Tudor, Antony, 1909–87, English choreographer and dancer. Tudor went to the United States at the invitation of the Ballet Theatre, New York City (1939); he danced leading roles and created ballets for several English and American companies and was later the artistic director of the Royal Swedish Ballet (1963–64). He remained the resident choreographer at the American Ballet Theatre American Ballet Theatre, one of the foremost international dance companies of the 20th cent. It was founded in 1937 as the Mordkin Ballet and reorganized as the Ballet Theatre in 1940 under the direction of Lucia Chase and Rich Pleasant.
..... Click the link for more information. until his death. His ballets, influenced by the expressionism of Fokine Fokine, Michel (mēshĕl` fōkēn`, Rus.
..... Click the link for more information. and Massine Massine, Léonide (lāônēd` mäsēn`), 1896–1979, American choreographer and ballet dancer, b. Russia.
..... Click the link for more information. , use the modern idiom. In his later work, he used psychological tension and dramatic gestures expressed in the language of ballet to explore human suffering. Among Tudor's most popular works are Lilac Garden (1938), Gala Performance (1938), Pillar of Fire (1942), Romeo and Juliet (1942), Undertow (1945), Offenbach in the Underworld (1955), Echoes of Trumpets (1963), The Leaves Are Fading (1975), and Tiller in the Fields (1978). In all Tudor choreographed 56 ballets, fewer than 20 of which are still commonly performed by various companies.

Bibliography

See J. Chazin-Bennahum, The Ballets of Antony Tudor (1994).

Tudor, Antony

orig. William Cook

(born April 4, 1908, London, Eng.—died April 20, 1987, New York, N.Y., U.S.) British-born U.S. dancer, teacher, and choreographer. In 1927 he joined Marie Rambert's company, where he choreographed and danced such works as The Planets (1934) and The Lilac Garden (1936). In 1940 he moved to New York City, joining the new Ballet Theatre (later American Ballet Theatre), for which he created many of his signature psychological ballets, including Pillar of Fire (1942) and Shadow of the Wind (1948). In these works he sought to convey emotional conflict and aspects of character and motivation. In 1974 he became associate director of American Ballet Theatre.