In 1899 she had her first stage engagement in pantomime - Little Red Riding Hood at the Theatre Royal, Plymouth, playing First Fairy 'Twinkle Star' with solo dances and recitations before a front drop.

In 1900 she joined the Ben Greet Shakespearian Company and played 'Puck' in A Midsummer Night's Dream in the Royal Botanic Society Gardens in Regent's Park.

In 1912 she created the part of Guinevere Megan in The Pigeon by John Galsworthy at the Royal Theatre, acting with Gladys Cooper and Dennis Eadie.

That same year she had a season at The Royal Court Theatre, London where she performed such ballets as Callisto by Maurice Hewlett and The Little Dream by Galsworthy.

In 1915, she produced at her theatre an interpretation of Beethoven's 7th Symphony, costumes designed by John Duncan Fergusson and subsequently performed with full orchestra at Bournemouth Winter Gardens and at Harrogate.

In 1917 Morris started the first Summer School at Devon which has since been held annually to the present date except for the war years.

In this connection I am deeply indebted to J D Ferguson, the painter, who for years has taught the painting design and sculpture in my school and who first made me realise the possibilities of theatrical work considered from the visual point of view, and the value of the study of form and colour as a means of education.

[3]The syllabus followed at her schools (as of 1925): The Margaret Morris Movement was chosen to represent Britain at the 1931 Dance Festival in Florence, Italy.

She extended her exercises into sports training, writing a book with the tennis star Suzanne Lenglen, and tried to have her methods accepted in schools by the education authorities.

Although she achieved only limited acceptance in this area, her influence was immense on the modern practice of physical education, on remedial work, and in choreographic innovation.

In 1954, the Celtic Ballet toured the United States and performed at Ted Shawn's Jacob's Pillow dance festival.

I used to go every Friday to the Southern General Hospital in Glasgow and my training was based on people with mental and physical health problems.

The Third Eye Centre recognized her work in both dance and art with the exhibition catalog Margaret Morris: Drawings and Designs and the Glasgow Years.

He introduced her to the Paris art world and with her in 1915 founded the Margarent Morris Club in Chelsea, which quickly became the focus for the remnants of the pre-war avant garde in London.

[9] Members included Augustus John, Jacob Epstein, Katherine Mansfield, Ezra Pound, Siegfried Sassoon, Wyndham Lewis and Charles Rennie Mackintosh among others.

Some members of this group, after the war, were involved in organising a Labour Party connected collective known as the 'Arts League of Service' which aimed to bring the arts into everyday life.

In 1972, at the age of 81, Morris was asked to train the dancers in the hit musical Hair at the Metropole Theatre, Glasgow.

Her original interest in creating her own exercise and dance movement was based on her desire to devise a technique that was more natural to perform than ballet.