Though predominantly known for her Surrealist painting, Leonor Fini (1907–1996) was also a prolific designer of sets and costumes and produced scenographic work over a period of 28 years from 1944 to 1972. Having lain in the shadow of her male contemporaries, in recent years she has come to greater and greater prominence, but her work as a designer remains relatively unknown. This may well be due to enduring hierarchies of ‘art’ within art history that accord scenographic design a lowly status. Or perhaps it is because many of Fini's projects made at least some use of period costumes and sets rather than innovative, avant-garde aesthetics. Whatever the underlying reason, this article aims to address this neglect and presents a ballet synopsis by Fini from approximately 1938–1939; one which never made it off the page onto the stage. It offers an English translation of this document, which has never been published to my knowledge, and seeks to situate it in the larger context of Fini’s work; specifically in terms of her engagement with the metamorphic body and the role of costume in achieving this metamorphosis.

尽管以其超现实主义绘画而闻名，但莱昂诺尔·菲尼 (Leonor Fini)（1907-1996 年）也是一位多产的布景和服装设计师，并在 1944 年至 1972 年的 28 年间创作了舞台布景作品。近年来，她的知名度越来越高，但她作为设计师的工作仍然相对不为人知。这很可能是由于艺术史上持久的“艺术”等级赋予了布景设计低下的地位。或者可能是因为 Fini 的许多项目至少使用了一些古装和布景，而不是创新的前卫美学。不管背后的原因是什么，本文旨在解决这种忽视，并呈现了菲尼大约在 1938 年至 1939 年间的芭蕾舞剧概要；一个从未离开舞台的人。它提供了这份文件的英文翻译，据我所知从未出版过，并试图将其置于 Fini 工作的更大背景中；特别是在她与变形身体的接触以及服装在实现这种变形中的作用方面。