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| Like many ballet dancers, Lauren Lovette has had some questions during the pandemic. One keeps rising to the top of her list. What is a ballet body? And a corollary: What does healthy look like? “Am I really working on being a better dancer?” Lovette said. “Or am I just trying to starve and get skinnier, so now I have the line?” | 和许多芭蕾舞者一样，劳伦·洛维特(Lauren Lovette)在疫情期间也有一些疑惑。其中有个在她看来一直首当其冲的问题。什么是芭蕾舞身材？以及随之推论出的问题：什么是健康？“我真的在努力成为一名更好的舞者吗？”洛维特问道。“还是我只是想把自己饿瘦，让自己拥有线条？” |
| In ballet, line isn’t just about the body’s shape on a stage. It has to do with the body’s overall harmonious outline: how, from head to toe, limbs and torso create the illusion of continuous reach and length. Weight, with its bulk and bulges — including, yes, breasts — plays its part and can interfere with a seamless, sculptural quality. | 在芭蕾舞中，线条不仅仅是舞台上的身体形状。它与整个躯体的轮廓和谐有关：从头到脚，四肢和躯干是如何创造出不断伸展拉长的幻觉的。体积和隆起（是的，也包括乳房）带来的重量可能会干扰平滑如雕塑般的线条质感。 |
| For Lovette, a member of New York City Ballet since 2010, this pause from performance has brought some clarity. “I’m not going to be dancing at 94 pounds anymore,” she said. “That’s not going to be me.” | 洛维特自2010年以来一直是纽约市芭蕾舞团(New York City Ballet)的演员，疫情导致的演出暂停让她想通了一些问题。“我不会再以94磅的体重跳舞了，”她说。“那不是我。” |
| Since the pandemic began nearly a year ago, similar questions have been spinning in my mind: How can body image, a fraught topic for any female dancer, no matter her size, be a source of strength rather than agony? Could this pause in live performance be an opening for the aesthetic requirements of ballet — especially extreme thinness — to change? | 自从近一年前疫情暴发以来，类似的问题也在我的脑海中萦绕：不论身材如何，身体形象对所有女性舞者来说都是个忧心忡忡的话题，要如何让它成为力量而非痛苦的来源呢？这次现场演出的停顿会否成为芭蕾舞审美要求（特别是对极度苗条的要求）发生改变的契机呢？ |
| Ballet is an elite art form. Certain physical attributes are necessary — good turnout, along with flexible ankles and feet — but there is no single standard. It really comes down to how a body moves through space: with dynamism, musicality and athleticism. | 芭蕾舞是一种高级艺术形式。诸如体态的良好、脚踝和脚部的灵活这些身体特征是必要的，但它没有单一的标准。它归根结底就在于身体如何在空间中移动：要展示出活力、节奏和运动性。 |
| Ballet is subjective; what looks good, what becomes a kind of standard, is set by the company director — typically a man, and a white one at that. Many think that change is overdue. Benjamin Millepied, former artistic director of the Paris Opera Ballet who now leads the contemporary company L.A. Dance Project, said: “We’ve gone through a longtime trend of this idea of the skinny body, and I’m really against this. I want to see dancers who have their individuality.” | 芭蕾舞是主观的；什么是好看的，什么能成为一种标准，是由舞团总监决定的——通常是男性，而且是白人。许多人都觉得早该变通了。巴黎歌剧院芭蕾舞团(Paris Opera Ballet)的前艺术总监、如今做了当代舞团洛杉矶舞蹈项目(L.A. Dance Project)负责人的本杰明·米派德(Benjamin Millepied)说：“我们对削瘦身材的推崇已经太久了，我对此非常反对。我想看到有自己个性的舞者。” |
| Before the pandemic, female dancers were embracing their athleticism by incorporating strength training into their regimen. While they seemed less frail — a good thing — the overall look of a ballet company remained Twiggy thin. | 在疫情之前，女舞者们正在日常保养中加入力量训练，拥抱自己的运动能力。尽管她们看起来不再那么虚弱——这是件好事，但芭蕾舞团整体仍然纤瘦。 |
