Adoration by Norwegian-Danish sculptor Stephan Sinding (c. 1903) and a tableau vivant of the sculpture featuring German-Polish “living statue” performers Olga Desmond and Adolf Salge (c. 1908)
"The tableau vivant: The severed heads are the front view of this tableau vivant. The back view is hidden from the audience. Dalziel, illustration for ‘Blue Beard Tableau’, in Laura Valentine (ed.), Warne’s Home Annual (London: Frederick Warne, 1868).
In her festival play, Marie Haushofer presented roles that women had played in different eras and centuries. At the same time, she also traced the path of women in their cultural-historical…
An Overview
"Guerilla" refers to a small, often politically motivated group opposing a larger armed force. The term was used thoughtfully in the song by rappers Hongjoong and Mingi from ATEEZ, a South Korean group, to inspire action and resistance against suppression. The accompanying music video depicts ATEEZ as rebels in a dystopian society where creativity and individuality are "banned". They infiltrate and break into government centers to spread a message of freedom, urging citizens to resist the oppressive system.
Elements of Tableau Vivant
The music video, featuring an anthemic rock-influenced beat, is rich in symbolism and references to historic artwork. One notable scene bears a striking resemblance to French artist Eugène Delacroix’s 1830 painting, Liberty Leading the People, which symbolized the French Revolution's unity among all social classes (peasants to elites). This echoes ATEEZ's message of unity and common purpose in their track.
Additionally, the scene evokes Joe Rosenthal's iconic photo, Raising the Flag on Iwo Jima, capturing the planting of the U.S. flag during World War II. This photo symbolizes the resilience of the U.S. Marines. Similarly, ATEEZ's stance in the scene reflects strength and resilience, resonating with the bravery of endurance in the face of adversity.
Final Thoughts
In "Guerilla," what really stands out to me is how they effectively depict the presence of the opposing armed force that the guerrillas are against. It's fascinating how they utilize imagery such as airships hovering ominously in the sky, symbolizing a pervasive surveillance, as well as dynamic camera movements that pan from above to below to highlight the contrast between the two opposing groups. Additionally, their use of symbolic elements such as the anarchy symbol and the Metropolis cityscape serve to emphasize the overarching theme of power dynamics at play.
Joseph Albert ~ “Maskenball von ‘Jung-München’ 1862 / Frl. Pfeiffer, Frl. Bischoff, Frl. Pfeiffer, Frl. Bischoff / Aus der Gruppe: ‘Graf v. Gleichen'” (Count of Gleichen), Februar 1862, Albuminpapier / Münchner Stadtmuseum ~ Sammlung Dietmar Siegert
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Joseph Albert ~ "Maskenball von 'Jung-München' 1862 / 'Gruppe des Grafen von Gleichen'" (Counts of Gleichen), Februar 1862 / Münchner Stadtmuseum ~ Sammlung Dietmar Siegert
Joseph Albert ~ "Märchenball von 'Jung-München' 1862 / Frau von Passerant, M. v. Liebig, Schlierholz, Frl. Knapp, Frl. Stöger / Gruppe 'Nixenkönigin'" (Mermaid Queen), Februar 1862, Albuminpapier Münchner Stadtmuseum
I surrealisti: l'isteria è un'invenzione poetica non una malattia
«La crisi isterica prende forma a spese della stessa isteria, con la sua aura superba e i suoi quattro periodi (di cui il terzo ci rievoca alla stessa maniera i tableaux vivants più espressivi e più puri, la cui risoluzione è tanto semplice nella vita normale. L’isteria classica perde i suoi tratti nel 1906: “L’isteria è lo stato patologico che si manifesta attraverso dei disturbi che è possibile…
Vesta ~ Izzie Hat by carley benazzi
Via Flickr:
VESTA "Izzie" Hat more information here : Blog Instagram Wearing: VESTA - Izzie Hat -please see Blog for additional info A Breakfast Convo- Spring Blossoms Top Poison Rouge - Mitsune Obi/Obijime - NEW@The Arcade Poison Rouge - Mitsune Skirt NEW@The Arcade Insomna Angel - Body pearls Dappa Tattoo - glass Tableau Vivant - Windy ponytail