux vivant functioned merely as entertainment (diversions, evening amusement) once they were appropriated.” One commonality to this practice is the consideration of mimesis. The term mimesis is derived from the Greek mimesis, meaning to imitate. The tableau vivant acts as an imitation; the act of copying a copy. Walter Benjamin believed it was inherently human and part of the natural order of man to imitate.
‘Before radio, film and television, tableaux vivants were popular forms of entertainment. Before the age of colour reproduction of images the tableau vivant (often abbreviated simply to tableau) was sometimes used to recreate paintings “on stage”, based on an etching or sketch of the painting. This could be done as an amateur venture in a drawing room, or as a more professionally produced series of tableaux presented on a theatre stage, one following another, usually to tell a story without requiring all the usual trappings of a “live” theatre performance. Since English stage censorship often strictly forbade actresses to move when nude or semi-nude on stage, tableaux vivants also had a place in presenting risqué entertainment at special shows. In the nineteenth century they took such titles as “Nymphs Bathing” and “Diana the Huntress” and were to be found at such places as The Hall of Rome in Great Windmill Street, London. Other notorious venues were the Coal Hole in the Strand and The Cyder Cellar in Maiden Lane. Such shows had largely died out by the 1970s.’ — collaged from various sources
MELODROM tableau vivant PREMIKI
Tableau vivant Pontormo
Tableau Vivant ‘Dissecting Sebastian’
Tableaux vivant Caravaggio
Tableau Vivant, Kasper Julian en Nick
Tableau vivant Le nozze di Cana di David Gerard
Starring Lucas, Pearl, Cosi, Elisa, Bess, Claudia, Allen, Isaac.
VANESSA BEECROFT VB64 AT DEITCH STUDIOS IN LONG ISLAND CITY
Raft of the Medusa (100 Mile House)
Tableau vivant de majorettes
Tableau Vivant Willem
Act 2 of King Lear
Security Passing Rodin’s Age of Bronze
Tableau Vivant. Jarvis and Liam smoking
Princes Day in 3D at the Pageant of the Masters
Tableau Vivant – Jan Vermeer
Tableau Vivant – Dumbo Arts Festival – powerHouse Arena2
p.s. Hey. ** Shane Christmass, Hi, Shane. I love the first Alice Cooper album. I saw them live a couple of times during that period. Really, about Bertolucci? I think his early film are incredible and very powerful. Two of them — ‘The Conformist’, ‘Luna’ — are on my all-time fave films list. I don’t like his films from ‘The Last Emperor’ forward, but the early ones were/are important to me. I like Visconti too, though. I should try the Alexander Chee book. I’ve never been that blown away by his essays, but people seem to think he’s the bee’s knees, so I should trying digging in. Thanks for the AC vid. I love that band, one of the best bands ever, I think. I love all their albums up until ‘Muscle of Love’, which is where it ends for me. And I think Alice is easily one of the greatest rock singers ever. Anyway blah blah, hope all is swell on your end. ** David Ehrenstein, Hi. Oh, people here are very pissed about the raised taxes on diesel fuel. It’s pitched as a pro-environment move to get people to switch to electric cars, but everyone is rightfully saying that if that’s the goal, he should raise taxes on the oil companies, etc., not on people who can’t afford electric cars, but he won’t do that, being a big pro-business and pro-rich people kind of guy. People are pretty pissed about most of what Macron its doing. But it’s nothing all that unusual. As you know, the French take to the streets and protest the government all the time. The only difference is Macron is ignoring the protests, which is not the way governments here usually respond to public outcry, and so they’re getting more aggressive to try to get his attention. It’s interesting, not a problem. I hope it went well at Japan House last night. How was it? ** Steve Erickson, Thanks for the adds. That Steve Miller track is wack. ** _Black_Acrylic, Hi, Ben. Yes, I know those Davis tracks, and I can only think that’s thanks to you. Wow, the class is already almost finished? I certainly think your story idea is very ripe. How is the writing/developing going? ** Dominik, Hi, Dominik! I was never into Franz West’s stuff, but seeing a whole bunch of it together, I finally think I got it, and it’s odd enough work to interest me. Okay, good that the last meeting went well and warmly, and very good news that your using the facilities seems like it will work out! Cool. And of course your long Skype with Anita must have been wonderful. I delayed the Xmas fair visit because the first night I was going to go were the big riots here taking place right near the fair, and it’s been raining every night since. But I think maybe today it’ll be sort of dry, and, if so, I’ll wander over there. I did take a shortish break from the TV script, which was needed, and now I have plunge again. Urgh. I hope your week has a very spectacular nature. How was it? Take care until soon! ** Korpston, Hey. Aw, I’m the one who got the goods from your story. You only got the goods of making it, not revelling in its existence with objective pleasure supreme like me. I think I like punky Pop more than Punk Pop, if I can draw a distinction that I can’t quite define. Big up on the writing career plan. I mean, obviously. And, yeah, I wouldn’t do it for the dough if I’m any kind of comparison. I do not know anything about that CCR5 gene thing, but now I simply must find out something. Thank you. ** Chris Cochrane, Howdy, Chris! Thanks for your blog attention. I’m good, no real complaints. Colds are almost everywhere over here. I had mine, but it was relatively kindly. Want to hear more on the music possibilities, and jobs too, when your time is right. Birthday gig! Do, do, do record that thing. Live album! We’re percolating on our next film, but until the TV thing is bedded or toasty or whatever, we’re stuck, but, hey, could be worse. With love also, me. ** Misanthrope, Ha ha, yeah, I simply don’t believe people practice things that are hard to say with a mirror. Unless movies have made people think that’s what you’re supposed to do. That seems possible bordering on likely. I could rattle off thousands of movie tropes that drive me nuts, but life is too short. See, if they’d titled it ‘Cold Summer Nights’ or ‘Chilly Summer Nights’, you could see the title and go, ‘Huh, that’s weird. I wonder why a summer night would bee cold’, and then there would be the remote possibility that you want to see the film and find out. ** Nik, Hi, Nik! Great to see you! A music adaptation of ‘The Three Sisters’ sounds weird enough that I’m intrigued. Well, depending on what the music was like. I’m guessing it wasn’t Black Metal. I would def. love a peek at any video evidence you end up getting. I’m glad it was interesting and that you got props. Cool. Gisele is working on a new piece that is an adaptation of a Robert Walser play, but, since there’s already text, there’s nothing for me to do on it, although I think I’m going to be ‘consulting’ or something. The TV script work is in its hopefully late stages, and it’s a pain, but it’s also interesting to be trying to do something we like and also ace ARTE’s rules in a way. I do hope it will be finished apart from minor fiddling by early next year because enough is enough. Great that your writing is back to being a central effort and that it goes well. Your thinking about it sounds very right-on and fruitful. Excited to get to read the spoils at some future point. My plan is to dive back into my novel as soon as the TV script is finished. Yeah, there are a number of experiments going on it. It’ll be easier for me to talk about them when it’s the thing I’m concentrating on. Right now, with my attention forcibly fixed on the script, it sort of seems cloudy. But, yeah, it’ll be a complicated but ideally very clear novel. Have a lovely day! ** Okay. If you’re not already interested in tableaux vivant, I’m gambling that you will be the time today is done. See you tomorrow.