| Right now, many dancers — like the rest of us — are living with slightly different bodies. Marika Molnar, a physical therapist and director of health and wellness at New York City Ballet, said she thinks the dancers she works with look great at the moment. “Maybe they’ve gained 5 pounds, but they look fantastic,” she said. “I don’t know how that’s going to translate onto the stage and a tutu, but they all look terrific now, very healthy.” | 和我们其他人一样，如今许多舞者的身材都与以往略有不同。玛丽卡·莫尔纳(Marika Molnar)是纽约芭蕾舞团的理疗师兼健康负责人，她说，她认为与自己合作的舞者眼下的状态很好。“或许她们体重涨了五磅，但状态棒极了，”她说。“我不知道这对她们在舞台上穿着芭蕾舞短裙表演有什么影响，但她们所有人看起来都很棒，非常健康。” |
| With the performance world on hold, dancers have had nearly a year to think about the uncomfortable, traumatizing side of their art form and its culture. Speaking out isn’t the norm in ballet, but in October one dancer brought up the subject of body image. For her, as for so many, it had to do with her size. | 由于演艺界的停摆，舞者们有近一年时间来思考她们的艺术形式及其文化中令人感到不适和伤痛的一面。在芭蕾舞界，直言不讳并非常态，但去年10月，一位舞者提到了身体形象的话题。对她以及对无数舞者来说，这都与身材有关。 |
| Kathryn Morgan, 32, a dancer with a large YouTube following, posted a video, “Why I Left Miami City Ballet,” describing her experience with the company, which lasted just one season. Morgan, a size 2, had already spent years dealing with an autoimmune disease, which nearly 11 years ago forced her to leave New York City Ballet. Her soloist contract with Miami, beginning in May 2019, was meant to be her comeback. | 32岁的舞者凯瑟琳·摩根(Kathryn Morgan)在YouTube上有大量粉丝，她发布了一条名为“我为何要离开迈阿密市芭蕾舞团”(Why I Left Miami City Ballet)的视频，描述了她在该舞团只持续了一个演出季的经历。拥有2号身材的摩根因为自身免疫性疾病在近11年前被迫离开纽约市芭蕾舞团，她已经花了数年时间进行治疗。她与迈阿密市芭蕾舞团签下的独舞合约从2019年5月开始，这本该是她的复出。 |
| “I went in — full, open disclosure — saying I have this particular condition,” she said in an interview. “This is how my body is. I am not ever going to be the smallest one onstage.” | “我开诚布公地说了，我有这种特殊情况，”她在一次采访中表示。“我的身材就是这样。我永远不会是舞台上最瘦小的那个人。” |
| Once she arrived, her body was constantly criticized, she said; roles were promised and then taken away. She made it to the stage only four times, and three of them were in the decidedly nonclassical part of the Stripper in George Balanchine’s “Slaughter on Tenth Avenue,” in which the character wears heels, not pointe shoes. In that role, she noted, she was “half-naked.” (The costume, fittingly for the role, is a skimpy dress.) | 她说，一进舞团，她的身材就不断遭到批评；说好给她的角色又被取消。她仅登台四次，其中三次是在乔治·巴兰钦(George Balanchine)创作的《第十大道的屠杀》(Slaughter on Tenth Avenue)中表演脱衣舞娘那绝对不算经典的戏份，这一角色在剧中穿着高跟鞋，而不是足尖鞋。她指出自己“半裸着”出演了这一角色。（为了贴合角色，她的演出服是一条暴露的裙子。） |
| Morgan said she thought that her performances were successful — the applause reminded her of being at a rock concert. Afterward, though, she said she was told that she was “not in shape” and that her body “wasn’t where it needs to be.” Weight was never mentioned specifically. | 摩根说她认为她的表演很成功，观众的掌声让她仿佛置身摇滚音乐会。但那之后，有人告诉她，她“身材走样”，身体“不在应有的状态”。体重并未被特别提及。 |
| She began to regress, she said. Her blood work was as bad as it had been at the start of her illness in New York. Her hair began to fall out. She said her doctor told her that he didn’t know what situation she was in, but to get out of it. She finished out her contract and decided not to renew it. For Morgan, small by ordinary standards, shrinking any more while staying healthy was simply not doable. | 她说自己的状况开始恶化。她的血检结果和在纽约患病之初一样糟糕。她开始脱发。她说，医生告诉她，他不清楚她遇到了什么情况，但她得摆脱才行。她履行完了合约，决定不再续签。以大众标准来看，摩根的身材已经很娇小，要她在保持健康的同时继续瘦身根本不可能。 |
