To a considerable extent, the identities of both Amphitryon and Jupiter
thus depend on Alcmena, who, for her part, resembles Sosia in making few proprietary gestures of her own.
The storm of their encounters - windier still when Imogen Kogge's Charis sets herself against them - comes always as a shocking disruption to the calm of Amphitryon and Jupiter
's cautious dealings with Alcmene.
No extended scene between Amphitryon and Jupiter
ensues because such a scene would shift the artistic center from Alcmena to Amphitryon, yet what does ensue is consistent with the subject-other encounter in postmodernism and surrealism.