20.500.12556/RUL-174875 Tableau vivant v fotografiji na primeru opusa Jeffa Walla zaključna seminarska naloga Tableau Vivant in Photography: The Case of Jeff Wall's Oeuvre Diplomsko delo raziskuje umetniški princip tableau vivant v fotografiji in, z analizo opusa Jeffa Walla pokaže, kako je princip postal orodje za kritično refleksijo resničnosti fotografske podobe in reprezentacije. Izraz tableau vivant – živa podoba – se prvič pojavi v srednjem veku, kot poimenovanje statičnih uprizoritev v pasijonskih procesijah. Poleg vezi z uprizarjajočimi umetnostmi, fotografski tableau vivant nastaja v odnosu do slikarske podobe. Zgodnji fotografski tableau vivant slikarski tradiciji zavezani na tradicionalen način, Jeff Wall pa v 70. in 80. letih 20. stoletja princip reinterpretira v novo vrsto fotografske podobe. Pri svojem delu se poslužuje vseh ključnih značilnosti principa – inscenacije, pripovednosti in gledališkosti. Kot fotograf-slikar se neposredno sklicuje na slikarske zglede, hkrati pa preizprašuje tradicionalno razumevanje resničnostne vrednosti podobe. S principom tableau vivant spodbuja gledalca h kritični refleksiji o resničnosti fotografske podobe in njegovi lastni poziciji. Undergraduate thesis explores the artistic principle of tableau vivant in photography and, through an analysis of Jeff Wall’s oeuvre, demonstrates how this principle became a tool for critical reflection on the reality of the photographic image and representation. The term tableau vivant – living picture – first appeared in the Middle Ages as a designation for static portrayals in Passion processions. In addition to its ties to performing arts, the photographic tableau vivant also emerges in relation to the pictorial image. Early photographic tableaux vivants remained traditionally bound to painterly conventions, whereas Jeff Wall, in the 1970s and 1980s, reinterpreted the principle into a new form of photographic image. In his work, he adopts all the key features of the principle – staging, narrativity, and theatricality. As a photographer-painter, he directly references art historical models while simultaneously questioning the traditional understanding of the image’s truth value. Through the principle of tableau vivant, he encourages the viewer to engage in critical reflection on the reality of the photographic image and their own position within it. tableau vivant inscenirana fotografija pripovedna fotografija podoba resničnost tableau vivant staged photography narrative photography picture reality true false false I. Vene Slovenski jezik Angleški jezik Diplomsko delo/naloga 2025-10-10 12:10:12 2025-10-10 12:10:17 2025-12-01 03:53:48 0000-00-00 00:00:00 2025 0 Ljubljana 0 Ljubljana 46 str. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 77.04:929Wall J.(043.2) 599665 254513411 58973.pdf 58973.pdf 1 E1299392DEA5147E7B5DBEA23DB3D789 871291c3748ef14afff5f261f751dd94329d79041c3ea946261c2e7274a68571 14a4ec79-a5c1-11f0-9328-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=219782 Filozofska fakulteta 0 0 0