Question:
James Stanley Brakhage ( BRAK-@j; January 14, 1933 - March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film. Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality, and innocence.
Born Robert Sanders in Kansas City, Missouri on January 14, 1933, Brakhage was adopted and renamed three weeks after his birth by Ludwig and Clara Brakhage.  As a child, Brakhage was featured on radio as a boy soprano and sang in church choirs and as a soloist at other events. He was raised in Denver, Colorado, where he attended high school with the filmmaker Larry Jordan and the musicians Morton Subotnick and James Tenney. Together, Brakhage, Jordan, Tenney and Subotnick formed a drama group called the Gadflies.  Brakhage briefly attended Dartmouth College on a scholarship before dropping out to make films. He completed his first film, Interim, at the age of 19; the music for the film was composed by his school friend James Tenney. In 1953, Brakhage moved to San Francisco to attend the San Francisco Art Institute, then called the California School of the Arts. He found the atmosphere in San Francisco more rewarding, associating with poets Robert Duncan and Kenneth Rexroth, but did not complete his education, instead moving to New York City in 1954. There he met a number of notable artists, including Maya Deren (in whose apartment he briefly lived), Willard Maas, Jonas Mekas, Marie Menken, Joseph Cornell, and John Cage. Brakhage would collaborate with the latter two, making two films with Cornell (Gnir Rednow and Centuries of June) and using Cage's music for the soundtrack of his first color film, In Between.  Brakhage spent the next few years living in near poverty, depressed about what he saw as the failure of his work. He briefly considered suicide. While living in Denver, Brakhage met Mary Jane Collom (see Jane Wodening), whom he married in late 1957. Known as Jane Brakhage, she became his first wife. Brakhage tried to make money on his films, but had to take a job making industrial shorts to support his family. In 1958, Jane gave birth to the first of the five children they would have together, a daughter called Myrrena, an event Brakhage recorded for his 1959 film Window Water Baby Moving.
Answer this question using a quote from the text above:

did he collaborate with Jordan, Subotnick and Tenney?

Answer:
Together, Brakhage, Jordan, Tenney and Subotnick formed a drama group called the Gadflies.

Answer the question at the end by quoting:

Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Peron, the second wife of Argentine president Juan Peron. The story follows Evita's early life, rise to power, charity work, and eventual death. The musical began as a rock opera concept album released in 1976.
In Buenos Aires on July 26, 1952, an audience is watching a film ("A Cinema in Buenos Aires, July 26, 1952"). The film is interrupted when news breaks of the death of Eva Peron, Argentina's First Lady, at the age of 33. The nation goes into public mourning as they sing "Requiem for Evita" (in Latin, which is modelled on a Catholic requiem). Che, a member of the public, marvels at the spectacle and promises to show how Eva did "nothing, for years" ("Oh What a Circus").  In 1934, 15-year-old Eva Duarte (later Eva Duarte de Peron) lives in the provincial town of Junin, and longs to seek a better life in Buenos Aires. Eva falls in love with a tango singer, Agustin Magaldi, after she meets him at one of his shows ("On This Night of a Thousand Stars"). Eva persuades Magaldi into taking her with him to Buenos Aires and though he is initially resistant, he eventually accepts ("Eva, Beware of the City"). Upon her arrival at the city, Eva sings about her hopes and ambitions of glory as an actress ("Buenos Aires"). After Magaldi leaves her, and Che relates the story of how Eva goes through several relationships with increasingly influential men, becoming a model, actress and radio personality ("Goodnight and Thank You"). He then tells of both a right-wing coup in 1943 and Eva's success, implying that Argentine politics and Eva's career may soon coincide. Che also makes a point to introduce the figure of Colonel Juan Domingo Peron, an ambitious military colonel who was making his way up the Argentine political ladder ("The Lady's Got Potential"). In a game of musical chairs that represents the rise of political figures, Peron and other military figures compete for power and exhibit their political strategy ("The Art of the Possible").  After the 1944 San Juan earthquake, Peron organises a charity concert at Luna Park to provide aid to the victims. Eva attends and briefly reunites with Magaldi, who spurns her for her past actions. Peron addresses the crowd with words of encouragement and leaps off the stage, meeting Eva as soon as he exits ("Charity Concert"). Eva and Peron share a secret rendezvous following the charity concert, where Eva hints that she could help Peron rise to power ("I'd Be Surprisingly Good For You"). Eva dismisses Peron's Mistress (the character is known only by that title), who ponders the rejection ("Another Suitcase in Another Hall").  After moving in with Peron, Eva is introduced to high society, but she is met with disdain from the upper classes and the Argentine Army ("Peron's Latest Flame"). In 1946, Peron launches his presidential bid after being promoted to general in the army, and while in bed with Eva, he discusses his chances of winning the election. Eva reassures him and soon they organise rallies where the people show their support and hope for a better future, while on the sidelines Peron and his allies plot to dispose of anyone who stands in their way ("A New Argentina").

Who dies in the beggining?