Rim Dong Sik’s Persistence of Moment: Performance and Tableau Vivant

2021 ◽  
Vol 32 ◽  
pp. 37-62
Author(s):  
Han Deul Kim ◽  
Keyword(s):  
Tableau Vivant

Le tableau vivant sera toute la loi (Sur la philosophie de la nature de Sade)

Chimères ◽  
1998 ◽  
Vol 35 (1) ◽  
pp. 149-160
Author(s):  
Charles T. Wolfe
Keyword(s):  
Tableau Vivant

The Afterlife of Art and Objects

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Historical Narratives ◽  
Still Life ◽  
Art Cinema ◽  
Spanish Baroque ◽  
Late Twentieth ◽  
Moving Pictures ◽  
Tableau Vivant ◽  
The Relationship ◽  
Late Twentieth Century

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

Filmic Tableau Vivant

2003 ◽  
pp. 294-314
Author(s):  
Brigitte Peucker
Keyword(s):  
Tableau Vivant

scholarly journals O dispositivo do Tableau vivant e o gesto em Faz que Vai (2015) de Bárbara Wagner e Benjamin de Burca

2021 ◽  
Author(s):  
Nina Velasco e Cruz
Keyword(s):  
Tableau Vivant

Resumo Há uma “vontade de movimento” generalizada nas imagens fotográficas (gifs, boomerangs e vídeos de curtíssima duração são o sintoma mais visível deste fenômeno), assim como uma progressiva estaticidade das imagens em movimento. Esse fenômeno pode ser investigado a partir do uso recorrente e atualizado da prática do Tableau Vivant na fotografia e no cinema contemporâneos, assim como nas práticas híbridas da videoarte. A questão que levanto deriva da percepção deste fenômeno, articulado com o lugar do “gesto” na cultura contemporânea. Se partirmos do pressuposto de que a mecanização progressiva da modernidade resultou no sentimento da perda do gesto, de que maneira a imagem em movimento pode vir a restituí-lo, como nos sugere Agamben? E como as atuais imagens híbridas contemporâneas, no caso aqui o trabalho Faz que Vai (2015), de Bárbara Wagner e Benjamin de Burca, reatualizam essa questão?

The Sculptor’s Dream: Living Statues in Early Cinema

2017 ◽  
pp. 29-45
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Nineteenth Century ◽  
Early Cinema ◽  
Popular Entertainment ◽  
Before And After ◽  
Tableaux Vivants ◽  
Traditional Arts ◽  
Tableau Vivant ◽  
As If

In its earliest years of existence, cinema seems to have been fascinated by stasis and stillness. As if emphasizing its capacity to represent movement, early cinema comprises many scenes in which moving people interact with static paintings and sculptures. Moreover, films made shortly before and after 1900 often make explicit the contrast between the new medium of film and the traditional arts by means of the motif of the statue or the painting coming to life. In so doing, early film continued a form of popular entertainment that combined the art of the theater with those of painting and sculpture, namely the tableau vivant, or living picture. Focusing on the trick films of Georges Méliès and the early erotic films by the Viennese Saturn Company, this chapter reveals the importance and continuity of nineteenth-century motifs and traditions with regard to tableaux vivants as they were presented on the legitimate stage, in magic, in vaudeville, and in burlesque.

The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema

2016 ◽  
Author(s):  
Ágnes Pethő
Keyword(s):  
The Other ◽  
The Real ◽  
East European ◽  
European Cinema ◽  
Tableaux Vivants ◽  
Postmodern Art ◽  
Tableau Vivant

The essay focuses on the manifold uses and re-conceptualization of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of ‘the real into the image’ (Brigitte Peucker), but it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the ‘sex appeal of the inorganic’. The author discusses the case of the paradoxical ‘cadaverous’ tableaux vivants (among them the recurring cinematic paraphrases of Mantegna’s Dead Christ), in which a live body is displayed as a corpse, or the other way round, a corpse is presented as an embodied picture, or an object of art made of flesh. By repeatedly showing us bodies dying into art, and ideas reified as images, these films present us with uncanny rituals of ‘becoming an image’, with a yearning for a reintegration into something universal and lasting, and can be viewed in the context of the reconstructive tendencies of contemporary post-postmodern art.

A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror

2021 ◽  
pp. 194-201
Author(s):  
Sarah Pucill
Keyword(s):  
Female Subjectivity ◽  
Time And Space ◽  
Creative Practice ◽  
Art Forms ◽  
Tableaux Vivants ◽  
Claude Cahun ◽  
Tableau Vivant

In this chapter, the artist filmmaker Sarah Pucill elucidates her artistic dialogue with the Surrealist lesbian artist Claude Cahun (1894-1954), whose photographs and manuscripts are constitutive of her films Magic Mirror (2013) and Confessions to the Mirror (2016). Pursuing Pucill’s earlier interest in the intersubjectivity between women, the films re-enact Cahun’s photographs in the form of tableaux vivants, creating new connections between the French artist’s visual and written work and Pucill’s own creative practice. Drawing on Ágnes Pethő’s theoretical writing on the intermediality of the tableau vivant in film, the artist analyses how her re-enactment of Cahun’s photographs as tableaux vivants creates a sense of indecipherability caused by the overlaying of the original ‘ghost’ photograph with its re-staging in colour and with sound. The reworkings of Cahun's texts and photographs in the films conjoin different art forms and authors, interrogating questions of queer female subjectivity across time and space.

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