full theatre performance. They thus influenced the form taken by later Victorian and Edwardian era magic lantern shows, and perhaps also sequential narrative comic strips (which first appeared in modern form in the late 1890s). were often performed as the basis for school Nativity plays in England during the Victorian period; the custom is still practised at Loughborough High School (believed to be one of England's oldest grammar schools for girls). Several are performed each year at the school carol service, including the depiction of an engraving (in which the subjects are painted and dressed completely grey). Theatrical censorship in Britain and the United States forbade actresses to move when nude or semi-nude on stage, so had a place in risqué entertainment for many years. In the early 1900s, German dancer Olga Desmond appeared in Schönheitsabende ('Evenings of Beauty') in which she posed nude in "living pictures", imitating classical works of art. In the nineteenth century, took such titles as "Nymphs Bathing" and "Diana the Huntress" and were to be found at such places as the Hall of Rome in Great Windmill Street, London. Other venues were the Coal Hole in the Strand and the Cyder Cellar in Maiden Lane. Nude and semi-nude were also a frequent feature of variety shows in the US: first on Broadway in New York City, then elsewhere in the country. The Ziegfeld Follies featured such from 1917. The Windmill Theatre in London (1932–1964) featured nude on stage; it was the first, and for many years the only, venue for them in 20th-century London. were often included in fairground sideshows (as seen in the 1961 film A Taste of Honey). Such shows had largely died out by the 1970s. remain a major attraction at the annual Pageant of the Masters in Laguna Beach, California. Photographic tableaux Jean-François Chevrier was the first to use the term in relation to a form of art photography, which began in the 1970s and 1980s in an essay titled "The Adventures of the Picture Form in the History of Photography" in 1989. The initial translation of this text substitutes the English word picture for the French word . However Michael Fried retains the French term when referring to Chevrier's essay, because according to Fried (2008), there is no direct translation into English for in this sense. While picture is similar, "... it lacks the connotations of constructedness, of being the