This chapter pushes against the notion that Eva Palmer Sikelianos's work in Greece was disconnected from her non-Greek past and indifferent to “archaeological problems.” Digging deep into her papers and other sources dating between 1903 and 1940, the chapter pieces together Eva's dialogue with artists from Isadora Duncan to H. D. to George Cram Cook and Susan Glaspell to Angelos Sikelianos, who were all familiar with archaeological problems but standing at an oblique angle to them as they thought about how to stage the ancient Greek chorus. This transatlantic genealogy allows reflection on how creative work happening near ruins, yet outside the formal discipline of archaeology, responds to the place, takes on the feel of archaeological discoveries, and generates further rounds of imaginative reworking. The same genealogy brings into view how Eva's efforts to revive the tragic chorus, having transformed Isadora's experiments, traveled across the Atlantic to inform the work of Ted Shawn.
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