These little wordless stories are great. They inhabit a kind of weird dreamland, but the relative realism of the figures gives the whole thing a kind of weight. The first few panels, including the shove, show the reticence of the main character and how she leans into the role. But the implied menace can be see at the top left edge of the theater frame in the first panel – that blood splatter reappears at the end,  when the ballerina is pushed to her death. That loop is nice, even if the death is entirely unnecessary. 

(Heavy Metal issue #195, September 2001 – Page 92 Ballerina by Trillo and Mandrafina)