Background: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Question: Are there any other interesting aspects about this article?
Answer: Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number.

Problem: Background: Chogyam Trungpa (Wylie: Chos rgyam Drung pa; March 5, 1939 - April 4, 1987) was a Buddhist meditation master and holder of both the Kagyu and Nyingma lineages, the eleventh Trungpa tulku, a terton, supreme abbot of the Surmang monasteries, scholar, teacher, poet, artist, and originator of a radical re-presentation of Shambhala vision. Recognized both by Tibetan Buddhists and by other spiritual practitioners and scholars as a preeminent teacher of Tibetan Buddhism, he was a major figure in the dissemination of Tibetan Buddhism to the West, founding Vajradhatu and Naropa University and establishing the Shambhala Training method. Among his contributions are the translation of numerous Tibetan texts, the introduction of the Vajrayana teachings to the West, and a presentation of the Buddhadharma largely devoid of ethnic trappings. Trungpa coined the term crazy wisdom.
Context: In exile in India, Trungpa began his study of English. In collaboration with Freda Bedi, who had initiated the project, Trungpa and Akong Tulku founded the Young Lamas Home School and, after seeking endorsement from the Dalai Lama, were appointed its spiritual head and administrator respectively.  In 1963, with the assistance of sympathetic Westerners, Trungpa received a Spalding sponsorship to study comparative religion at St Antony's College, Oxford University. In 1967, upon the departure of the western Theravadan monk Anandabodhi, Trungpa and Akong Rinpoche were invited by the Johnstone House Trust in Scotland to take over a meditation center, which then became Samye Ling, the first Tibetan Buddhist monastery in the West (future actor and musician David Bowie was one of Trungpa's meditation pupils there). In 1970, after a break with Akong, Trungpa moved to the United States at the invitation of several students.  Shortly after his move to Scotland, a variety of experiences, including a car accident that left him partially paralyzed on the left side of his body, led Trungpa to give up his monastic vows and work as a lay teacher. He made that decision principally to mitigate students' becoming distracted by exotic cultures and dress and to undercut their preconceptions of how a guru should behave. He drank, smoked, slept with students, and often kept students waiting for hours before giving teachings. Much of his behavior has been construed as deliberately provocative and sparked controversy. In one account, he encouraged students to give up smoking marijuana, claiming that the smoking was not of benefit to their spiritual progress and that it exaggerated neurosis. Students were often angered, unnerved and intimidated by him, but many remained fiercely loyal, committed, and devoted.  Upon moving to the United States in 1970, Trungpa traveled around North America, gaining renown for his ability to present the essence of the highest Buddhist teachings in a form readily understandable to Western students. During this period, he conducted 13 Vajradhatu Seminaries, three-month residential programs at which he presented a vast body of Buddhist teachings in an atmosphere of intensive meditation practice. The seminaries also had the important function of training his students to become teachers themselves.
Question: Did he move back to the West to teach again?
Answer: