Relevant bibliographies by topics / Theater photography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Theater photography"

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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (June 26, 2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.

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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Schechter, Joel. "Theater and Photography: An Introduction." Theater 18, no. 2 (1987): 4. http://dx.doi.org/10.1215/01610775-18-2-4.

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Abel. "Double Take: Photography, Cinema, and the Segregated Theater." Critical Inquiry 34, no. 5 (2008): S2. http://dx.doi.org/10.2307/20184422.

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Abel, Elizabeth. "Double Take: Photography, Cinema, and the Segregated Theater." Critical Inquiry 34, S2 (January 2008): S2—S20. http://dx.doi.org/10.1086/529086.

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Yu-Hsing Chen, Jasmine. "Performing Chineseness Overseas." Journal of Chinese Overseas 18, no. 1 (March 18, 2022): 90–117. http://dx.doi.org/10.1163/17932548-12341457.

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Abstract This article analyzes how the photographs of overseas Chinese performing Peking opera projected the Chinese nationalism of the Kuomintang (KMT) across Taiwan (the Republic of China, ROC) and the Philippines during the Cold War. The analysis focuses on images in the periodical Drama and Art (1964–1972), examining theater and photography as mediums that worked together to (re)shape a ROC-approved vision of “Chineseness.” In addition to studying the circulation of these photographs, the discussion further looks into those aspects of the performances rendered invisible by the periodical, explicating how the Chineseness of overseas Chinese was produced and performed based on the KMT’s needs. Peking opera performance also functioned as a form of “emotional compensation” for Chinese-Filipino performers to act out fantasies of power while facing anti-Chinese sentiment in the Philippines. This article therefore argues that Peking opera was intricately linked to the conceptual construction of overseas Chineseness and its embodied practice.
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Carter, Curtis L. "Somaesthetics and Dance." Contemporary Pragmatism 12, no. 1 (June 16, 2015): 100–115. http://dx.doi.org/10.1163/18758185-01201006.

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Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shusterman offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer.
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Dissertations / Theses on the topic "Theater photography"

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Litvak, Violetta. "In the Theater of Subjectivity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.

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This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.
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Morais, Isabelle Freire de. "Fotografia e encenaÃÃo: cena expandida em fusÃes com o teatral." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=14554.

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nÃo hÃ
LanÃamos-nos em um exercÃcio reflexivo buscando entender como a encenaÃÃo, esse gesto originÃrio do teatro, deixando de remeter incessantemente a ele, embora nÃo o exclua por completo, adquiriu sentido na linguagem fotogrÃfica. Para tanto, partimos do entendimento de encenaÃÃo como jogo, como uma operaÃÃo de invenÃÃes, como um gesto criativo que amplia o protocolo do fotografÃvel. Nossa abordagem busca, tambÃm, explorar atravessamentos, fusÃes e contaminaÃÃes que se instauram entre as linguagens fotogrÃfica e teatral e suas reverberaÃÃes na representaÃÃo imagÃtica do humano. AlÃm das reflexÃes de ordem teÃrica, este trabalho propÃe um exercÃcio de leitura de algumas imagens selecionadas da obra dos fotÃgrafos Duane Michals e Jorge Molder. Nossas questÃes sÃo inspiradas, principalmente, em dois pensadores: FranÃois Soulages com sua estÃtica do âisto foi encenadoâ e Andrà Rouillà com seu conceito de fotografia- expressÃo. Suas contribuiÃÃes se constituem nÃcleo de onde partem nossas reflexÃes que, contudo, se expandem e atingem outros autores a medida que realizamos nossa travessia investigativa.
Through a reflexive exercise we search to understand how the staging, this gesture originally from theater, not referring to it incessantly, though not completely excluding it, acquired meaning in photographic language. The starting point was the understanding of staging as a game, as an operation of inventions, as a creative gesture that extends the photographed protocol. Our approach also searches to explore crossings, mergers and contaminations established between the photographic and theatrical languages and their reverberations in the image representation of the human. In addition to reflexions of theoretical nature, this work proposes a reading exercise of some selected images from the work of photographers Duane Michals and Jorge Molder. These issues are mainly inspired in two thinkers: FranÃois Soulages and his aesthetic of "that was staged" and Andrà Rouillà with his concept of expression-photography. Their contributions constitute the core for our reflexions, which however, were expanded and reached other authors as we make our investigative journey.
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Brown, Holly Beth. "Social Justice and Community-Based Art Education." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193320.

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Both in and out of the classroom, critically discussing and exploring the issues of gender, race, power, equality, and social justice can be a social and emotional minefield for educators and students alike. In politically charged times, escaping pre-formulated reactions and creating real change and empathy can seem a nearly impossible task. Some educators have turned to the visual and creative arts to provide students with emotional connectedness, visceral responses, and modes of self-expression. In this study, I examine two education programs to understand the effectiveness of social justice pedagogical methods using phenomenological research. My focus is on the educators' experiences, influences, and personal pedagogies. I plan to highlight three successful programs to better understand how complex and emotional issues can be better explored through art and visual culture and how other educators can adapt these methods to their own classrooms.
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Dean, Mary MacRorie. "Affective Intervention: Beyond Campus Rape Prevention." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429315783.

