[citation needed] In 1938, he founded the London Ballet with Rambert members, including his future life partner Hugh Laing,[2] Andrée Howard, Agnes de Mille, Peggy van Praagh, Maude Lloyd and Walter Gore.

With the onset of World War II, in 1940 he was invited with them to New York, joining Richard Pleasant's and Lucia Chase's reorganized Ballet Theater.

[citation needed] From 1973, Tudor continued his teaching career as professor of ballet technique at the Department of Dance, University of California, Irvine (work curtailed by a serious heart condition), while rejoining American Ballet Theatre in 1974 as associate artistic director, creating The Leaves Are Fading and Tiller in the Fields, his last major work, in 1978.

[citation needed] Muses for whom specific ballets where created include Maude Lloyd, Hugh Laing and Nora Kaye.

][citation needed] As a teacher, Tudor was known for focusing on physical and psychological details to strip away the ego allowing the dancer to be pushed outside their comfort zone and extend their potential.

His work is usually considered as modern "psychological" expression, but – like their creator – of austerity, elegance and nobility, remarkably primarily using only classical forms.

The scores' introductory material contains history of the dances, cast lists, stylistic notes, background on Tudor, and information needed to stage the works (costumes, sets, lighting, music).

His will appointed Sally Brayley Bliss as the sole trustee of his ballets upon his will submission to the Surrogate's Court of the State of New York in 1987.

The trust includes the following répétiteurs: Diana Byer, John Gardner, Airi Hymninen, James Jordan, Donald Mahler, Amanda McKerrow, Christopher Newton, Kirk Peterson, David Richardson, Willy Shives, Lance Westwood, Celia Franca (in memoriam) and Sallie Wilson (in memoriam).