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= "Seraphic Dialogue" (1955); Martha Graham = “Seraphic Dialogue” was first performed on May 8, 1955 by the Martha Graham Dance Company at ANTA Theatre in New York City. The choreography and costumes were done by Graham. The music was done by Norman Dello Joio, the set was done by Isamu Noguchi, and the lighting was done by Jean Rosenthal. “Seraphic Dialogue” was inspired by a solo performed by Martha Graham, “The Triumph of Saint Joan” set to the score of Norman Dello Joio. “The Triumph of Saint Joan” was commissioned by the Louisville Arts Council, and first performed December 5, 1950 with the Louisville Symphony Orchestra, and set done by Frederick Kiesler. Graham used influence and material from “Triumph of Saint Joan” in “Seraphic Dialogue”. The role of Joan was originally performed by Linda Margolies, and Joan as Maid was performed by Patricia Birch. Joan as Warrior was performed by Mary Hinkson, Joan as Martyr was performed by Matt Turney, and Saint Michael was performed by Bertram Ross. “Seraphic Dialogue” is about Joan of Arc (the character Joan played by Margolies), it centers on her transfiguration as she recalls the stages of her life. Joan’s solos foreshadow dances by each of her three aspects, Joan as Maid (played by Birch), Joan as Warrior (played by Hinkson), and Joan as Martyr (played by Turney), all of whom sit on stage waiting under cloaks. Saint Michael (played by Ross), positioned upstage in a gold wire structure, travels downstage to bless, summon and encourage Joan, who stands beside him in the end. In the “Warrior Section” which eventually was a duet, Saint Michael provides Joan as Warrior with a golden wire sword. “Seraphic Dialogue” concludes symbolically on a euphoric note, as Joan ascends to Heaven.

“Seraphic Dialogue” was just one of Graham’s works that she completed before leaving for her tour of the “Far East”. Graham tended to divide aspects of woman, or a woman, and play them out in her dances herself. This is evident in Graham’s 1950 solo, “The Triumph of Saint Joan”, in which she played Joan as Maid, Warrior, and Martyr. However in “Seraphic Dialogue” just 5 years later, Graham used three different dancers to portray the three aspects of Joan, as Maid, Warrior and Martyr, as well as a primary character of Joan. Graham used the primary Joan to summon each aspect of Joan by reflecting on the time in her life when each aspect was prevalent. In examining “Seraphic Dialogue” as a whole piece, the score, done by Dello Joio, has been said to “highlight and emphasize themes of spiritual hope and strength”; and the set, done by Isamu Noguchi, “created a soft, shimmering environment,”. Both Dello Joio and Noguchi worked with Graham on many other dances. Noguchi also designed the set for one of Graham’s most famous dances, “Frontier”. Dello Joio also composed scores for two other dances of Graham’s, “Diversion of Angels” (1948) and “Exaltation of Larks” (1978). “Seraphic Dialogue” is significant, and distinguished from many of Graham’s other works because it is recognized by many in the dance community as part of the Graham canon.