‘Ballet is a visual art’ (Deirdre, 2012: 137), which means that dancers become both hyperaware and hypercritical about their bodies. This is because dancers are constantly made aware of their appearance due to practising in front of mirrors in brightly lit studios. The dancers with the right physiques get the part, therefore ballerinas often feel pressure to ‘conform to a certain look’ (Deirdre, 2012:137). Self-starvation such as the eating disorders anorexia nervosa and bulimia are often used in order to lose weight. One technique used by dancers to lose weight is to subsist on soft drinks, coffee, amphetamines and lettuce. This provides the dancers with enough energy to rehearse, but is not healthy. Ballerinas often have surgical treatment in order to enhance their on-stage line. The ballerina Gelsey Kirkland had rhinoplasty, her earlobes trimmed and had silicone implants inserted into her breasts and lips. The ballerina-turned scholar Susan Young mentions that there is ‘relentless critical self-assessment of the body and a concomitant drive to suppress the physical evidence of female maturation – breasts, hips fleshy curves – were not only tolerated but professional requirements’ (Deirdre,
‘Ballet is a visual art’ (Deirdre, 2012: 137), which means that dancers become both hyperaware and hypercritical about their bodies. This is because dancers are constantly made aware of their appearance due to practising in front of mirrors in brightly lit studios. The dancers with the right physiques get the part, therefore ballerinas often feel pressure to ‘conform to a certain look’ (Deirdre, 2012:137). Self-starvation such as the eating disorders anorexia nervosa and bulimia are often used in order to lose weight. One technique used by dancers to lose weight is to subsist on soft drinks, coffee, amphetamines and lettuce. This provides the dancers with enough energy to rehearse, but is not healthy. Ballerinas often have surgical treatment in order to enhance their on-stage line. The ballerina Gelsey Kirkland had rhinoplasty, her earlobes trimmed and had silicone implants inserted into her breasts and lips. The ballerina-turned scholar Susan Young mentions that there is ‘relentless critical self-assessment of the body and a concomitant drive to suppress the physical evidence of female maturation – breasts, hips fleshy curves – were not only tolerated but professional requirements’ (Deirdre,