Repertory Dance Theatre has a new artistic project — examining myths.

"This will be our theme for the next couple of years," artistic director Linda C. Smith told the Deseret Morning News. "I've been reading a lot of Joseph Campbell and Karen Armstrong, two leading authorities on historical and contemporary mythology. And I actually feel like I'm on a journey of discovery when I read what they have to say."

She added that mythology is common as a "hero's journey," and it teaches us something. "Even contemporary myths, such as 'Star Wars' and 'Lord of the Rings' tell us about self-discovery. These are only two examples of contemporary myths. And that's something that Joseph Campbell laments — the fact that there is a lack of contemporary myths.

"If you look to the past, deep into history, there is an abundance of mythology. Whether it be Greek, Roman or Norwegian. What I've seen lately is that it is the artist that has been keeping mythology alive. Writers, visual artists and dancers have examined myths in different ways. So what better way to start off our season-opener, 'Moving Heaven and Earth,' than with works that deal with mythology in some way."

The production, which begins performances on Thursday in the Rose Wagner Center, will feature Stephen Koester's "Fever Sleep," Bill Evans' "In the Valley of the Sun and Moon," Natosha Washington's restaged and embellished "Exit from Eden," Molissa Fenley's "Desert Sea" and Lucas Hoving's "Icarus," which the company acquired in the late 1970s.

Another work included in the performance will be Jacque Bell's "Ryoanji," which was inspired by a Japanese garden in Kyoto, Japan. "There is something spiritual about the garden," said Smith. "And that's what mythology does sometimes — it gets us in touch with our spiritual selves."

Bell described the journey of "Ryoanji" — which had its premiere in 1988 — during a separate interview. "It was inspired by the Ryoanji garden in Kyoto. When I visited the garden in 1985, it had such a huge impact on me. But as I was working on it for this production, I was surprised at how much of the visit I had not remembered."

The reason was related to a life-altering experience Bell had a year ago when a polyp was removed during surgery and she was hospitalized for five weeks. "There was a point where I felt like I was going to die, and while I was in the hospital, a dear friend visited me every day. And at one point, I could barely talk. So we just sat there in close silence.

"I think that's where 'Ryoanji' comes from for this performance — a close silence."