| When a dancer is criticized for her body, it’s not just cosmetic. “Our body is the art,” said Chloe Freytag, a former Miami City Ballet dancer who said she broke her contract midseason over demands that she lose weight. | 当一名舞者的身材受到批评时，这不仅仅是外形问题。“我们的身体就是艺术，”前迈阿密市芭蕾舞团舞者克洛伊·弗莱塔格(Chloe Freytag)表示，因为减肥要求，她在演出季期间就终止了合约。 |
| The world is full of heartbroken ballet dancers, former and current, and Morgan knows it. And with her longtime presence on YouTube, where she regularly gives advice to young dancers, classes and audition tutorials, she is in a position to talk about it. “The reason people are silent is because their jobs are on the line and they know that they’re replaceable,” she said. “I had nothing to lose.” | 世界上到处都是心碎的芭蕾舞者（有已经挂靴的，也有仍在跳的），摩根对此再清楚不过了。她玩YouTube已经玩了很多年，经常为年轻舞者提供建议，发布课程和试镜教程，也因于此，她有资格谈论这些。“人们保持沉默，是因为会危及工作，她们知道自己是可能被替代的，”她说。“我没什么好失去的。” |
| Miami City Ballet has a policy not to discuss its former dancers. But in speaking generally about the aesthetic requirement of thinness, Lourdes Lopez, the company’s artistic director, said she hoped that would change. “For me, this COVID thing has been a real kind of paradigm shift,” she said. “It’s been like a great reset.” And that means, she said, “everything from what we view as a body type” to “the color of one’s skin onstage.” | 迈阿密市芭蕾舞团有规定，不能讨论以前的舞者。但在谈到对瘦的审美要求时，该舞团艺术总监洛德丝·洛佩兹(Lourdes Lopez)说，她希望这种情况会有所改变。“对我而言，新冠确实带来了范式的转变，”她说。“就好像经历了一次很棒的重启。”她也表示，这种转变包括“从我们眼中的体型”到“舞台上一个人的肤色在内的一切”。 |
| Another thing that female bodies in ballet have historically been is white. For Black dancers, body image and racism are inextricably linked, and it’s about more than thinness. Black women especially have long dealt with stereotypes that they are too muscular, too athletic. | 在历史上，芭蕾舞中女性身体的另一大特点是白色。对黑人舞者而言，身体形象和种族歧视有着千丝万缕的联系，这不仅仅是苗条的问题。长期以来，黑人女性一直都在跟肌肉太发达、太强壮的刻板印象打交道。 |
| “We accept that the white body can be anything and everything,” said Theresa Ruth Howard, a former dancer who writes and speaks about equity in ballet. “For a white ballet dancer, physical shortcomings — bad feet, a little bit tight, a little bit turned in — they get to be that.” | “我们接受了白人身体可以塑造一切的观念，”前舞者特蕾莎·露丝·霍华德(Theresa Ruth Howard)说，她写过也谈论过芭蕾舞中的平等问题。“对白人芭蕾舞者而言，身体上的缺陷——比如脚长得不好，肌肉有点紧，形状有点弯——也没什么。” |
| In the past in ballet, gyms were taboo because of a fear of bulking up. Dancers were not to be seen as athletic but as beautiful, waiflike and ethereal. Yet ballerinas, especially up to the 1950s, had more curves. That fashion changed — and the person that many like to blame is George Balanchine, founding choreographer of New York City Ballet, who had an outsize influence on postwar ballet in the U.S. | 在过去的芭蕾舞界，健身是禁忌，因为怕身型变得庞大。芭蕾舞者不能太壮，而应该是美丽、飘逸和空灵的。然而女芭蕾舞者，尤其是20世纪50年代以前的女芭蕾舞者，身体曲线更丰富。这种风尚后来发生了变化，许多人认为创办了纽约市芭蕾舞团的编舞家乔治·巴兰钦(George Balanchine)就是罪魁祸首，他对美国战后的芭蕾舞产生了巨大影响。 |
| It was believed by some — and still is — that Balanchine’s preference was for dancers with long legs and tiny heads. The notion of a Balanchine body stuck, creating a template for what people think a ballet dancer should look like. But Balanchine choreographed for — and chose for his company — dancers with a range of body types. “I think his biggest measure of acceptability was irreverence,” dance historian Elizabeth Kendall said, “which translated into the personality is stronger than the step.” | 一些人认为（现在仍然如此），巴兰钦偏爱腿长头小的舞者。巴兰钦式身材的概念根深蒂固，为人们心目中芭蕾舞者应该是什么样创造了一个模板。但巴兰钦曾为各种体型的舞者编舞，也把她们选进自己的舞团。“我认为他最重要的选择标准是不羁，这比舞步更能彰显个性。”舞蹈史学家伊丽莎白·肯德尔(Elizabeth Kendall)说。 |
