The term 'Atidou' has undergone a semantic evolution from 'posture' to 'attitude' in German literature, characterized by a frozen moment of standing on one leg and controlling the air with the other leg. The significance of studying the "Atidou" dance posture lies in exploring the connection between visual and performing arts, as well as the relationship between posture and inner world. Ballet plays such as Giselle and Sleeping Beauty depict characters' personalities through the "Atidou" dance movement, reflecting the recording and presentation of this dance movement in literary works. At present, research on the "Attit ü de" dance moves mainly focuses on performance and ballet techniques during the Goethe era, while its connection with the word "Attit ü de" and its presentation in literature still need further exploration. In the era when video recording devices were not yet widely available, literature was an important medium for recording dance. How writers captured and displayed the "Atidou" dance moves, endowing them with literary attributes, is the question that this article attempts to answer.

1、 The form of "living painting" in classical literature

In classical literature, the form of "Atticus" in the form of "living painting" is a performing art that imitates portraits, in which actors imitate ancient Greek statues and painted figures through body language. At the end of the 18th century, the term "Atidou" began to frequently appear in literature and newspapers, closely related to the popularity of "live painting". The prevalence of this performing art was a product of the second half of the 18th century, influenced by Winckelmann's research on ancient Greek art, which sparked a passion for ancient Greek art and promoted contemplation on bodily observation and expression.

2、 The 'Arabesque' in Romantic Literature

In romantic literature, the "Arabesque" dance moves are closely linked to literary creation concepts, reflecting the characteristics of blending and balance. At the beginning of the 19th century, with the popularization and commercialization of opera houses, artists gained more social attention and development space, and the ballet dance form "Atidou" emerged, which was discussed in detail in Brasis' "Theopsico's Law". This dance posture requires dancers to demonstrate excellent balance ability, achieved through the verticality of the body's longitudinal axis, coordination between the arms and power legs, and internal connection between the neck and feet. The sculptural sense of the "Atidou" dance posture is related to its original meaning of "Haltung", emphasizing the moment of "solidification" that remains stationary, while also being inspired by the art of painting.

3、 The Backward Dance of Modernist Literature

In modern dance of the 20th century, the "Atidou" pose underwent significant changes, with the dancer's body leaning back and the powered legs moving forward, in contrast to classical ballet, showcasing loss of control and falling. This backward dance posture is popular among modern dance pioneers and has become a trend. The backward dance posture in literary works is related to the image of the Greek god of wine, the madwoman. Goethe described the backward dance posture in dance in "The Age of Learning of William Masters", linking it to the madwoman of the god of wine. Heine also portrayed a similar dance through dancer Lawrence in 'Night in Florence'. In the second half of the 19th century, Charcot linked hysterical symptoms to the posture of tilting the head backwards, and Freud further linked body posture to psychological diagnosis. Hofmannsthal described the backward dance posture in "Electra" and "Cupid and Psyche", emphasizing its connection with the image of the mad woman of the wine god. The backward dance posture represents the connection between body and mind in modern dance, and female dancers respond to gender discussions and feminist trends with backward dance posture. The instability of the backward dance posture emphasizes imbalance, indicating the trend of rejecting dogma and breaking free from constraints in the early 20th century. Dance has become an art form that expresses various aesthetic categories.

conclusion

The "Atidou" dance moves still have an influence in modern art, such as street dance, sports photography, stage performances, etc. It occupies a central position in ballet and has given rise to various classic dance moves, such as Arabesque. The "Atidou" dance moves are widely used in fields such as acrobatics, yoga, and football, and have become an important standard for measuring ballet dancers' skills. The central position and posture of its body serve as a symbol and image carrier, as well as a medium for inner emotions. From an aesthetic perspective, the "Atidou" dance moves showcase the dancer's skills and bring dance closer to visual arts. Its pause effect in dance enhances the structural nature of the movement. In literary works, the imagery and symbolism of the "Atidou" dance pose are the basis for analysis and interpretation. 18. The literary records and critiques of dance in the 19th century also led the development of dance. The variation of the "Atidou" dance posture in the 20th century has been presented in literature, providing inspiration for dancers. Writers use the visual effect and pause of 'Atidou' to solidify dance movements in the text, creating new artistic possibilities.