beyond the range of actual perception...". Childs approached this piece from all different angles exploring dialect, architecture, and staging. The piece asked its viewers to look beyond what was in front of them and instead use different senses to visualize the unseen. This dance has only been performed three times, the most recent being the 2013 Philadelphia revival. In the revival, the dancers used stop-watches for timing purposes. Einstein on the Beach This was the first piece Childs had performed on a traditional stage in collaboration with Philip Glass and Robert Wilson. Up until this, her other works had all been performed in ‘alternative spaces’ such as churches, museums, galleries, and sidewalks. This was also the first piece that Childs had worked with a composer on. Einstein on the Beach (1976) was a five-hour-long production, normally beginning at six-thirty in the evening and finishing around eleven-thirty, and did not tell a story. The story was meant to be up to the audience to decide and that became an essential part of the piece itself. Childs solo in Act 1 scene i was structurally linked to the three visual and musical motifs of the opera. Childs also embodied many different characters within this solo through her gestures. The choreography for this piece came about through structured improvisation guided by Robert Wilson. Einstein on the Beach (1976) was a transition for Childs and a springboard into her most well-known piece, Dance (1979). Dance In her collaboration with Philip Glass and Sol LeWitt, Dance (1979), the minimalist quality of her choreography is evident. In this hour-long piece, the dancers move across the stage in pairs repeating the same balletic, geometric movements for 19 minutes and 55 seconds. Then the sequence shifts to a soloist who again, repeats the same combination of movements for 17 minutes. Each couple and soloist moves along the stage in a grid-like pattern. A projection of a filmed version of Dance (1979) allows the audience to view the piece from multiple angles at once, adding to the sense of a grid and geometric, abstract patterns. Dance (1979) was composed of three ensemble sections containing eight dancer or four couples, then there were two soloist sections. Childs first took the composition Glass had made and analyzed how the music was constructed and designed her own structure of movement to interact with it. Childs choreographed this piece to come together with