 However she also embraced the more theatrical part of the collective (as did Aileen Passloff, John Herbert McDowell and others).Elaine Summers expanded dance into other disciplines, experimental film, visual art, and body work.In the later phase of the Judson Dance Theater she created dances that would be made to work with the entire environment of the performance space, notably "Country Houses" (1963) which included speaking non-sequitor one-liners, and her solo-concert "Fantastic Gardens" (1964) which included the first large-scale use of intermedia, immersing the entire performance area in film-projections, multiplied by the audience with hand-held mirrors.