Kurt Jooss’ choreography simply intrigues me. His work with The Green Table presented character development on stage in a way I had not seen. The characters described by John Rockwell in a New York Times review, “They're archetypes, but they ring true: the proud, deluded Standard Bearer, the eager Young Soldier, the Young Girl ultimately prostituted and killed, the Woman, an Old Soldier, an Old Mother and an oily Profiteer. It's a real medieval dance of death; some of Jooss' movements, mixing ballet and modern techniques, look as if they leapt straight from woodcuts.” Jooss’ movement quality and technique fused the ideas of ballet and modern, creating an intriguing and captivating dance. I appreciate his use of music, using it to enhance his choreography. In “Dance Chronicles,” Lara Maris writes (in regards to the use of music), “And it is specifically in relation to the musical conception of Form that I find Jooss’ works so richly creative and original.” His choreography and storytelling ability is simply incredible. He was able to create a whole other universe on the stage, captivating his viewers and stating a message all at the same time. Very few choreographers and dancers are able to achieve this idea. His movement and technique had a very balletic quality, but it was still modern in its presentation. The musicality and use of rhythmic movement also contributed to his work. His artistic mind was genius; I have enjoyed getting a glimpse of that genius.