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3. To my beloved family who have supported me and given me an abundant amount of love . This book couldn’t have been completed without your unconditional help and I am grateful from the bottom of my heart.
4. Ballerina: A dancer that practices the art of classical ballet. Prima Ballerina: From Italian, meaning “the first ballerina”. An honor given to accomplished, experienced ballerinas. Prima Ballerina Assoluta: From Italian, meaning “the absolute first ballerina”. The most prestigious and rarest of titles reserved for a balleri- na that embodies a generation. Only thirteen ballerinas in over 200 years have been honored this way. 1897, in snowy St. Petersburg, Russia. Orphaned Valeriya is a terrible ballerina and envies her talented, beautiful friend Olga. With the help of an enchanted dark swan, Valeriya is willing to throw away her friendship and everything that’s most important in order to become history’s most celebrated and famous Prima Ballerina Assoluta.
5. Table of Content Valeriya Costumes of 1897 Russia Olga Marta Manzo Corps de Ballet Props Storyboard Snippet Plot 1 11 19 23 43 45 49 31
6. Valeriya A hare was staring at a fox admiration The fox asked, “What are you staring at?” The hare said in an anxious voice, “I was wondering about you”. The fox asked, “What is the wondering with me?” The hare said “Are you really as cunning as people say?” The fox looked at the hare and replied, “Well! Come tonight and join me for dinner. We shall discuss the matter”.
7. 3 4 Petite Valeriya La Prima Assoluta A firecracker, a brat, an unstoppable force; these are a few of Valeriya’s core components. Valeri- ya’s pretty golden head is full of lofty dreams of becoming a ballerina, she aims for the highest prestige for any dancer: being a prima assoluta. Her biggest obstacle is herself. Although terri- ble at dancing in every single aspect, her inner saboteur are her deep insecurities, jealousy, and insolent disposition. Growing up in an orphanage and being trans- fered to supply the demand of the Imperial Russian Ballet School, Valeriya has had the support of her friend Olga throughout all of her hardships. Her greed and the emptiness in her heart, make Valeriya merciless and ready to trample even what’s most dear to herself to achieve what she wants. Forte: creativity, daydreaming, tying big bows Weakness: her own inner saboteur, basic ballet steps Petite Valeriya
8. 5 6 Petite Valeriya La Prima Assoluta
9. 7 8 Valeriya La Prima Assoluta Grande Valeriya
10. 9 Valeriya As a grown ballerina at the height of her career, Valeriya is now part of the Russian Ballet Company. Her excep- tional dancing prowess and talent come out of the blue with a magical deception. Valeriya is an absolute diva, mean-spirited and haughty. Being a prima ballerina is her only option after what she has sacrificed. Forte: buying expensive jewel- ry and clothes, being a spoiled prima donna, drinking import- ed hot chocolate Weakness: her “black as coal” heart, getting to rehearsal on time, Olga
11. The hare went to the fox’s house at night. On the dining table were laid plates and bowls. But there was no food at all. The hare thought, “Oh! What a fool I am! The fox has planned to eat me” and she ran away. Olga
12. 13 14 Petite Olga La Prima Assoluta A Mona Lisa beauty, Olga is Valeriya’s best friend since their days at the orphanage. She is quiet, shy, and introverted although she possesses am- bitious dreams of becoming a successful dancer. She often falls into Valeriya’s shadow when it comes to personality, but when it comes to ballet her natural talent, long elegant limbs, and theatricality put her on top of any other dancer. Olga is loyal and often sacrifices her goals and desires for Valeriya, often at her own expense. Only as a grown up, Olga finally learns to stand up for herself and finally moves the spotlight onto her immense talent. Forte: Dancing on pointe, practicing dance steps successfully, needlework, collecting buttons Weakness: Overly shy, stage projection when dancing, being caught up in Valeriya’s schemes, going to bed on time Petite Olga
13. 15 Grande Olga As a professional dancer, Olga is only second to Valeriya in the Russian Ballet Company. Her charm and quick foot work are a crowd pleaser and her elegant beauty has blos- somed. Although still quite timid, Olga slowly learns to stand her ground and earn her rightful spot to top Valeriya, honing not deceit,but her own hard work, dedication, and natural finesse of a prima ballerina assoluta. Forte: Solo dancing, theatri- cality, pureness of heart, night time skin care regime Weakness: Figuring out her own worth, speaking up for herself, Valeriya Grande Olga
14. 17 18 Grande Olga La Prima Assoluta Let’s take a look at Olga’s graduating diploma from the Imperial Dance Academy (an exact replica from the original 1890s Russian school)! Religious Studies: Excellent Russian Language: Excellent Arithmetic: Excellent French: Excellent World and Russian History: Excellent Geography: Excellent Expressive Reading: Excellent Drawing: Excellent Calligraphy: Very Good Ballet: Excellent Ballroom Dance: Excellent Now don’t ask to see Valeriya’s report card...
