Abstract
Antony Tudor's last major ballet, The Leaves are Fading, is a work of unique beauty and great complexity. Its initial critical reception was mixed, and it remains a difficult, even perplexing, work to many viewers today. Yet clues that Tudor and several of his close associates have provided make possible an analysis of this ballet that unravels some of its mystery, revealing highly personal and poignant reflections that Tudor wove into this exquisitely nuanced work's playing with time.
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