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Estudo anatómico do equilíbrio em pontas no ballet
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Resumo(s)
For classical ballet, pointe is synonym of maturity and exquisite technique. For
the common people, ballerinas magically stand up on top of their toes. This paper is about finding what is behind the balance on pointe of classical ballet dancers. This study begins with a brief dance history annalysis, putting ballet and pointe origins in context. Then the analysis is extended to the morphologic caracteristics of the pointe shoes, to the bone and the muscular structures that facilitate the ballerina’s balance on pointe. Finally, we review strategies and postural techniques that enlarge the balancing time. Ballet appears for the first time on the european courts, around the 15th Century, as a noble collective dance. Classical ballet survived trough times because it was theorized and adapted to the dances and movements of the people. Pointe dance springs when some people started to use some shoes that, feeding stage and scenic purposes, lift the ethereal romantic ballerina. The balance on pointe is only possible thanks to the evolution of theese shoes. The evolution of the shoes is connected to the evolution of technique and to the understanding of the shoes as an instrument of work instead of just scenic features
Descrição
Tese de mestrado, Anatomia artística, Universidade de Lisboa, Faculdade de Belas Artes, 2012
Palavras-chave
Anatomia artística Pé Ballet História da dança Sapatos de ponta