CURRENT REPERTORY

Robot vs Mermaid (2011). Following strict vocabulary and spatial rules, the dance begins as a study in structural design and then blossoms into colorful and affective relationships. (Excerpts.)

 

Binary 2.0 (2011). A re-composition of the duet: re-mixed, re-sequenced, re-cast, and re-set to Debussy music. (Excerpts.)

 

Binary (2010). A duet that features vitality and abandon while adhering to a tight compositional design, Binary has wit, too.

 

Catalog (2009).  Originally set to three Radiohead songs, Catalog makes use of a limited number of dance phrases, which are re-sequenced, re-metered, and re-cataloged so that they repeatedly create fresh, cohesive incarnations of texture and rhythm. Premiered at Lincoln Center Out of Doors, August 2009. (Complete dance.)

 

Terra Nova 2.0 and 3.0 (2008). Created first as a dance with digital video developed through motion-capture sessions with the dancers, Terra Nova exists in several incaranations—each comprised of the same choreography but reordered, reoriented, and set to different music. (Excerpts.)

 

Tuesday, 4 a.m. (2006).  Set to Stravinsky’s Capriccio for Piano and Orchestra, this dance illustrates the score’s unique polyrhythms and dissonant harmonies while evoking the dreamscapes of its six bedtime inhabitants. (Excerpts.) 

 

Thunderblood (2005).  Munisteri’s most formalist work is a contemporary symphony of vivid color, syncopated rhythms, and morphing angular structures, set to a score by Evren Celimli. (Excerpts.)

 

Turbine Mines (2004).  Danger, urgency and Vangelis’ foreboding score for the film Blade Runner pervade a rigorously structured yet primal six-dancer counterpoint, eventually yielding to moments of beauty and light. (Excerpts.)

 

 

Smash Through to Sunlight (1999).  Solo dancers travel peripatically through a landscape of sculpted lights designed by Kathy Kaufmann, accompanied by an ominous score by Evren Celimli. (Excerpts.)