15. 19 20 Marta Manzo La Prima Assoluta Marta Manzo “Maestra Manzo”, “Signorina Manzo”, or “Prima Diva Del Teatro Scala di Milano” are her preferred names of address. An Italian ballet superstar, Maestra (Italian for teacher) Manzo pioneered the advent of ballet in the 19th century and catapulted herself as a prima donna in all of Europe. She is renown for her quick feet, theatricality, and hothead personality. Forte: Perfectionism, cane smacking precision, tight lacing corsets Weakness: (Deep down) her students, her eclipsing fame from the ballet world She is now main Director and Ballet Mistress to the Imperial School of Ballet in Russia, taking under her broad bosom young talents and fine tuning the next generation of ballet stars.
16. 22 La Prima Assoluta Her quick temper makes her particularly scary to her students, who fear the wrath of her wooden cane smacking them on their poorly turned out legs and badly positioned hands. Despite her scary demeanor and tough outward persona, Maestra Manzo deeply cares for her little stars. Despite her scary demeanor and tough outward perso- na, Maestra Manzo deeply cares for her little stars. She frequently opens her school to orphans like Valeriya and Olga because she doesn’t care where talent comes from and she thinks ev- eryone deserves a chance. Although exasperated with Valeriya’s poor performance and inability to even do a proper fifth position, Mae- stra Manzo never gives up on her and is always there to smack her feet into place.
17. 23 24 Corps de Balet La Prima Assoluta Corps de Ballet The Little Stars of Maestra Manzo make up the majority of the main body of a ballet company, the corps. Although not from impoverished backgrounds looking to “supplement” the school like Valeriya and Olga, these girls have the same love for ballet and theatre. Homogeneous on stage as the corps de ballet, behind the scenes each girl stands out and is a star on her own.
18. 25 26 Corps de Ballet La Prima Assoluta Varvara Gertrude Anfisa A striking girl with the haughtiness of a Russian Tsarina. Her parents are wealthy and she has been spoiled her whole life. She disdains Valeriya and Olga because they were admit- ted to the Academy as impoverished orphans. Forte: Elegant port de bras, jewelry accessories, bows Weakness: Bratty-ness, getting sweaty at dance practice A girl who does not want to be in ballet school. At all. Thinking about performing makes her heart race and even trying to do a pirouette in class makes her tremble from head to toe. Forte: Hiding in the back of the class, flower arranging Weakness: Being too tall to hide effectively in the back of the class, overbearing shyness A romantic beauty with the kindest dimpled smile. She’s a hardworking dancer who enjoys exercising even when class isn’t in session. Her sweet personality is contagious, and she al- ways is willing to help Olga stretch or encourage Valeriya at her lowest. Forte: Flexibility, dimples, keeping a secret diary Weakness: Memorizing combina- tion steps, easily being subjected to Varvara’s bullying Toning her muscles and practicing her foot turnout gives Anfisa the edge when it comes to flexibility and endurance in dance class. In this picture, Anfisa is working with weighted clubs, a popular exercise for girls in the nineteenth century considered “appro- priate” and lady-like. Varvara “tolerates” Olga’s presence, but she quarrels at every chance with Valeriya. Sometimes having too much of a similar bold and brassy personality does not guarantee friendship. The daughter of a wealthy German aristocrat, Gertrude’s life has been decided from the start. Her father is a patron of the academy and can’t wait for his little “fraulein” to be a star. If Gertrude would have it her way she would be exploring a remote jungle without a soul in sight.
