Bach Forms is a reimagining of Tetractys, which brings together J.S. Bach’s 18th-century work of great invention and McGregor’s pioneering 21st century choreography.
Wayne McGregor brings his unique choreographic style for the first time to the American Ballet Theatre with his entirely new take on The Rite of Spring.
Wayne McGregor premieres new work Sunyata as part of an all-McGregor programme, with Kairos and Borderlands, for the first time for Bayerisches Staatsballett. The programme opens Ballet Festival Week 2018 in Munich.
Wayne McGregor and The Royal Ballet celebrate Leonard Bernstein’s centenary with the world premiere of Yugen.
In a continuous reimagining, McGregor's Autobiography is constantly reinvented; the order of the dance pieces algorithmically-assembled from a collection of 23 choreographic volumes which unfold uniquely at each performance.
A unique experience, +/- Human fuses an immersive installation with incredible live dance and music performances curated by Wayne McGregor at the Roundhouse.
Premiering as part of an all-McGregor triple bill celebrating his 10th anniversary as Resident Choreographer of The Royal Ballet, Multiverse features a commissioned score from celebrated composer Steve Reich.
Obsidian Tear, McGregor's first piece created on an all-male cast, features music by Esa-Pekka Salonen and takes inspiration from the epic geological journey of the volcanic rock, obsidian.
Witness is a pas de deux choreographed and directed by Wayne McGregor, performed by Alessandra Ferri and Herman Cornejo.
Wayne McGregor's first piece for Ballett Zürich, Kairos features set design by Idris Khan and performed to Vivaldi's The Four Seasons, re-imagined by experimental composer Max Richter.
Set to orchestrated extracts of J.S. Bach's enigmatic final musical work, The Art of Fugue, the geometry of the music inspired both McGregor's movement and designs by visual artist Tauba Auerbach.
Atomising bodies, movement, film, sound and light into miniature shards of intense sensation, Atomos is performed in McGregor's unique style - sculptural, rigorous, jarring and hauntingly beautiful. With lighting by Lucy Carter, film by Ravi Deepres costumes by Studio XO, and music by A Winged Victory For The Sullen.
Raven Girl by the award-winning author of The Time Traveler's Wife, Audrey Niffenegger, was adapted by McGregor into a dark modern fairytale, scored by film composer Gabriel Yared.
Inspired by the work of Josef Albers, Borderlands is McGregor's first commission for the San Francisco Ballet, a fierce, driving study in movement.
Machina was one of three works for The Royal Ballet created in response to the Titan paintings Diana and Actaeon, The Death of Actaeon and Diana and Callisto.
McGregor created choreography combining popular dance forms with classical ballet, while music producers Mark Ronson and Andrew Wyatt created the score and assembled a supergroup of musicians, including Boy George, Hero Fisher and Alison Mosshart, to perform live on stage for the 2012 premiere. Leading fashion designer Gareth Pugh reinvented traditional ballet dress to create bold, angular costumes.
With a visual world created by Turner Prize-winning Wallinger, UNDANCE was performed by the 10 dancers of Company Wayne McGregor and set to Turnage's original score. Inspiration came from American sculptor Richard Serra's and the work of photographer Eadweard J. Muybridge.
Inspired by the balletic beauty in John Gerrard's frozen images of soldiers engaged in military exercises and the instinctive physicality of their movement, McGregor's choreography is counterpointed by Michael Tippett's . Gerrard's set comprises sculptural projections appearing both real and artificial, static and dynamic.
Inspired by the controversial Age of Enlightenment, FAR mines an era that first placed 'a body in question'. Ten incredible dancers confront the distortions, sensuality and feeling of the 18th Century's searing contemporary sensibility to a haunting score by the critically-acclaimed composer Ben Frost.
Created for New York City Ballet's Architecture of Dance Festival, Outlier was McGregor's first original work for an American dance company. Set to composer Thomas Adès' 2005 violin concerto Concentric Paths, Outlier was informed by the minimalist notions of simplicity and colour theory.
Yantra was McGregor's third piece for Stuttgart Ballet, set to Esa-Pekka Salonen's Foreign Bodies, with set and costume design by Vicki Mortimer.
In Limen, McGregor explored the idea of liminality - thresholds of darkness and light, presence and absence, life and death. It was set to Finnish composer Kaija Saariahoâ's cello concerto , centered around a solar eclipse, and was accompanied by a light installation by Tatsuo Miyajima.
In 2009, McGregor created a diptych of works to celebrate the centenary of the magnificent Ballets Russes - Dyad 1909 in London and Dyad 1929 in Melbourne. For Dyad 1909 Ólafur Arnalds provides the score, with design by Jane and Louise Wilson, lighting by Lucy Carter, costume design by Moritz Junge and make-up and mask design by Kabuki.
In 2009, McGregor created a diptych of works to celebrate the centenary of the magnificent Ballets Russes - Dyad 1909 in London and Dyad 1929 in Melbourne. Dyad 1929 was performed to Steve Reich's Double Sextet, with stage concept by McGregor and Lucy Carter, and costumes by Moritz Junge.
Named after the Latin word meaning 'below', Infra presented a portrait of life beneath the surface of the city, with set design by Julian Opie and music by Max Richter.
Wayne McGregor's creates with NDT1 a savagely un-natural piece that in some ways denatures the body itself and frustrates the conventions of dance.
Award-winning Entity is a blend of bodies, lights, technology and film, with a soundscape created by Coldplay and Massive Attack collaborator Jon Hopkins and award-winning composer Joby Talbot.
Nimbus was McGregor's first work as Resident Choreographer for The Royal Ballet following his appointment in 2006.
Chroma explores the drama of the human body and its ability to communicate extremes of thought and emotion.
A dance solo choreographed by Wayne McGregor, by invitation of the Antwerp Music Theatre.
Qualia, a duet, marked Wayne McGregor's choreographic debut on The Royal Opera House stage in 2003.
AtaXia is a dynamic work involving neuroscience, psychology, virtual design, and spatial architecture, redrawing the traditional hierarchies of dance to generate a fresh and radical look at human physicality and explore a dislocating loss of control.
Polar Sequences is set to music by Henry Purcell, Merzbow, Amon Tobin, Rioji Ikeda and Marilyn Manson in a sound collage created by Scanner. Costumes designed by Ursula Bombshell and lighting by Lucy Carter.
chrysalis is a film choreographed and performed by Wayne McGregor with dancers from Company Wayne McGregor for Arte TV.
2Human is a duet set to Bach's Partita No.2 in D minor for solo violin, inspired by illustrated descriptions of the human body.
The result of collaborations with artists working at the height of their fields, Nemesis explores the relationship between body, screen and machine.
The twelve Rambert dancers perform to Steve Reich's Triple Quartet, with lighting by Lucy Carter and set design by Ursula Bombshell.
detritus is Wayne's first work for Rambert, and one of four works performed to celebrate the company’s 75th anniversary season.
Commissioned by the Artists' Development Initiative, Symbiont(s) came from bringing in choreographers, including Wayne McGregor, from outside The Royal Ballet to create work on the company.
Aeon is the third instalment of Wayne McGregor's 'The Trilogy', following The Millenarium and Sulphur16.
The second instalment of 'The Trilogy', in which Wayne McGregor and the dancers attempt to redefine basic choreographic principles of time, space and the presence of the body.
The Millennarium is the first instalment of 'The Trilogy', a series of works which fuse McGregor’s idiosyncratic movement with new technology.
Xeno 1 2 3 premiered at The Place in London on 6 January 1993 as part of 'Resolution!', McGregor's first work for Company Wayne McGregor.