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Changing Civilization. Martha’s Deep Song was no less than a vision of mankind as brethren, regardless of differences in nationality.” I’m reading this to you, because it’s almost perfect, you don’t even need to do an interview of me! But this is really beautiful for you to have. “Not until Clytemnestra, Legend of Judith, and Cortege of Eagles” (101), which are later pieces of Martha’s work, “would Martha deal again with the consequences of ‘man’s inhumanity to man’ on this visionary level, and with that stab of one’s conscience that was provoked by the single-mindedness of Deep Song. Seen in retrospect, Deep Song was to be the last of Martha’s great solos. More and more would she turn her thoughts to large-scale ideas on which she would cast herself as a symbolic figurehead within the expanded ensemble she now had at her disposal” (101). Expanded means it involved many, because until 1937–38, there weren’t any men. That’s why Stodelle writes that this was the last of the solos, because men finally came into the company, very few men, but it changed her outlook because that dynamic of the male and female became very important to her. “The sweep of her mind and the range of her talents drove her inevitably in this direction. First and foremost, she was an actress as much as dancer. From the beginning she disclosed an imperative need to dramatize the very experience of being on the stage. Secondly, though Martha had been performing professionally for only sixteen years by 1936, she was already forty-two years old, an amazing fact when one considers her body’s phenomenal powers at the time” (101). So there’s a great maturity, also, in the way that she choreographed. “Clearly, however, she could not concentrate on solos far into the future. From a practical viewpoint, choreography for the group should soon become the main focus of her energies. But to do this with positive purpose and not as a substitute for loss of specific skills, Martha would have to draw upon psychological reserves far beneath the surface. She would have to refer to ‘the fundamental process of artistic production,’ which, as the psychoanalyst Otto Rank tells us, amounts to a ‘constructive victory’ over inhabiting factors.’ Throughout her life, Martha would be faced with the


Esferas—Issue Two  

Esferas is an undergraduate student and alumni initiative from New York University’s Department of Spanish and Portuguese. We are a peer-re...