19. 27 28 Corps de Ballet La Prima Assoluta Varvara Gertrude Anfisa Possessing a statuesque figure gives Anfisa the energy she needs to com- plete any secondary ballet role, espe- cially a jump filled allegro routine. She and Olga love spending time together and are good friends, but she is dis- tant from Valeriya since her haughty, diva behavior gets on her nerves. Forte: Ballet allegro routines, muscles, going on nature walks (and snow- shoeing with Gertrude) Weakness: Soft ballet lines, forgetting her secret diary’s secret hiding place Anfisa enjoys using modern new gym equipment and wear- ing bloomers, a daring fashion choice. Varvara loves trends, so she gladly hops on the Valeriya dance-ma- nia of the nation. Another popular past- time of the era is smok- ing. Even the child- aged daughters of Tsar Nicholas II were smok- ing at ten years old! Gertrude has found compromises and enjoys fulfilling anon- ymous character roles in productions with little dancing in- volved. Nonetheless, she still feels nervous before going on stage, it never gets any easier. A grown gem, Varvara has swapped bows with pearls and loves wearing elaborate costumes on stage. Al- though still snobby, she has devel- oped a more genteel attitude. Her quarrels with Valeriya have mostly subsided since she admires and re- spects Valeriya’s aptitude at earning the ballet company’s top roles. Forte: Ballet adagio, pearls, possessing the latest tea Weakness: Full foot turnout, carelessly spilling the latest tea Now a corps de ballet member, Gertrude has no idea how she made it so far considering she’s terrible at dancing and she’s always a mess of nerves. Although Gertrude is still her father’s star, she has a bag packed under her bed ready for when she can escape to the Siberian wilderness and be finally alone. Forte: Hiding in the back of the class, flower arranging Weakness: Being too tall to hide effectively in the back of the class, overbearing shyness
20. 29 30 La Prima Assoluta The Cast Les Petites Étoiles de Maestra Manzo The Cast Les Grandes Étoiles de Maestra Manzo Valeriya Valeriya Varvara Varvara Gertrude Gertrude Anfisa Anfisa Marta Manzo Marta Manzo Olga Olga
21. 31 32 La Prima Assoluta Costumes of 1897 Russia Ballet wouldn’t be the same without the marvelous costumes carefully studied and created for each production and character role. Lots of research has been put into this section to give every outfit an authentic feel of the time period, from the girls’ everyday practice uniforms to the elabo- rate layers of tulle that make up the grand ballet tutus. Tulle, tulle, and more tulle!