| In a joint interview, New York City Ballet’s current leadership, artistic director Jonathan Stafford and associate artistic director Wendy Whelan, said the dance world is moving in a better direction. “Look at the white European beginnings of ballet,” Stafford said. “It’s taken ballet a very long time to get past that ‘ideal’ image — whatever ideal meant to that person — whether it’s someone tall and thin, or whether it’s someone very pale. Obviously, ballet companies have been very late to get past that aesthetic.” | 纽约市芭蕾舞团的现任负责人、艺术总监乔纳森·斯塔福德(Jonathan Stafford)和副总监温迪·惠兰(Wendy Whelan)在一次联合采访中表示，芭蕾舞界正在朝着更好的方向发展。“看看始于欧洲白人的芭蕾舞，”斯塔福德说。“它用了很长时间才摆脱那种‘理想’形象——不管这种理想对一个人意味着什么——要么是瘦高个，要么是非常苍白。显然，芭蕾舞团对这种审美的克服已经很迟了。” |
| Stafford and Whelan represent a generational shift in leadership that is exploring a new take on what ballet culture could look like. Both were principal dancers and have long associations with the company; Whelan was a star, whose career lasted 30 years. They were appointed to their new roles in 2019, after New York City Ballet was rocked by the loss of its veteran leader, Peter Martins, who retired amid an investigation into reports of physical and emotional abuse (he denied the accusations) and a scandal in which male dancers shared photographs of female dancers. | 斯塔福德和惠兰代表着领导层的代际转变，希望能够以新的视角探索芭蕾舞文化。他们都曾是与舞团长期合作的首席舞者；惠兰曾是明星，舞蹈生涯持续了30年之久。他们于2019年获此新任命，此前纽约市芭蕾舞团因经验丰富的领导人彼得·马丁斯(Peter Martins)下台而大受打击，后者被指控身体和精神虐待（他否认了这些指控），并被牵扯进男舞者分享女舞者照片的丑闻，在接受调查期间退休。 |
| Millepied, a member of New York City Ballet from 1995 to 2011, said that when he was in the company dancers were referred to as kids, which isn’t, sadly, a rarity in ballet. Sometimes they’re called boys and girls. Millepied found it dehumanizing. “When the curtain would go down at City Ballet, we would stand and wait to see if Peter would say good job or something, or even look at us,” he said. “That’s the level of control that there was, and we performed with a level of intensity, but that all had to do also with being skinny.” | 米派德在1995年至2011年间是纽约市芭蕾舞团成员，他说当他还在舞团时，舞者都被称为孩子，说来遗憾，这在芭蕾舞界并不罕见。有时他们会被称为男孩和女孩。米派德认为这剥夺了他们的人性。“当市芭蕾舞团的表演落下帷幕，我们会站在那里，等着看彼得会不会称赞两句，甚至看我们两眼，”他说。“在那里就会被控制到这种地步，我们表演时就很紧张，但这也与苗条问题有关。” |
| There has been a lot to fix in the culture, and such changes take time and commitment. Stafford and Whelan have instituted a new rule: No staff member is allowed to talk to a dancer about a body-issue concern without protocols to ensure sensitivity and confidentiality. “It cannot happen in passing,” Stafford said. “It cannot happen in a space that’s maybe a little too public. It’s got to be a healthy environment.” | 有很多文化上的东西需要修正，而这种改变需要时间和投入。斯塔福德和惠兰已经制定了一项新规定：在没有敏感性和保密协议的情况下，任何工作人员都不得与舞者谈论对身材问题的担忧。“这不是一蹴而就的事，”斯塔福德说。“不太可能在太公开的地方谈这个。必须要有一个合适的环境。” |
| In the past, Whelan said, things “were more emotionally rickety.” Stafford said, “There wasn’t a clear delineation of, OK, who handles this when we see a dancer who may be struggling and not as healthy as we need them to be?” | 惠兰说，在过去，事情“在情绪上更为不稳定”。斯塔福德说，“看到一个舞者可能挣面临扎，并不像我们希望的那样健康时，没有明确的规定说，好吧，谁能来处理这个问题？” |
