Since 1995 the Tiffany Mills Company has created over 15 works. Below is a list of current repertory available for touring.

 



Landfall
 
 

length
60 minutes

 

premiere
2008 TBA

music
Ikue Mori

With choreography and direction by Tiffany Mills; video by award-winning Cuban-born filmmaker Ela Troyano; and music by internationally acclaimed Japanese composer Ikue Mori, these three diverse female artists blend their individual media and backgrounds, live and improvised in performance. Mills, Mori and Troyano will chart a journey of six dancers in three consecutive duets. Mills draws inspiration for these duets from the vast power and emotional resonance of a storm as it explodes upon the multitudes: accumulation, landfall, breach.




Godard
 
 

length
20 minutes

 

premiere
2006
Duke on 42nd Street

music
John Zorn

With music inspired by the films of Jean Luc-Godard, innocence and purity share the stage with corruption, contempt, and darker life experiences as this urban fairytale unfolds. Layering film, movement and music to achieve "dramatic color" (New York Times), Troyano, Mills and Zorn probe the complexities of human relationships, with a touch of whimsy in the Company's newest work. "Sad truths alternate with much needed comic relief." (OffOffOff.com)




Goetia
 

 

 

length
17 minutes
premiere
2003
Guggenheim Museum commissioned by Works & Process
music
John Zorn
Live music drives Goetia, an exhilarating dance where the performers fly through the air in eight full-bodied visual poems. Jennifer Choi, a leading violinist of her generation, plays Zorn's idiosyncratic score. Back Stage describes Mills' feisty quartet as having "fast, intelligent interplay between sounds and choreography."



Elegy
 

 

 

length
35 minutes
premiere
2003

Guggenheim Museum commissioned by Works & Process
music
John Zorn

"Topsy-turvy bodies in a gothic universe" (New York Times) are revealed in a combustible world of shadows and split personalities. Elegy's terrain is a matrix of triggered emotions, where flowers and harrowing dreams co-exist. The New Yorker calls this multi-dimensional work "A technically demanding dance-theater piece, conjuring the violence of a Hitchcock denouement."



 

 

www.bartokweb.com