Karole Armitage

In 1930s Shanghai, 'The White Countess' is both Sofia, a fallen member of the exiled Russian aristocracy, and a nightclub created by a blind American diplomat who asks Sofia to be the centerpiece of the world he wants to create.

A self-help guru's televised teachings inspire a down-and-out businessman to pursue his dream of making a movie.

A series of unrelated amorous lovers are connected by a chain of desire.

A one-act, full-evening work that tells the story of Simon Powers, a successful and powerful businessman and inventor, reaching the end of his life and facing the question of his legacy. He is now conducting his final experiment, passing from one form of existence to another in an effort to project himself into the future. Simon Powers is himself now a System. His family, friends, and associates must decide what this means, whether or not he is actually alive, how it affects them, and whether to follow.

This film brings to life a fictional castrato named Zefirino.

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Atlas' fascination with "narrative, psychology, dance, and flights of fantasy," is manifested in this dynamic videodance musical. Here the postmodern choreography of Karole Armitage is performed by Armitage, Michael Clark and others to American pop and Latin music. Framed and interrupted by the ironic observations of two parodic "public television" commentators, the dancers play fictionalized versions of themselves in a wry tale of contemporary romance, in which the dance literally and metaphorically advances the narrative. Atlas deftly stages elaborate dance sequences in unlikely settings — an airport lounge, a gas station, a baggage conveyor belt — that are presented alternately as fact and fantasy. Atlas manipulates the representation of truth and artifice, reality and fiction in this meta-narrative.