22. 33 34 Costumes La Prima Assoluta Let’s Get Ready With Olga Getting ready for prac- tice or to go on stage was quite complicated in the late 1800s. Layers and layers made up the wardrobe of a ballerina and it took a lot of physical strength to move gracefully and effortlessly at every step. This structured camisole was the first layer for any per- former. The way the back piece of fabric tucks to the front and is tied together mimics a modern leotard. Chemise
23. 35 36 Costumes La Prima Assoluta This was the hard part! Danc- ers certainly didn’t tight-lace to extremes, but they still wore corsets. Breathability is key in physically demanding activities, so ballerinas laced up just enough to give them- selves proper support. Maillot de Jambes Tights as we know them today weren’t widely distributed and worn until the 1960s. In the 19th century women wore stockings and garter belts. Because of the rigorous dance routines ballerinas had to endure, they actually wore pretty modern looking hosiery to avoid garters snapping and stockings sagging to their feet. Made out of wool or cot- ton, these long stockings had straps that wrapped around the dancer’s shoulders and kept them in place. Corset Maillot De Jambes
24. 37 38 Costumes La Prima Assoluta This would have constituted the outer part of the practice outfit or costume. In this case, for practice, these fitted shirts made out of flan- nel or wool were decorated with ribbons (a big trend of the times). The undergarments are al- most complete! The ballet shoes are the last touch before the layers and layers of tulle for the tutu were ready to be worn. Not one toe shoe pair is the same for a ballerina. They will spend hours sewing on ribbons to match their com- fortability and their ankle, and they often “break” in the shank of the shoe to soften it and make it ideal for their foot. Most ballerinas “darn” the tip of their toe shoe. The thick thread on the pointe lessens the chance of slipping and makes a more sturdy platform for them to rise on their toes. Fun fact: Each ballet sea- son, a ballerina can easily go through 100 pairs of toe shoes! Maillot De Corps Chausson
25. 39 Costumes Coppélia A comic ballet that premiered in 1870 featuring a beautiful young maiden, Swanhilda. Betrothed to Franz, a fellow villager, Swanhilda is heart- broken to discover him infat- uated with a life sized dancing doll created by the crafty Dr Coppelius. Her only way to save Franz from the evil cre- ator is to impersonate the doll and dance to save his life. Sleeping Beauty A Tchaikovsky score masterpiece, the Sleeping Beauty premiered in 1890 recounting the classic fairytale. Prin- cess Aurora is cursed by the evil fairy Carabosse and told she will die once she pricks her finger on a spindle, but the Lilac Fairy intervenes and assures her parents she will only fall into a deep sleep. When the princess’s unfortunate fate unravels, her deep sleep is interrupt- ed by prince Desire who awakens her with a kiss. A royal wedding takes place featuring courtiers and a colorful cast of characters completing a masterpiece of ballet variety, musicality, and outstanding timelessness.
26. 41 Costumes Swan Lake Giselle The most well known variation is the ballet version that took place in 1895 at the Mariinsky Theatre in St. Petersburg. Odette, a captivating princess, is cursed by an evil sorcerer and turned into a swan. Years later, Prince Siegfried, takes off with his crossbow to follow a flock of swans to the lake. At night, the prince meets Odette in her maiden form, but they are intercepted by the sorcerer. Soon after, at a royal dance, the Prince is fooled into confessing his love to Odile, the sorcerer’s daughter enchant- ed to look like Odette. The latter sees the Prince’s confession from a window and flees, while the Prince realizes his mistake. The Prince and Odette reunite at the lake, and since the Prince cannot break the spell because of his confession of love to Odile, they both choose to die in each other’s arms. Their act of pure love and sacrifice kills the sorcerer and liberates the swans as the couple ascend into the sky. A variety filled ballet pre- miered in 1841 featuring a captivating and jovial first act that stars a naive peasant girl named Giselle. Fooled by Albrecht, a nobleman who is already betrothed to another maiden, Giselle falls in love. But as she discovers his be- trayal, she dies of a broken heart. The second act takes a turn and is set in a ghostly ceme- tery. Albrecht mourns Giselle, but is tormented by the Wi- lis, specter women who have been broken hearted and take revenge on men by making them dance to death. Giselle confronts the Wilis to break their vengeance, saving Al- brecht’s life and giving herself peace in the afterlife.
