Spessivtseva was renowned for her incorporeal lightness and virtuosity, and all the roles she performed during her career mirrored her personality traits, which were marked by subtle and fragile beauty, shyness, inwardness, and depressive tendencies. Her dancing performance was threatened by her fanatical perfectionism (4). In 1934, she experienced her first mental breakdown, during which she wrote frantic letters to her mother complaining that her feet and legs were becoming paralyzed, possibly reporting kinesthetic hallucinations (5). Additionally, she developed a complex persecutory delusion, believing that some ballet company members were spies who were trying to poison her or amputate her feet. Her friends' reports also portrayed a kind of dissociative episode (4, 5). Her grace and fine classical technique vanished as her pliés, tendus, and other battements became ritualistic and distorted. During her last performance on the stage in 1934, she had a complete psychotic breakdown that began with random movements; eventually she became unaware of the music and the choreography, and the curtain was lowered. To justify the cancellation of the show, the newspapers reported that Spessivtseva had sprained her ankle.