This article explores the cultural figure of the ropedancer and focuses on the influential performance of Philippe Petit in two of his walks. The high-wire walker plays a significant role discussed within three frameworks: a philosophical and urban discussion offering interwoven perspectives; the iconic walk at the World Trade Center in New York in 1974; and Petit's high-wire crossing performed in Jerusalem's geopolitical context in 1987. Ropedancing is an “abyssal choreography”—a movement at a high altitude above the depth with maximum control on the verge of losing balance. As related to specific walks, this movement embodies a dialectic agency. It transcends local narratives but empowers and critically exposes them. It requires meticulous discipline and unbounded creativity, and it is linked to oppositional positions between which the ropedancer can unsettlingly fluctuate. This movement activates danger or crisis while moving over the abyss as a vector connecting places, times, and events.

中文翻译：

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深渊编舞：绳索舞者令人不安的机构和菲利普·佩蒂特的行走

本文探讨了绳舞者的文化形象，并重点介绍了菲利普·珀蒂 (Philippe Petit) 在两次步行中颇具影响力的表演。走钢丝者在三个框架内的讨论中发挥着重要作用：提供相互交织的观点的哲学和城市讨论；1974 年纽约世贸中心的标志性步行道；1987 年，佩蒂特在耶路撒冷的地缘政治背景下表演了高空钢丝表演。绳索舞是一种“深渊编排”——一种在高于深度的高空进行的运动，在失去平衡的边缘进行最大程度的控制。与具体的行走相关，这一运动体现了一种辩证的力量。它超越了当地的叙事，但赋予它们权力并批判性地揭露它们。它需要一丝不苟的纪律和无限的创造力，它与对立的位置有关，绳索舞者可以在这些对立的位置之间令人不安地波动。这种运动会引发危险或危机，同时作为连接地点、时间和事件的矢量越过深渊。