在巴黎歌剧院足尖课的展示中,女演员置身于巴洛克风格的练功房内,手扶水平的把杆,尚未舞蹈,已然构成“十字架”造型。随着黑色三角钢琴弹奏出雨打深潭的节奏,“十字架”纵轴的足尖变幻出眼花缭乱的舞步,并在脱开把杆后以“阿拉贝斯”或“阿迪玖”的舞姿钢针般地钉在木制地板上,表现出包含着黑格尔“绝对精神”在内的古典芭蕾的人体唯美主义……1968年,与中国几乎同时,法国大学生的“红色风暴”冲击过这种贵族式的唯美主义,但“红色风暴”并没有摧毁巴黎歌剧院的古典芭蕾,只是 In the Paris Opera Pupil demonstration, the actress is in a Baroque style practice room, with a hand-held horizontal bar that has not yet been danced and is already in a “cross” shape. With the black grand piano playing the rhythm of the rain, the toes of the vertical axis of the “cross” dazzle in a dazzling pace, and after taking off the handlebar to “Arabes” or “Adidas ”Dance pin pinned on the wooden floor, showing the classical ballet aesthetic body including Hegel “ absolute spirit ”... In 1968, almost at the same time with China, the French college students The “Red Storm” has struck this aristocratic aesthetic, but “Red Storm” did not destroy the classical ballet of the Paris Opera, but