ScholarWorks@중앙대학교

초록

This study explores the performativity and performance art characteristics inherent in staged photography. It theoretically examines how performative traditions in art forms that existed before the invention of photography have been inherited and expanded through staged photography, and conducts case studies focusing on the works of Julia Margaret Cameron and Jan Saudek. Based on the theory of performativity, especially the discussions of Judith Butler, Peggy Phelan, and Philip Auslander, it reveals that staged photography is a complex performance space where multi-layered performances of the photographer, subject, and audience are involved beyond simple representation. Cameron performed the ideals and inner world of the Victorian era through symbolic staging and process-centered performative production methods, while Saudek expressed the body and desires oppressed under the communist system through subversive staging and performativity with political implications. Through a comparative analysis of the two artists, it confirms the variations of performativity according to the era and cultural context and the performative potential of the photographic medium. This study contributes to expanding the theoretical horizon of photography research by clarifying that staged photography is an active artistic practice that absorbs and reinterprets the performativity of existing art and produces new identities and meanings.

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