La photographie de théâtre en France depouis 1945

Meyer-Plantureux, Chantal, «La photographie de théâtre en France depouis 1945». , Paris III – Sorbonne, Paris 1989

Abstract
La date de 1945, choisie comme point de depart de cette these, correspond a la naissance en france de ce que l’on pourrait appeler la photographie de mise en scene par opposition au portrait d’acteur qui representait la majeure partie de la production photographique ayant trait au theatre. Avec pres d’un demi-siecle de retard, la photographie de theatre, sous l’impulsion de roger pic, prenait enfin en compte l’avenement de la mise en scene. Trois grands courants se degagent entre 1945 et nos jours : celui des “photographes-historiens” qui se veulent des enregistreurs fideles de ce qui se passe sur scene – roger pic, agnes varda -, celui des “photographes- createurs” qui affirment leur subjectivite et revendiquent le droit de s’emparer du spectable – claude bricage ou nicolas treatt – et celui des nouveaux photographes “pluridisciplinaires” qui refusent de se laisser enfermer dans le carcan etroit de la photographie de theatre. La these etudie aussi les photographes travaillant en studio et en agence. La these se referme sur un constat assez pessimiste car la photographie de theatre se trouve plus que jamais au carrefour de plusieurs exigences contradictoires notamment artistique et commerciale. The year 1945, chosen as the starting point of this thesis, is the year in which the photography of theatre productions was born in france, as opposed to the portrait photography of actors which had previously accounted for the major part of photography dedicated to the theatre. Nearly half a century later, under the stimulus of roger pic, theatre photography finally recognised the advent of theatre production. Three main streams have developed between 1945 and the present : “historical photographers” who wish to record what happens on stage faithfully – roger pic, agnes varda -, “creative photographers2 who affirm their subjectivity and insist on their right to take control of the play – claude bricage or nicolas treatt, and new “multidisciplinary” photographers who refuse to be constrained by the strict confines of theatre photography. Photographers working in the studio and those operating through agencies are also covered. The thesis closes on a rather pessimistic note since theatre photography is now, more than ever before, at a crossroads of conflicting demands, most especially those imposed by artistic and commercial considerations.

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key: TN67XGPH