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The objective of this bachelor thesis is to create a photo essay on the subject of modern performative art called larp. The word larp itself was formed by combining words live, action, role and playing and it is an alternative to theater and film where the actors play roles only for themselves, not for the audience. The practical part of this thesis documents the preparation, organization and the course of larp events. The theoretical part of the work briefly introduces the genre of photography of performative art, especially theater and film photography. Furthermore, this work compares these genres with the photographed theme and describes their common and different elements. This thesis also briefly deals with the history of larp as a socio-artistic phenomenon of the 21st century.

Gledališka fotografija je vrsta fotografije, ki prikazuje gledališko predstavo. Fotograf z zajetimi posnetki ustavi kontinuirano dogajanje na odru ter tako predstavi odvzame preteklost in prihodnost, prikaže jo golo, v izrazih trenutnih napetosti. Prizori, ki so se spojeni v zgodbo gledalcem izmaknili, na fotografijah spregovorijo brez besed v trenutku brezčasja (1). Namen diplomskega dela je bil fotografiranje gledališke predstave Hotel, fotografije pa nato predstaviti v fotoknjižici. V diplomskem delu je bilo opredeljeno, kaj je gledališka fotografija, kaj zajema in kje se fotografije uporabljajo. Fotograf je prisoten že pri oblikovanju predstave, ko dokumentira nastajanje kulis in rekvizitov. V fazi nastajanja predstave so fotografije pomembne za oblikovanje detajlov in končne scenografije. Fotografiranje za promocijske namene se prične že pred izvajanjem predstave, ko se fotografira bližnje kadre igralcev z do takrat že ustvarjeno ali nadomestno sceno. V nalogi so bile naštete težave, ki se lahko pojavijo pri fotografiranju predstave v živo in o katerih je treba vnaprej razmisliti. Pri dokumentiranju predstave je bil orisan potek dela za uspešno fotografiranje. Pregledane so bile fotografije najuspešnejših slovenskih in tujih gledaliških fotografov. Predstava Cirque E´loize Hotel je bila fotografirana v živo, pri čemer je bil uporabljen fotoaparat Nikon D7100 z objektivi Nikon 18.0–105.0 mm f/3.5–5.6 in Nikon 55.0–200.0 mm f/4.0–5.6. Fotografije so bile urejene z uporabo programa Adobe Photoshop CC 2018 na računalniku MacBook Pro 2016. Zaradi pomanjkanja literature o gledališki fotografiji v slovenskem jeziku lahko ta diplomska naloga služi tudi kot hiter uvod v teorijo gledališke fotografije. Fotoknjižica služi kot dokument predstave, fotografije pa bodo za igralce spomin na odigrano vlogo na slovenskem odru. Theater photography is a type of photography that presents a theater performance. A theatre photography enables a photographer to “stop” a continuous flow of events taking place on stage and therefore to capture specific moments and to highlight details that can often pass unnoticed by the spectators focused on the story (1). The purpose of the diploma thesis was to photograph the theater performance “Hotel” and to use selected photographs in a photobook. In the diploma thesis the definition of theatre photography, its motives, usage and purpose are presented. A photographer is present in the preproduction of the show as he documents the designing process and construction of the scenery and gadgets. Here photographs of details as well as major changes details and major changes in the process of creating the final product are important. When photographing for promotional purposes actors are photographed before the show premiers in close-up with either the final or alternate set already present in the background. In the diploma thesis, obstacles that can occur and should be taken into consideration before the event takes place, as well as the process and guidelines to successfully photograph a live performance are also analysed. Photographs of the most successful Slovenian and foreign theatre photographers were reviewed. The performance Hotel was photographed live with camera Nikon D7100 with Nikon 18.0–105.0 mm f/ 4.0–5.6 and Nikon 55.0–200.0 mm f/4.0–5.6. The photos were edited in Adobe Photoshop CC 2018 on a MacBook Pro 2016. Due to lack of literature on theatre photography in Slovene language, this diploma thesis can serve as a brief introduction into theory of theatre photography. Photobook serves as a document of the performance while also allowing the actors to revive memories of performing on Slovenian stage.

Summary The article is an attempt at applying the concept of counterfactuality, typically employed with reference to narrative forms, to the analysis of visual culture, particularly to theatre photography. The material for case studies is provided by the works of Polish photographers who redefine the function of this form of photography. Typically, photography is seen by theatre historians as the prime form of theatre documentation, and therefore treated as subservient to the needs of theatre studies as an academic discipline. Contrary to that, the photographic projects analysed in the present paper (particularly those of Ryszard Kornecki and Magda Hueckel), although made in theatre during performances, have been produced and distributed as autonomous art forms which neither represent nor document theatre productions. In the analysis of these projects, I employ Margaret Olin’s concept of “performative index”, which describes the relationship between the image and the viewer as a dynamic creation of meaning. With reference to this theoretical framework, I argue that counterfactuality of theatre photography is a strategy of turning this medium into an autonomous form of art.

The main topic of this bachelor thesis is contemporary circus. This type of dramatic art combines elements of the traditional version of circus with performing arts like dance, music or fine arts. The thesis focuses on the Czech version of contemporary circus mainly through photography. The theoretical part analyses the photography of performing arts and how to capture them with a documentary approach. Part of the thesis is an interview with documentary photographer Bohdan Holomíček.

