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A tableau vivant (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}French: [tablo viv]; often shortened to tableau; plural: tableaux vivants), French for 'living picture', is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery, and may be theatrically lit. It thus combines aspects of theatre and the visual arts.

In the late 19th and early 20th centuries, there was also a type of tableau used in the professional theatre, taking advantage of the extra latitude the law allowed for the display of nudity so long as the actors did not move. Tableaux featured poses plastiques ('flexible poses') by virtually nude models, providing a form of erotic entertainment, both on stage and in print. Tableaux continue to the present day in the form of living statues, street performers who busk by posing in costume. In film or live theatre the performers sometimes briefly freeze in position for a tableau vivant effect.

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In the Middle Ages occasionally a Mass was punctuated with short dramatic scenes and painting-like tableaux. They were a major feature of festivities for royal weddings, coronations and royal entries into cities. Often the actors imitated statues or paintings, much in the manner of modern street entertainers, but in larger groups, and mounted on elaborate temporary stands along the path of the main procession.[1] Johan Huizinga, in The Autumn of the Middle Ages, describes the use and design of tableaux vivants in the late middle ages. Many paintings and sculptures probably recreate tableaux vivants, by which art historians sometimes account for groups of rather static figures. Artists were often the designers of public pageantry of this sort.

Before radio, film and television, tableaux vivants were popular forms of entertainment, even in American frontier towns.[3] Before the age of color reproduction of images, the tableau was sometimes used to recreate artworks on stage, based on an etching or sketch of a 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 and production of a full theatre performance. They thus influenced the form taken by later Victorian and Edwardian era magic lantern shows, and perhaps also sequential narrative comic strips (which first appeared in modern form in the late 1890s).

Tableaux vivants were often performed as part of school Nativity plays in England during the Victorian period; the custom is still practised at Loughborough High School (believed to be one of England's oldest grammar schools for girls). Several tableaux are performed each year at the school carol service, including the depiction of an engraving en grisaille (in which the subjects are painted and dressed completely grey).

Tableaux vivants were often included in fairground sideshows (as seen in the 1961 film A Taste of Honey). Such shows had largely died out by the 1970s, but continue in the Bridgewater Carnival in Somerset.[6] Tableaux remain a major attraction at the annual Pageant of the Masters in Laguna Beach, California.[7]

The photographic tableau has its roots not in the theatrical tableau vivant, but in pictorialist photography, such as that of Alfred Stieglitz, a movement with its roots in Aestheticism, which already made heavy use of the tableau as a non-theatrical visual art style. Pictorialism, according to Jeff Wall[11] could be seen as an attempt by photographers to imitate painting (perhaps unsuccessfully):

However, there appears to be only a handful of young, emerging artists working within the tableau form. Examples include Florian Maier Aichen, Matthew Porter and Peter Funch. More recently, Canadian artist Sylvia Grace Borda has worked since 2013 to continue to stage tableaux for the camera within the Google Street View engine.[12][13] Her work creates 360 immersive tableau vivant images for the viewer to explore. Through her efforts to pioneer the tableaux vivant for online exploration, she and her collaborator, John M. Lynch, won the Lumen Prize 2016 for Web Arts.[14]

The 1969 film The Color of Pomegranates, directed by Sergei Parajanov, presents a loose biography of the Armenian poet Sayat Nova in a series of tableaux vivants of Armenian costume, embroidery and religious rituals depicting scenes and verses from the poet's life.

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