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            <title xml:lang="fr">Quand les femmes entrent en piste ! Domptage et émancipation féminine au passage du xixe au xxe siècle</title>
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                <forename type="first">Charlotte</forename>
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                <title xml:lang="fr">Quand les femmes entrent en piste ! Domptage et émancipation féminine au passage du xixe au xxe siècle</title>
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                <title level="j">Horizons/Théâtre : revue d'études théâtrales</title>
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                <term xml:lang="en">visual culture</term>
                <term xml:lang="en">representations</term>
                <term xml:lang="en">gender</term>
                <term xml:lang="en">feminine emancipation</term>
                <term xml:lang="en">woman tamer</term>
                <term xml:lang="en">visual culture</term>
                <term xml:lang="fr">culture visuelle</term>
                <term xml:lang="fr">dompteuse</term>
                <term xml:lang="fr">culture visuelle</term>
                <term xml:lang="fr">représentations</term>
                <term xml:lang="fr">genre</term>
                <term xml:lang="fr">émancipation des femmes</term>
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              <p>In the nineteenth century, most of the representations of circus entertainers were based on a strict gendered division: men practiced taming whereas women were confined to the passive and erotic roles of acrobat or aerobatics. However, this well-orchestrated partition seems to be disturbed, notably by the arrival of the woman tamer, which invades the circus tracks, literature and visual culture of the late nineteenth century. This article aims at examining the specificity of this figure linked to the performing arts and to highlight the paradoxes it raises. If the woman tamer can symbolically illustrate the new emancipation conquered by women in the artistic and intellectual territories, it seems at the same time to lead a number of stereotypes reinforcing female psychopathology. Looking at his ambivalence between masculinity and femininity, suitability and transgression, the analysis of the multiple portraits of tamers around 1900 – fictional and real – will show why and how several women, foreign to circassian milieux, seize this figure to push off the limits of a feminine norm, to shape other identity categories and to confirm a masculinity crisis in progress.</p>
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              <p>Au xixe siècle, la majeure partie des représentations de saltimbanques repose sur une stricte répartition des genres, où l’homme pratique le domptage quand la femme est cantonnée aux rôles passifs et érotisés de l’acrobate ou de la voltigeuse. Cette partition bien orchestrée semble, cependant, progressivement se troubler, et ce, notamment avec l’arrivée de la dompteuse, qui envahit les pistes de cirque, la littérature et la culture visuelle de la fin du xixe siècle. L’objectif de cet article est d’interroger la spécificité de cette figure liée aux arts vivants, en prenant le soin de mettre en lumière les nombreux paradoxes qu’elle soulève. Car, si la dompteuse peut illustrer symboliquement la nouvelle émancipation conquise par les femmes sur les territoires artistiques et intellectuels, elle semble en même temps reconduire un certain nombre de stéréotypes alimentant la psychopathologie féminine. Partant de cette ambivalence entre le masculin et le féminin, entre la convenance et la transgression, l’analyse de multiples portraits de dompteuses autour de 1900 – fictifs et réels – permettra de montrer pourquoi et comment certaines femmes, étrangères aux milieux circassiens, s’emparent de cette figure pour repousser les limites d’une norme féminine, façonner d’autres catégories identitaires et confirmer une crise de la masculinité déjà en marche</p>
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