AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Autori: ARNAUD RYKNER.
DOI: 10.24193/subbdrama.2021.2.04
Published Online: 2021-10-30
Published Print: 2021-10-30
pp. 47-72
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Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their post-production (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed.
Keywords: theatre photography, France, Belle Epoque, document, photographic archives.
