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With the birth of photography, in 1839, several discussions about the artistic condition of photographic image have been opened. Many authors have defended that the photography must be just an auxiliary tool of the Fine Arts, a mirror with memory that reproduce faithfully the reality. Nevertheless, since her origins, the photography tried to reach an artistic status using staged strategies in order to create images in a dialogue with the artistic and theatrical practices of the epoch. This fictional impulse, based on the staged image, will be a constant in the photographic theories until the beginning of the 20th century. Then, the straight photography displaces the pictorial photography as the photographic main stream.Con el nacimiento de la fotografía, en 1839, se inauguran una serie de debates a propósito de la artisticidad de la imagen fotográfica. Para muchos, la fotografía debía resignarse a ser uma mera herramienta auxiliar de las Bellas Artes, un espejo con memória que reprodujese fielmente la realidad. Sin embargo, desde SUS orígenes, la fotografía intentó alcanzar un estatus artístico acudiendo a la escenificación como medio para crear imágenes que dialogaban con las prácticas pictóricas y teatrales de la época. Ese impulso ficcional basado en la escenificación será una constante en los discursos fotográficos hasta que a principios del siglo XX la fotografia directa (straight photography) desplace al pictorialismo como corriente fotográfica dominante

Mise en scène: fotografía y escenificación en los albores de la modernidad