The phrase "a tableau in which" is correct and usable in written English.
It can be used to describe a scene or situation that is being depicted or illustrated, often in a metaphorical or artistic context.
Example: "The artist created a tableau in which the struggles of the working class were vividly portrayed."
Alternatives: "a scene where" or "a depiction in which".
In a tableau in which the children practice math, a boy points at a bulletin board with simple equations pinned to it higgledy-piggledy; in his enthusiasm, he almost seems to be vibrating.
Next, he returns to the rehearsal tent to stage the prologue to "WillmS" -- a tableau in which the dying Shakespeare lies on a ramp, covered with an enormous rug, while his wife, daughters and lawyer hover nearby.
As one of the boys puts it: "Do you want us to be thoughtful or do you want us to be smart?" Ian Forrest's revival emphasises the cult of Hector, commencing with a tableau in which the boys surround Peter Rylands's charismatic pedagogue like princelings in a Renaissance court.
It begins with a wordless tableau in which a man (Miao Tien), his face sagging with misery, walks into a room and slumps into a chair, exhaling doleful plumes of smoke from his cigarettes.
Each of the paintings is a stagey tableau in which -- in a chiaroscuro style derived from Caravaggio -- the figures are highlighted against a dark indoor or outdoor setting.
"The Human Centipede (First Sequence)," from 2010, was that rare thing: a grass-roots cult hit whose novelty — in this case a horror tableau in which three people are surgically linked mouth to anus — ignites a wildfire of notoriety.
And the book ends with a creepy tableau, in which we see two girls lying on a bed: one asleep, the other wild-eyed and screaming.
The event featured, among other attractions, zoo animals rented from the Ringling Brothers circus; a living tableau in which Sir Laurence Olivier and Rex Harrison played François I and Henry VIII; a gift of fine French perfume for the women and neckties made in Lyon for the men; and a cavernous ballroom transformed to resemble the gardens at Versailles.
Outfitted in colorful coveralls and spread out among the four stories, which are connected by ladders, the artists create a living tableau in which ordinary activities — eating, talking on the phone, working on a laptop or sleeping — become a kind of performance art.
It is a venue with possibilities, and an opening tableau in which eight cast members rush onstage pitching patent cures for a catalog of unpleasant ailments is promising.
Among this wonderful ensemble, Christophe Montenez's psychopathic, paedophile, gender-fluid Nazi turncoat, Martin von Essenbeck, shines in some remarkable setpieces, including a final tableau in which – naked and covered in his victims' ashes – he turns his arms-dealing family's machine gun on the audience.
