踮著腳尖跳

Dance on the tips of the feet

芭蕾誕生於義大利，並在法國開花結果，原是宮廷男性鍛鍊身體的一種運動。路易十四（Louis XIV）引領女性參與芭蕾的演出，並由於盧利（Lully），產生了第一批以自由與獨立自居的專業女舞者。足尖舞指的，是芭蕾舞者踮起腳尖，將足彎成弓形，憑藉前三隻腳趾，甚至單一隻大姆指，支撐身體並移動。她們身段優雅，是眾人欣賞與羨慕的對象。但她們變形的雙足卻不被旁人所重視，甚至連她們自己都忽略了這種身體的傷害並將它視為理所當然。芭蕾女伶的身體是矛盾的，她們既是女性獨立的先鋒，為首批脫離男性而生活的自由之身，又是憑藉曼妙身段吸引眾人目光，被視作觀看且物化的客體。本論文旨在喚起女性自我的身體意識，在維持美感與傷害軀體，給予自由與物化女性的悖論中找到出口。本論文搜集與整理法國國家圖書館有關芭蕾的文獻資料。其中，以法文撰寫的書籍幾乎都只涉及歷史的部分，關於舞者的生活、身體及遭受的痛苦，只有在少數的英文文獻中論及。作者將主題設定在芭蕾女伶的足上，探討她們不為人知的辛酸史以及對變形雙足的意識。

Born in Italy and flourishing in France, the ballet was initially reserved for royalty and women were excluded from this practice. It was Louis XIV who gave women the opportunity to participate in these dances, then under the impetus of Lully, the first free and independent ballerinas appeared. Standing on the tips means a dancer's technique of arching the foot, supporting the weight and dancing on the first three toes, or even on the big toes, which support the whole weight of the body. Possessing an elegant silhouette, the ballerina is admired and envied by the spectators. However, her deformed feet have been concealed, her neglects them and treats them as mere appendages. From a social point of view, the body of the ballerina is paradoxical. She can be considered both a pioneer of feminism because of her economic independence obtained early in history, but she is also the object of attention by her graceful figure. In this article, we seek to highlight the antinomy of beauty and the torture of the body, the liberation and the sexual objectification of women. This text presents and examines works relating to ballet and consulted at the National Library of France. Almost all publications in French only deal with its historical evolution. Discussions about the life, body and suffering of ballerina are virtually absent, except in some English references. Our subject focuses on the foot of the ballerinas, to discuss the painful and unknown story of dancers and their deformed feet.