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Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.

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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Wassersug, Yolana. ""My picture I enjoin thee to keep" : the function of portraits in English drama, 1558-1642." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5935/.

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This thesis considers how visual art is expressed within English drama during the Elizabethan, Jacobean, and Caroline periods, through studying how portraits are used in performance and narrative. The first part of the thesis, consisting of Chapters One and Two, is concerned with the stage. It explores the range of different functions that a portrait could have in a play, and considers the challenges of bringing these objects onto the stage. The following three chapters make up the second part of the thesis; which shifts focus from the way portraits were used on stage as signifiers, to a consideration of what they signify. Chapter Three explores how characters use portraiture to promote their identity and advertise individuality. It argues for a re-thinking of the significance of ‘life-like’ painting, arguing that portraits can be markers of identity even without necessarily capturing likeness accurately. Chapter Four is about the functions that portraits have as love tokens and within courtship narratives, arguing that they expose the often-flimsy distinction between lust and love. The final chapter addresses the magical and metaphysical aspects of portraiture, and considers their role in witchcraft and murder narratives, but also their metaphorical potential to ‘hold’ the soul of the person that they depict, and therefore function as commemorative objects.
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Parker, Herb. "Bark Like a Dog!: Outrageous Ideas for Actors." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/0615866573.

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This book, a short and easy read with common sense coaching and easy to follow exercises, takes beginning acting students through techniques and improvisations that will help them overcome perhaps their greatest fear: making “The Big Choice.” Using sound examples from classical as well as contemporary plays, Herb Parker makes it easier for the theatrical neophyte by making the case that a play is “about human beings caught in an outrageous situation, caused by love.” “Actor, director, teacher Herb Parker has given us a splendid new book about acting. He analyzes this ancient art in clear, precise, engaging prose while dispensing acute, methodical and perceptive advice. Brilliant actor that he is, Herb understands the craft, the exceptional director gently leads the actor toward a fully realized performance and the thoughtful, caring teacher explains it all to the reader (student). This is the book of acting you need and one you will cherish.”
https://dc.etsu.edu/etsu_books/1052/thumbnail.jpg
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Santos, Daniele Queiroz dos. "Entre montagens e constelações: um estudo sobre a mobilidade das imagens." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16132/tde-12122017-154113/.

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Este trabalho apresenta um estudo sobre as representações e o imaginário da arquitetura e do espaço construído pelo viés da mobilidade das imagens, a partir da análise e interpretação de três obras cinematográficas que se constituem como os objetos de estudo: Alice nas Cidades (1974), Dogville (2003) e Solaris (1972). Os filmes são abordados quanto à característica de apresentação do espaço de cada obra: tem-se então a cidade real (Alice nas Cidades), a cidade sugerida (Dogville) e a cidade imaginada (Solaris). Ao longo do texto são percorridos caminhos teóricos que partem das conexões entre cinema e arquitetura, cinema e imaginário e chegam na técnica da montagem, mostrando como esta pode servir não somente à narrativa fílmica, mas também como processo formativo de construção de imagens e significados através da justaposição de imagens e do processo de colisão entre elas. Ao transformar frames das obras cinematográficas em reproduções fotográficas, é convocado o Atlas Mnemosyne, painéis de imagens da autoria do historiador alemão Aby Warburg, como guia na construção de constelações de imagens. Entendendo o processo de feitura da Mnemosyne como uma técnica da montagem, as reproduções fotográficas vão sendo transformadas em narrativas outras por meio das constelações e galáxias de imagens, trabalhando com os conceitos de escala, dimensionamento, intervalo, aproximações e saltos das imagens; movimentos esses que encontram paralelo não somente no cinema - closes, travelling, saltos no tempo e no espaço -, como também no percurso dentro do espaço construído e nas representações da arquitetura.
This research presents a study about architecture\'s representations and imaginary, and its constructed space through the point of view of the mobility of images, from analysing and interpreting three cinematographic works that constitute the objects of study: Alice in the Cities (1974), Dogville (2003) and Solaris (1972). Each film is approached as to its characteristic presentation of space: the real (Alice in the Cities), the suggested (Dogville) and the imagined city (Solaris). Throughout the text, theoretical paths are drawn from connections between cinema and architecture, cinema and imaginary, and lead us to the technique of montage, showing how it can serve not only to the film narrative but also as a formative process of constructing images and meanings through the juxtaposition of pictures and the process of collision between them. By transforming frames of the cinematographic works into photographic reproductions, the Atlas Mnemosyne, panels of images by the German historian Aby Warburg, is called as a guide in the construction of constellations of images. Understanding the Mnemosyne process as a montage technique, photographic reproductions are transformed into other narratives through the constellations and galaxies of images, working with the concepts of scale, sizing, interval, approximations and jumps of images; movements that find parallel not only in cinema - closes, travelling, jumps in time and space - but also in the course within constructed space and in representations of architecture.
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Anderson, Joel. "Theatre and performance photography : documentation and the unlive." Thesis, Queen Mary, University of London, 2008. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1415.

