Clytemnestra

…and shifting timescales, as in Clytemnestra (1958), or used different dancers to portray different facets of a single character, as in Seraphic Dialogue (1955). Groups of dancers formed sculptural wholes, often to represent social or psychological forces, and there was little of the hierarchical division between principals and corps de…

…of full-program length such as Clytemnestra (1958). For her themes she almost always turned to human conflicts and emotions. The settings and the eras vary, but her great gallery of danced portraits never failed to explore the inner emotional life of their characters. She created some dances from American frontier…