'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
Show
MELODROM tableau vivant PREMIKI
Tableau vivant Pontormo
Tableau Vivant 'Dissecting Sebastian'
Tableau vivant Caravaggio
Tableau Vivant, Kasper Julian en Nick
Tableau vivant Le nozze di Cana di David Gerard
VANESSA BEECROFT VB64 AT DEITCH STUDIOS IN LONG ISLAND CITY
Raft of the Medusa (100 Mile House)
Tableau vivant de majorettes
Tableau Vivant Willem
Ulla von Brandenburg 'Name or Number'
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
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p.s. Hey. ** David Ehrenstein, Hey. The tidbits on the next Malick in that article were very welcome, thank you! Especially the note that it's even more experimental than 'Tol', which definitely gobsmacks me. ** Bernard Welt, I knew a little of that about 'Police, Adjective'. I have a well hooked-up friend who's trying to find me a torrent as we speak. What a great title, jeez. ** Tosh, Hey, Tosh. Oh, the BEA, fun, or at least I'm imagining the fun parts. Mm, I don't want to do a blog post on 'Tree of Life', I don't think. It's too important to me right now. I want to explore it's huge impact on me privately for the moment. Yes, I haven't forgotten the project. I'm just fighting off its intimidation, but I'm winning. Awe is always a big enemy for me and my words. Hence, the 'ToL' reluctance, I guess. ** Postitbreakup, Hey. I'm kind of the opposite in that I'm at my least picky when it comes to horror movies. That genre is just basically pleasurable for me, and even crappy horror can lock me up. I do especially like complicated or kind of post-modern ones, I guess, like the Freddie movies or 'In the Mouth of Madness' or some of the Japanese and Korean ones. I like perverse ones when the premises are interesting like the second 'Hostel' and 'Frontiers', for instance. Weak ending notwithstanding, my favorite Shyamalan is 'Unbreakable'. I guess paranormal themed ones are probably my preference, theme-wise. Like I think I've probably said a hundred times, the only horror movie that has actually scared me in forever is 'Blair Witch'. The English language thing is not really lonely because all my friends here speak English, but, in most cases, i.e. with my English speaking French friends, there's just a lot of frustration sometimes because I have to simplify and scale back what I want to say. ** Sypha, Cool, James, I'll go check out that precocious poem when I finish up. Everyone, Sypha aka James 'Grimoire' Champagne, has crowned his blog with ... well, I'll let him tell you: 'The following poem was composed when I was a student at Bernon Heights Elementary School, probably when I was in the second or third grade. It won some kind of school-wide poetry contest that was being held then, and I and the rest of the winners had to go down to a local radio station and read our poem on-air, which was, needless to say, an interesting experience.' ** Patrick deWitt, Thanks of thinking of me as an integrity-filled New Waver. I did my best, and I managed to stay an avant-gardist for the most part, but guilty pleasures did accrue mostly because people used to leave MTV on 24/7 like a radio in those days, and stuff would stick. Oh, man thank you so much about 'The Marbled Swarm'. I hold your opinion as high as high gets, and I'm in the 'on pins and needles' pre-launch phase, which I'm sure you went through yourself not so long ago as well. Yeah, thanks a lot Patrick, that means a ton! ** Steevee, Surely that long cut of 'FWwM' will get out. I think the initial neg on that film had partly to do with when it was released, which was kind of at an odd time relative to the series ending. I think if Lynch had released it right after the series ended or waited a few years, it would have been very different. ** Bollo, Yeah, free is such a relative term when it comes to drinks unless drinking makes one anal, I guess, but is that even possible? My weekend wasn't too shabby. Yours? ** A.r., Hey, Alex! Oh, I took some photos of the Paris show that I've been meaning to send to you for a week. I'll try to do that today. In the meantime, thanks for the heads up your blog shots, and, wow, your new works are, you know, just unbelievable! Everyone, the very great artist Alex Rose has been updating his blog, including some images that show his works in a recent