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Although theatre and performance photographs often illustrate scholarly works on theatre and performance, and despite recent interest in links between theatre and the still image from both theatre practitioners and theorists, there remains relatively little critical work on theatre photography. This thesis examines theatre photography, implementing approaches that are a departure from habitual conceptions of the photograph as document. Taking the intersection of theatre and photography as a vantage point, this thesis considers how photography might shape theatre rather than recording it, and how this might challenge notions of theatre's constitution, summoning theatre's own stillness, its citation, and its spectrality. This consideration takes place via analysis of a series of instances of theatre photography, interrogating the specific operation of photography and photographs in each. Following the introduction, Chapter 1 gives an overview of existing writing about theatre photography, from questions of archiving to reflection on 'performance documentation'. Chapter 2 concerns photographic studies of the corporeal mime of Etienne Decroux, examining how photographic stillness relates to mime practice. Chapter 3 concerns the theatre photographs of Josef Koudelka, and considers how this work documents disappearance. Chapter 4 focuses on Martine Franck, photographer at the Theatre du Soleil, and examines how theatre photographs correspond to the photographer's other work. The work of this same company is the subject of Chapter 5, where I consider Sophie Moscoso's use of photography as part of a working process, and the ways in which images affect stage practice. Chapter 6 concerns the work of New York performance photographer Dona Ann McAdams, and considers the how photographs perform. The conclusion considers the wider implications of this work, and signals future research that might draw on my findings.
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Books on the topic "Theater photography"

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Barney, Tina. Tina Barney: Photographs : theater of manners. Zurich: Scalo, 1997.

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Michals, Duane. The theatre of real life: Photo stories in Duisburg = Das Theater des täglichen Lebens. Essen: Klartext, 2004.

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The theater of insects: Photographs. San Francisco: Chronicle Books, 2008.

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Dreissinger, Sepp. Alles Theater: 111 Schauspielerportraits & Theaterszenen. Wien: Deuticke, 2000.

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Kabir, Kamaluddin. Light and discourse: Solo theatre photography exhibition. Dhaka: Bengal Gallery of Fine Arts, 2006.

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Krejčí, Jaroslav. Divadelní jarmara Alfréda Radoka a Jana Grossmana: Plná fotografií Jaroslava Krejčího a jeho žáků : 8.-27. června 1999, Praha - Výstaviště, Průmyslový palác u příležitosti PQ 99 = Theatre cupboard of Alfréd Radok and Jan Grossman. [Praha]: Divadelní ústav, 2003.

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Krejčí, Jaroslav. Divadelní jarmara Alfréda Radoka a Jana Grossmana: Plná fotografií Jaroslava Krejčího a jeho žáků : 8.-27. června 1999, Praha - Výstaviště, Průmyslový palác u příležitosti PQ 99 = Theatre cupboard of Alfréd Radok and Jan Grossman. [Praha]: Divadelní ústav, 2003.

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Lacombe, Brigitte. Lacombe: Cinema/theater. Munich: Schirmer/Mosel, 2001.

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1947-, Masotti Roberto, ed. La vertigine del teatro: Theater vertigo. Busto Arsizio [Varese]: Nomos, 2009.

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Optische Medien: Berliner Vorlesung 1999. Berlin: Merve, 2002.

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Book chapters on the topic "Theater photography"

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Anderson, Joel. "Photography models theatre; theatre models photography." In Theatre & Photography, 81–91. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_12.

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Anderson, Joel. "An unknown street performer: theatre of photography." In Theatre & Photography, 2–15. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_1.

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Anderson, Joel. "Brecht on realism, naturalism, and photography." In Theatre & Photography, 70–77. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_10.

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Anderson, Joel. "War Primer." In Theatre & Photography, 77–81. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_11.

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Anderson, Joel. "The mirror of nature: The Octoroon." In Theatre & Photography, 18–24. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_2.

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Anderson, Joel. "The unseen photograph: An Inspector Calls." In Theatre & Photography, 24–29. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_3.

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Anderson, Joel. "A play on photography: The Wild Duck." In Theatre & Photography, 30–32. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_4.

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Anderson, Joel. "Photographic material: The Seven Streams of the River Ota." In Theatre & Photography, 32–36. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_5.

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Anderson, Joel. "Actor portraits." In Theatre & Photography, 39–45. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_6.

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Anderson, Joel. "Platonic love of theatre: a case study from Marcel Proust." In Theatre & Photography, 45–47. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_7.

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Conference papers on the topic "Theater photography"

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Virkki, Susanna. "Theatre photograph and representation." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994333.

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