| Whelan said she was never told to lose weight when she was in the company, but she heard stories from other dancers. “It always happened in different ways, and sometimes they were very upset with how things were spoken to them,” she said. “It was never a nice topic, and it was probably done with a little less necessary care.” | 惠兰说，她在舞团的时候，从来没有人告诉她要减肥，但她从别的舞者那里听到了一些故事。“这种事总在以不同的形式发生，有时别人说的话会让他们感到非常难受，”她说。“这从来都不是个令人愉快的话题，而且这种对话很可能是在不太注意措辞的情况下进行的。” |
| As Stafford and Whelan see it, a healthy body is a strong body, and the ballet body of today has muscles. Can the emotional and physical gains — for some, 5 or so pounds’ worth — of the pandemic survive when theaters reopen? There are some hurdles, and not all of them are about entrenched ways of thinking. They’re practical. | 正如斯塔福德和惠兰所看到的，健康的身体就是强壮的身体，今天的芭蕾舞者的身体是有肌肉的。当剧院重新开放时，疫情带来的情感和身体上的收获（对一些人而言就是五磅左右的增重）还能被留住吗？某些障碍是会存在的，但并非所有障碍都与根深蒂固的思维方式有关。它们更加切合实际。 |
| “I think the aesthetic for ballet will probably go back to the way it was because they have to fit into their costumes,” Molnar said. “Those costumes are expensive.” In ballet, this is a serious concern; dancers are known to get parts based on whether they fit a costume. “But I don’t really know,” Molnar said. “I think it would be fun to see if they can maintain the level of their physical activity and not have to lose so much weight and look emaciated.” | “我认为芭蕾舞审美可能会回到老样子，因为他们得穿上演出服，”莫尔纳说。“那些服装都很贵。”在芭蕾舞中，这是个严肃问题；众所周知，舞者是靠他们穿什么服装合身来获得角色的。“但我真不知道会怎样，”莫尔纳说。“我想，看看他们接下来是否能保持这种运动量，而不必减那么多体重，不必看上去瘦骨嶙峋，应该是很有趣的一件事。” |
| When I interviewed Lovette, in January, she talked about being burned out and wondered about how well she had taken care of herself for years. She swore to be honest with herself. “There are certain things that we need to talk about,” she said. “I’m not home free or always in the right when it comes to how I’ve felt about and treated my body.” | 当我在1月采访洛维特时，她说自己身心俱疲，不知道这些年是怎么照顾自己的。她发誓要对自己诚实。“有些事情需要讲出来，”她说。“当谈到我对自己身体的感觉，以及是如何对待它的时候，我并不自在，也不总是对的。” |
| A month later, she decided to retire from New York City Ballet after its coming fall season. She is just 29. “I want more control and say in what I get to do and who I get to work with,” she said at the beginning of this month. “And I want to make things and to be able to focus on really making them — and not have it be so squeezed into everything that it takes to be a professional ballerina. Because it takes so much.” | 一个月后，她决定在即将到来的秋季演出季结束后，从纽约市芭蕾舞团退役。她才29岁而已。“对于要怎么演出、和谁合作，我想要更多控制权和话语权，”她在本月初说。“我想做点什么，并且是专注地去做，而不是为了成为一个职业女芭蕾舞者而被迫无所企及地付出。因为那代价太大了。” |
| Lovette also understands that she can help make ballet better. In the past few years, she has started making a name for herself as a choreographer. That puts her in a rare position to affect change. | 洛维特也明白，她可以帮芭蕾舞变得更好。过去几年，她作为编舞已经开始小有名气。这让她处于罕见的可以影响变革的位置。 |
| “This is so why I wanted to be a choreographer,” she said. “The choreographer has even more power than anybody else because we get to choose who’s in the ballet. Most places I go, I can take anyone in the company. Maybe they’ll nudge and say: ‘Oh, no, no, no, you shouldn’t choose her. You should choose her. She’s better.’ But I can go, ‘No. I want her.’ Every time! And it’s so empowering.” | “这就是我想做编舞的原因，”她说。“编舞的权力比其他人都大，因为我们可以选择谁能参加芭蕾舞。在大多数地方，我都能带上舞团里的任何人。也许他们会劝说道：‘哦，不不不，你不该选她。你应该选她。她更好些。’但我可以说，‘不行。我就要她。’每次都可以！这让我感到极其鼓舞。” |
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