The world of the music hall is linked to the showing of bodies, whose state of undress grows rapidly during the course of its history. The Folies-Bergère serve as the emblem for this fin-de-siècle pornography endemic in works of literature, post-cards and performance. Its elegant and wealthy public also included prostitutes and courtesans – omnipresent as characters or figures in the end of the 19th century’s art and literature – some of whom pass at times from the aisles to the stage. The programs, which regularly feature one or other of these floozies, such as the “belle Otero” or Liane de Pougy, include extremely reduced costumes, and erotic allusions about as well-concealed ; the privileged themes of exoticism and history enable the physical form to be emphasized and a fantasmatic relationship to the public to be woven, which culminates with the practice of “déshabillage” – undressing. The Folies-Bergère thus present a mirror of fin-de-siècle society, vacillating between the morality defended by the senator Bérenger and the exacerbation of sensual pleasure.