When people talk about giving music to children at an early age, they’re usually talking about playing Mozart near a crib. But Italian choreographer Mauro Bigonzetti heard much more challenging music as a young person – and it stuck with him. This week at the Brooklyn Academy of Music, his company – Compagnia Aterballetto – will present his version of the ballet “Les Noces,” a score he first heard when he was 8 years old.

“My father loved this music. ‘Les Noces’ is the best of Stravinsky,” Mr. Bigonzetti said. “It is something very exciting. It’s like a dream. And I can touch my dream. I needed to do it.”

The “it” in question is a new and stark take on a ballet originally created by Bronislava Nijinska and first performed in 1923. The ballet takes up the wedding ritual. In earlier versions, the scene has been minimal, but usually draws from the pre-Soviet era of Russia.

Mr. Bigonzetti’s version is slick in black and white, with men and women in clothes that could be seen on SoHo streets. They’re divided by a large table, and the set is without color.

His take on what’s behind the ballet is even darker than the view of marriage in the East Village. “The wedding is something cold for me,” he said. “I like to put inside the ballet something cold and dark. It is not an easy party.”

So don’t expect to see anyone doing a conga line at this reception. And don’t expect the sinewy duets from his 2002 work “Vespro” for New York City Ballet’s Diamond Project series, either. This resembles something more like stamping out aggressions as dancers pass from one side of the stage to the other.

That’s not all the Stravinsky that’s in store this week. Aterballetto will also be dancing an updated version of “Petrushka.” And it will be similarly dark in color and design. Unlike the typical Russian carnival scene, this “Petrushka” is urban. The setting is in a modern, fashionable department store. Instead of a ballerina puppet, we have a model. The moor figure is also a model in this retelling. And here Petroushka is a thief whose heart is captured by the girl.

“For me, ‘Petrushka’ is with big color, sets, lighting, and characters,” Mr. Bigonzetti said. “I’d like to do that for a different age.”

The movements here are not about what’s beautiful, but what is strong and meaningful. “He is a strange person. There are big and exaggerated movements,” the choreographer said. “At the same time, he’s very human, Petrushka.”

Both works will challenge the previous productions of these ballets – and surly give us much to watch. Since 1997, Mr. Bigonzetti has been the head of Aterballeto, based in the city of Reggio Emilia (in the Emilia-Romagna region). It touts itself as being the first ballet company to produce works outside the opera-house system. But wherever this choreographer is working, it’s worth showing up for.

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Watching performing arts is a joy, but it is essentially passive. If the urge to create something should strike you and you haven’t got a lick of artistic training, consider Margaret Peot’s book “Making Your Mark” (Chronicle Books, 176 pages, $24.95). Ms. Peot is a costume painter whose work has been seen on Broadway (check out the monkey wings in “Wicked”) and film. Her dance credits include collaborations with costume designer Willa Kim and choreographer Eliot Feld.

Her book is designed to help anyone express creativity. Right on the front it says: “No Drawing Necessary.” And she’s serious about that. The idea is to use paint, stencils, sprays, objects, and stamps to activate the right side of your brain.

When I visited her workspace, within the Parsons-Meares Costume Studio in the heart of the garment district, I tried a simple exercise. It included painting a cloth with paint and a scalloped-edge stencil, which produced a scaled design that would go on a mermaid costume. Mine was pathetic, but I pretty much wanted to stay and paint all day. If I get better, I’m giving hand painted gifts for Christmas. (Just like when I was 10.)

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Sometimes a choice of venue does make a difference. Choreographer Garth Fagan will present his work at Jazz at Lincoln Center’s Rose Hall this week. And given his connections to the jazz world, that’s quite fitting. Mr. Fagan’s work combines modern dance with traditional African elements and contemporary dance moves, all with a cool jazz feel – and often with collaborators from that musical genre. His pieces have a playful, vibrant energy that makes them a pleasure to watch. And I’ve found the Rose Theater itself conducive to enhancing energy.

Garth Fagan Dance will be on stage from November 9 to 13. Mr. Fagan’s signature work, “Griot New York”- which was created in collaboration with Wynton Marsalis and sculptor Martin Puryear – will be presented in its entirety on November 9. On November 10, 12 (evening), and 13, the company will present selections of it. The new work on the program is “Life: Dark/Light,” which will be performed from November 10 to 13 with live music by jazz violinist Billy Bang. Any night is worth seeing – especially in this most energy building venue. For tickets, call 212-721-6500.

pcatton@nysun.com