27. 43 44 Props La Prima Assoluta The Nutcracker The Swan This porcelain figurine with gaudy de- signs and feathers is deceiving. Though beautiful on the outside, it contains an evil spirit within that corrupts Valeriya and convinces her to give it her life. The swan feathers are enchanting but num- bered. They turn to dust once Valeriya places one in her ballet shoe to dance well, and although seemingly numerous they count off every dance she has left until her demise. Perfectly polished and painted in a jolly array of colors, the Nutcracker is any little girl’s dream. He represents the role of Masha, star of the Nutcracker ballet. Maestra Manzo promises this beautifully quirky doll as a prize to the girl who wins the role. The Nutcracker symbolizes Valeriya’s first illicit victory and, although a happy moment, it is the last one she will ever experience in the downward spiral of her soul. Nightgown for the role of Masha
28. 45 46 Storyboard La Prima Assoluta Storyboard Snippet: A Day in Dance Class with Valeriya
29. 47 48 Storyboard La Prima Assoluta
30. 49 50 Plot La Prima Assoluta Long ago, the ballet scene of Russia was about to be taken by the storm. Saint Petersburg, the Russian epicenter of artistry and dance, was home to two unfortunate orphan girls, Valeriya and Olga. One day, they are finally graced and granted admission to the Imperial Theatre School. Although this is what she always dreamed of ac- complishing, Valeriya discovers that she is a ter- rible dancer with no redeemable qualities. On the other hand, Olga shines as an elegant, promising talent outperforming Valeriya and dancing closer and closer towards her goals of becoming a Prima Ballerina Assoluta. For as long as they had lived, the two were insep- arable and helped each other through the hard- ships of their orphanage. They dreamed of glitz and glamor, dancing upon the stage of the famous Mariinsky theatre, and, quite audaciously, of be- coming not just a Prima Ballerina, but a Prima Bal- lerina Assoluta. Their dream wasn’t to be a simple star, but to be an emblem of timelessness and su- preme ballet technique, the absolute first in every single way. 1897 in snowy St. Petersburg, Russia:
31. 52 La Prima Assoluta Unfortunately, Valeriya is her usual self, a terrible display of ballet performance and technique. Gutted because of her failure and jealous of Olga’s beautiful audition performance, Valeriya bursts into an angry sob and runs and runs through the cold hallways of the school. Exhausted from her crying, she finally curls up in the dusty, cluttered prop room of the school. Alone and defeated, she cries until her heart hurts. Suddenly a quiet whisper lures her into the corner of the room. It calls to Valeriya and, as if being entranced, she reaches the source: a porcelain swan figurine containing an array of feath- ers on its tail. The swan contains a spirit, who senses Valeriya’s broken heart and gives her a proposal. The swan asks Valeriya if she would be willing to give her own soul to be the most celebrated and talented Prima Ballerina Assoluta of history. Valeriya is dark- ened by her grief and greed, and accepts. The swan explains that each time she wants to dance well all she needs to do is pluck a feather off its tail and place it into her ballet shoe. With the feather in place, she is guaranteed to put on the most captivating and perfect performance. Her dances are limited to the feathers on the swan’s tail, once the feathers are all used up, she must forfeit her life to the swan. Tempted, Valeriya tells herself she will only pluck one feather to earn the role of Masha. She pushes back her fear and brushes it off as a one time thing, hoping to evade the spirit. The magic of the feather works, and after persuading Maestra Manzo to give her a second chance at her audition, Valeriya sweeps up the role. As Valeriya hugs the Nutcracker doll, enlightened by her success, Olga congratulates her sincerely.
32. 53 54 Plot La Prima Assoluta That same night in the dormitory, Valeriya offers Olga the doll to share. Olga accepts and is visibly sad- dened. Feeling remorseful because of her deceit, Valeriya assures her friend that they both worked hard and tries to comfort her friend. Olga is touched by her friend’s apparent kindness and holds the Nutcracker happily. With time, Valeriya sees that she cannot escape her fate. Olga continues to shine at dance practice putting in hard work and honing her natural talent. Feeling anger and jealousy boil up once again, Valeriya plucks another feather.
