For experimental choreographers following World War II, the work of prewar choreographers such as Martha Graham seemed too emotionally expressive and character-driven. Differing aesthetics and styles began to emerge, which included the avoidance of conventional narrative. In dance, this allowed for simple motions, often in circular, parallel, or perpendicular movements, and occasionally suggesting everyday physical activities. Dancers could simply walk around or might mime a person brushing their teeth, washing their hands, or any other everyday pursuit. In Einstein on the Beach (1976), dancer–choreographer Lucinda Childs hired professional dancers to enact clear diagrammatic and mathematical patterns, avoiding complexity and variation and instead placing an emphasis on repetition, simplicity, and emotionally neutral performances. Childs’ choreography in this work serves as a counterpart to directo–-designer Robert Wilson’s use of geometric lines in his staging and sets. At the end of this work, horizontal, vertical, and diagonal lines are produced by a switchboard of flashing lights, which correspond to similar lines in Childs’ choreography. These lights allude to a nuclear explosion resulting from Einstein’s contributions to the study of atomic energy. Glass hired other choreographers to direct additional stage works, including Les enfants terribles (1996) and A Descent into the Maelström (1985).