This article reads Ovid's Metamorphoses through the lens of its contemporary art of pantomime dancing. With a focus restricted to narratives of animalization, it argues that the dancer's exquisite bodily expressiveness has been coopted and recalibrated for the demands of the poetic medium, as Ovid's sequences of animal metamorphosis have amalgamated aesthetic strategies borrowed from the pantomime stage. Far from having been shaped exclusively within the literary mainstream, Ovid's idiosyncratic look, astonishingly perceptive and concentrated on the movements and gestures, as well as the minutest parts of his characters' bodies, was the product of a bold, intermedial crossover between poetry and dance.

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《动物变形记》的“特写”：奥维德《变形记》中的微编舞与哑剧舞蹈的肢体成语

本文通过现代哑剧舞蹈艺术的视角来解读奥维德的《变形记》。它的焦点仅限于动物化的叙事，它认为舞者精致的身体表现力已经根据诗歌媒介的需求进行了调整和重新校准，因为奥维德的动物变形序列融合了从哑剧阶段借来的美学策略。奥维德的独特外表远非完全在文学主流中塑造，他具有惊人的洞察力并专注于动作和手势以及角色身体的最细微部分，是诗歌与舞蹈之间大胆的中间交叉的产物.