33. 56 La Prima Assoluta Years later, Valeriya and Olga are both stars but in very different ways. Valeriya, a haughty diva, has risen to the top of the ballet scene, starring as a Prima Ballerina in every single production put on by the ballet company. Her swan now lacks many, many feathers and has brought out the blackness of her heart, which had always resided hidden within her even as a child. Since she has come to a point where she has lost the core of ballet, passion and hard work, she relies entirely on the dark magic of the feathers, letting her desperation and relentless greed come through unhinged. Her blindness towards earning fame, makes her resented by her close friends who have been hurt by her cruelty. The only loyal friend remains Olga, a successful prin- cipal dancer, only second to Valeriya. Humble and hard working, Olga radiates with her natural beauty and talent. Olga loves Valeriya unconditionally and the two remain attached through their careers. Olga firmly believes that she can see the goodness in Valeriya’s heart deep down and refuses to let go of her kindred spirit, since they are the closest thing to family they have ever known. None- theless, Valeriya knows that no matter how successful she becomes and how hard she dances, she will never have Olga’s pure hearted soul that shines through her dance. Her feelings entwine like a pas de deux between her and Olga; love, hatred, jealousy, and affection filling Valeriya’s heart. Valeriya’s dance is corrupted and unpassionate, and she is at a point of no return.
34. 57 Plot One day, Olga is visibly distressed and nervous about obtaining the secondary role in the current ballet production. Valeriya, having already secured the head role for her own self, decides to act selfless for once. She decides to help Olga and plucks a swan feather from her precious figurine. That night, Valeriya goes to Olga’s room to dine together and the two laugh and reminisce. After slipping the feather in her friend’s shoe while she’s distracted, Valeriya gloats in her pride, knowing that she brought her friend assured success. Olga runs to Valeriya’s side, elated that she obtained her desired role. She reveals to Valeriya that she had found a strange feather in her shoe and had removed it before her audition. Valeriya is furious and storms away. Saddened by her friend’s unexplainable outburst, Olga silently pockets the feather. She holds on to it, as a good luck charm. Olga had unknowingly got what she wanted without the feather’s magic and Valeriya’s help was sabotaged. Angered and jealous, Valeri- ya’s heart aches that even at her lowest, Olga didn’t need help to succeed in ballet.
35. 59 60 Plot La Prima Assoluta Valeriya’s fate is towards its end. She has one feather left. Even though she is exhausted and distraught by her attempt to chase success, Valeriya is finally hailed as a Prima Ballerina Assoluta by personifying Odette in Swan Lake. Her last feather carries her through a heart wrenching performance, and as the curtain closes with a thunderous applause, Valeriya stumbles to her dressing room. Tears roll down her face as she is confronted by the swan to give up her soul. Unknowingly to Valeriya, seeing her friend emotionally dis- tressed lured Olga to follow her and witness the scene.
36. 62 La Prima Assoluta Olga claims she will always protect Valeriya and puts the feather in the swan figurine, quieting the spirit. Then suddenly, with rage, she breaks the porcelain swan. The Nutcracker doll on Valeriya’s dresser, her constant companion, breaks the surface of the figu- rine and shatters it with its teeth. Olga admits that she is betrayed and claims that now Valeriya is safe, but she cannot commit any more evil deceits towards her or anyone else. In an apotheosis, Valeriya is confronted by Olga and she has no choice but to reveal the evil magic of the swan and the deal. She also reveals that she has taken every opportunity away from Olga, by obtaining success through the swan’s deceit. Valeriya, con- vinced her life is over, is taken aback as her life long companion Olga pulls out her good luck charm, revealing the real last swan feather. Olga now understands the evilness of the feather from her shoe, she had carried it with her every day commemorating her hard work the day of her difficult audition and using it as inspiration to strive further as a dancer.
37. 64 La Prima Assoluta Valeriya loses all of her abilities to dance per- fectly. Her fame fades into nothingness and she is relegated to the anonymous background dancing of the corps de ballet. Olga, although pitying her lifelong friend’s soul, is hurt and frees herself from Valeriya’s poisonous pres- ence. Olga is liberated and without anything hindering her, she is allowed to thrive and bloom into her success. Her hard work and dedication to what she loves most, dancing, brings her to the top of the ballet world. Valeriya loses the most important thing, not ballet, but her precious and loyal friend, while Olga shines and is remembered in history as the greatest Prima Ballerina Assoluta.
38. 65 66 La Prima Assoluta Thesis Advisor: Raquel Coelho Additional Faculty Advising: David Yee, Tom Austin , John Clapp Mentorship From: Sheldon Borenstein San José State University Animation/Illustration Program