Paris group exhibition, and, as ever, everything you'll see there is just incredible, so click this and visit there by all means necessary. So true about AOS. I didn't know about that bio. I'll find it somehow. Thanks a lot, Alex. As I write this I'm listening to Yury, who seems to have come down with flu yesterday, snore. ** Jeff, Hey. My condolences to you, man, and to your dad. I hope that with all the sadness and bombarding memories that will be natural for a while, your dad gets some relief. I know FORMA, and I have something of theirs that I like quite a lot, and I know of Nonloc but haven't heard them, but I didn't know about Bright. That Bright song you linked to is really, really good, yeah. Cool, I'm going to get some more. Thanks a lot, Jeff, and take care. ** Misanthrope, Oh, okay, let me trust you and take a look at that video then. Hold on. Yep, you're right, that was really funny. The body pokes at the end are the clincher. Twin Studies, true. Shall we schedule a Jedward-themed rematch? ** Colin, Hey. C. Thanks for talking so well to Statictick's post. And, yeah, it's up to 95% now, so it's seeming like a shoo-in. ** Bill, Hey. Yeah, it hope it goes great on Wednesday. You'll pull it off with every flying color. You always do. We're talking to the Recollets about that. There's scheduling stuff to deal with. It might be one night event, I'm not sure. Long story. We're on it, though, and something will end up happening. ** Chris Cochrane, Hi, C. Well, yes, it happened, all thanks to you. After a strategy meeting between me and Gisele today, we'll head in to the big meeting tomorrow afternoon, and I'll let you know. Sorry you're feeling crap. Hopefully Monday morning burned it off. Okay, if I have your phone number, I'll find it, and I'll call you at 7 or will write to you before the appointed time if I can't find the number, so, either way, talk to you later! ** Statictick, Hey, man. Thank you so much again! I really love that post. Yeah, take it easy until the sky gets nice again, and then let me know about the move weirdness. Nice, long, very informative interview with EL Harris in the new Mojo with a lot of Gram talk. ** Paradigm, Hi, Scott. Wow, amazing travels. Incredible. I confess a bit of envy about your physical closeness to those places in the world. Sure, I've got, oh, Germany next door, but it's not the same. Studying to be a teacher sounds like a really good and interesting move, and that's a gig that seems very suited to you, as I know you. Yeah, the responsibility and rock hard routine of teaching are what has always scared me off, but, then again, people I know who teach seem to get around and away as much as I do. I hope you write that review because I'd love to read it. Thanks a lot, Scott, and all the very best to you! ** Frank Jaffe, Hi, Frank! I've always wanted to know what goes on in that amazing head of Koes's, so that's a coup if you ask me. 'Suicide Room', duly noted, and I'll watch for it. I love 'La Belle Personne', obviously. I just put together a Christophe Honore post this past weekend, in fact. Hoping to get to hang out with him a bit soon before his new film comes out whereupon he'll get all busied with that. My mom used to make a mean frito chili pie, Texas style, she said, which I think meant heavy on the hot spices. She even made a veggie meat one for me. Now that's something I would never find in Paris. French bread, however, no problem, and I think I'll take a cue from you and take a break from my usual French tortilla-wrap fare. Excellent day to you! ** Schlix, Oh, crap about your ankle! You'd think that whoever designed the human ankle would have designed them a lot better. Especially back when they were invented and when people were jumping on rocks and slogging across rivers all the fucking time. If Apple had designed the human ankle, they'd have put out all sorts of ankle patches and software updates and stuff, but then we'd have ankle Malware to deal with. Anyway, blah, blah, go see that doctor and get that on the mend. ** Okay. One of the things that Gisele and I are exploring vis-a-vis our big maze piece-in-progress is the tableau vivant, and I guess that kind of spilled into my imaginary gallery today. Take heed and enjoy or something. See you tomorrow.
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