Theatre ephemeral condition has always been a permanent challenge to the construction of its memory, and it is quite understandable the use of photography since the first decades of its existence in the second half of the nineteenth century in order to combat its fading. This type of image has thus conditioned the access of the public to the theatre and was responsible for shaping various concepts of theatrical practice over the following decades. In the 21st century, and in a period of clear affirmation of visual culture, it is already impossible that photography has not contaminated with its viral load a space that is so close to it, from its origins, in the exploration of pose and representation. However, the understanding of the status of photography in this context by its main operators, whether from the producer point of view or from that of the observer, remains in a certain twilight. If the photographic record of the theatre is unquestionable, it is necessary to know the details of this practice and to check the awareness that its agents have of the reach of the same and, above all, to evaluate the photograph in the double condition of document and monument. This article aims to recognize the disciplinary territory of theatre photography as an autonomous space for the convergence of both the photographic and theatrical gaze and to explore their possibilities of relationship and different kinds of approach., A efemeridade do teatro constitui desde sempre um permanente desafio à construção da sua memória e facilmente se compreende o recurso à fotografia, desde as primeiras décadas da sua existência, na segunda metade do século xix, a fim de combater o seu desvanecimento. Este tipo de imagem passou, assim, a condicionar o acesso do público ao teatro e foi responsável pelo moldar de diversos conceitos da prática teatral ao longo das décadas seguintes. Em pleno século xxi, e em período de clara afirmação da cultura visual, é já impossível que a fotografia não tenha contaminado com a sua carga viral um espaço que lhe está tão próximo, desde as suas origens, na exploração da pose e da representação. Contudo, permanece ainda hoje numa certa penumbra a compreensão do estatuto da fotografia neste contexto por parte dos seus principais operadores, seja do ponto de vista do produtor, seja daquele do observador. Se o registo fotográfico do teatro é inquestionável, falta conhecer os detalhes dessa prática e aferir a consciência que os seus agentes têm do alcance da mesma e, sobretudo, avaliar a fotografia na dupla condição de documento e monumento. Pretende-se assim, no presente artigo, reconhecer o território disciplinar da fotografia de teatro, como um espaço autónomo de convergência tanto do olhar fotográfico quanto teatral e explorar as suas possibilidades de relacionamento e diferentes tipos de abordagem.

Nous prenons comme point de départ l’opposition du titre : ce texte, sous forme de dialogue/duologue, est également une rencontre entre la photographie et le théâtre, un point de vue privilégié permettant l’interrogation et même l’effondrement de certaines grilles conceptuelles. Dans le domaine du théâtre, on parle souvent d’artifice, authenticité, vraisemblance, et « liveness ». Le théâtre, à partir de la conceptualisation du naturalisme à la fin du dix-neuvième siècle et jusqu’aux défis de la performance au vingtième, semble lutter contre les médias (malgré l’éclecticisme de son propre dispositif représentationnel technologique), cherchant parfois à se situer en dehors d’eux. D’autre part, les études photographiques soulignent souvent la possibilité ou l’impossibilité de la véracité photographique, les sincérités ou tromperies des photographies, d’où la « performance » semble parfois proposer une issue… Ce dialogue se contente d’éclairer certains croisements au Théâtre de la Photographie, afin d’envisager de futurs dialogues entre les médias et les disciplines., Taking as a starting point the opposition of our title: this text, in the form of a duologue, is also a meeting between photography and theatre, a vantage point from which certain conceptual frameworks can be challenged and even collapsed. In the domain of theatre, one hears often of artifice, authenticity, likeness and liveness. Theatre, from the conceptualisation of naturalism in the nineteenth century to the challenges posed by performance art in the twentieth century, struggles with media (despite the eclecticism of its own technological apparatus), sometimes seeking distance from them. Photography studies, meanwhile, has often emphasised the possibility or impossibility of veracity, the truthfulness or deceptiveness of photographs, with performance seemingly offering one escape route… This duologue seeks only to cast light on certain crossings inside the theatre of photography, envisaging future dialogues between media and across disciplines.

Submitted by Paula Magalhães (pmagalhaes@letras.ulisboa.pt) on 2017-10-11T13:54:01Z No. of bitstreams: 1 Sinais de Cena_Oficina de fotografia de cena.pdf: 1494529 bytes, checksum: 79acf0017bed197ea7218fb493f15376 (MD5) Approved for entry into archive by Tatiana Ribeiro (tribeiro@letras.ulisboa.pt) on 2017-10-11T14:24:30Z (GMT) No. of bitstreams: 1 Sinais de Cena_Oficina de fotografia de cena.pdf: 1494529 bytes, checksum: 79acf0017bed197ea7218fb493f15376 (MD5) Made available in DSpace on 2017-10-12T08:44:46Z (GMT). No. of bitstreams: 1 Sinais de Cena_Oficina de fotografia de cena.pdf: 1494529 bytes, checksum: 79acf0017bed197ea7218fb493f15376 (MD5) Previous issue date: 2011-06 info:eu-repo/semantics/publishedVersion

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Portefolio dedicado a João Tuna (1990-2004).

Artigo sobre o actor Taborda, através de uma selecção de imagens.

Archives are cultural practices rather than just an accumulation of historical paraphernalia. Moreover, they are characterized by a fundamentally performative nature: rather than documenting historical reality, they co-create that very same reality. This is even more true for theatre archives that document events that have since long disappeared. Taking the recently digitized photo collection of the Slovakian Theatre Institute as its starting point, this article will address different questions pertaining to one specific type of archival source, the theatre photo, while at the same time analyzing the different methodological questions relevant to these types of archival collections and the ways in which these questions are necessarily entangled with questions of national identity and cultural memory. By means of a contextual analysis of the phenomenon of the photo archive, we will analyse different questions such as the actual status of the 'users' and 'makers' of these kinds of archives, the nature of the material object to be found in this collection and the digitization of these same objects.

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Portefolio sobre Ricardo Pais, Teatro Nacional de S. Joao, (1996-2006 e 2003-2008), documentado com fotografia de Joao Tuna.

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Portefólio dedicado a Susana Paiva.

Portefólio dedicado à companhia O Bando, por ocasião do seu trigésimo aniversário.