Du « pas de mots » au « pas de sens » : espaces énonciatifs du corps dansant dans The Turning Point (Herbert Ross) et White Nights (Taylor Hackford)

Herbert Ross's The Turning Point (1977) and Taylor Hackford's White Nights (1985) both focus on the world of ballet and on its existential implications. Each of them belongs to a category of films in which dance sets the stage for a close investigation of human nature and interactions. Whatever the type of fiction involved, conflictual and dual figures are systematically brought to the fore and the dancing body is seen to play a major diegetic and symbolic part. The body opens up a variety of imaginary prospects which all testify to the “inviting power” of dance.