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• Theatrical artwork

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“The original idea for the Tate Modern exhibition Conflict, Time, Photography came from a coincidence between two books that have captivated and inspired me for many years: Kurt Vonnegut‘s classic 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map islandfestgrosseile.com/poker/. Both look back to hugely significant and controversial incidents from the Second World War from similar distances.

Chloe Dewe Mathews (British, b. 1982) Six Farm, Loker, West-Vlaanderen 2013 Private Joseph Byers Private Andrew Evans Time unknown / 6.2.1915 Private George E. Collins 07:30 / 15.2.1915 © Chloe Dewe Mathews

Nick Waplington’s deeply moving and once controversial photographs of the cells of Barry Island prison, where Nazi SS Officers were held prisoner before the Nuremburg trials, were taken in 1993, almost 50 years after the prisoners had embellished the cell walls with Germanic slogans and drawings of pin-up girls and Bavarian landscapes will be displayed. The half-century that elapsed between the photographs and the creation of their subject is grim testament to the enduring legacy of conflict…

And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…”

In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…

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Theatrical artwork

Classic theatre productions include Sophocles’ Oedipus Rex, William Shakespeare’s Hamlet, and Molière’s Tartuffe. These works have set benchmarks for storytelling and are studied for their intricate plots, character development, and influence on the genre.

Playing on the notion of adventure and curiosity, David Teniers the Younger’s A Guard Room inspires a sense of innocence in its viewer while creating tension within its “stage” of events. The piece depicts a child exploring a guard house, very likely outside of adult supervision. The décor of the armor suggests it is used for military ceremonial purposes, further increasing both the playfulness and impending consequence of the boy’s presence. The theatrical nature of this piece plays on the actions of its subjects combined with a stage setting very suitable for mischief. Dynamic shadows are used to create a depth in the piece, furthering the sense of space in the manner that a theater stage is laid out. Certain portions are hidden from the viewer for the purposes of the subject. Just as a director would in a production, Teniers only shows you what you need to see to understand what is happening in the piece. Though more elaborate than some of the other examples, even the wide shot of the guardhouse can be thought of as being somewhat conservative, playing on the unknown to further the sense of mischievous adventure.

This was a golden age for theatre in Britain, one in which it became a truly popular form of entertainment. Although they sat in different parts of the auditorium, people of all classes attended, from workmen to monarchs. (The British royal family, unlike many of their European counterparts, had no private theatre, meaning King George III and Queen Charlotte had to attend public performances to indulge their love of drama.)

Classic theatre productions include Sophocles’ Oedipus Rex, William Shakespeare’s Hamlet, and Molière’s Tartuffe. These works have set benchmarks for storytelling and are studied for their intricate plots, character development, and influence on the genre.

Playing on the notion of adventure and curiosity, David Teniers the Younger’s A Guard Room inspires a sense of innocence in its viewer while creating tension within its “stage” of events. The piece depicts a child exploring a guard house, very likely outside of adult supervision. The décor of the armor suggests it is used for military ceremonial purposes, further increasing both the playfulness and impending consequence of the boy’s presence. The theatrical nature of this piece plays on the actions of its subjects combined with a stage setting very suitable for mischief. Dynamic shadows are used to create a depth in the piece, furthering the sense of space in the manner that a theater stage is laid out. Certain portions are hidden from the viewer for the purposes of the subject. Just as a director would in a production, Teniers only shows you what you need to see to understand what is happening in the piece. Though more elaborate than some of the other examples, even the wide shot of the guardhouse can be thought of as being somewhat conservative, playing on the unknown to further the sense of mischievous adventure.

This was a golden age for theatre in Britain, one in which it became a truly popular form of entertainment. Although they sat in different parts of the auditorium, people of all classes attended, from workmen to monarchs. (The British royal family, unlike many of their European counterparts, had no private theatre, meaning King George III and Queen Charlotte had to attend public performances to indulge their love of drama.)