In addition to choreographies suitable for traditional theater, there were other site-specific works like: "Tá com fome? Não, tou com febre" (1983), realized in an antique shop in Lapa, the bohemian area of Rio de Janeiro - Brazil; "A Divina Comédia" (1991), both publicly and critically acclaimed, staged using the entire building and grounds of the Museum of Modern Art (Rio) with 146 actors/dancers, 32 visual artists and 80 technicians; "Desordem" (1992), for which the stage setting of the Municipal Theater of Rio de Janeiro was modified with the installation of platforms, some higher than 20 meters, from where the dancers jumped vertiginously; and "S. Thala" (1993),that took place on the two floors of the Fundição Progresso, presenting sixty dancers enclosed in wrought iron and glass windows.
In the company's recent presentation in New York (Saint Mark's Church), critics from the Village Voice and the New York Times' alluded to the superb scenic energy, fearlessness, and Miranda's use of the most current dance vernacular. One of the principal factors contributing to the company's success is the intense collaboration and dedication of the dancers. Some of them (as Marina Salomon and José Paulo Correa) have been developing their artistic careers in association with the company, forming a skilled and integrated unit of creation with the choreographer.
Two special moments of the Company must be signaled: the retrospective of Ms. Miranda's dance works to celebrate the Company's 15th anniversary at Teatro Glória and the invitation to represent Brazil at the Lyon Dance Biennial, in 1996. The Company's presentation in Lyon was recognized by the audience's warm applause, calling the dancers back to the stage for multiple curtain calls.
Since 1995 the Company has been receiving the institutional support of the City of Rio de Janeiro. In 1997 and 1998 the Company obtained the corporate sponsorship of the Telephone Company of Rio de Janeiro (TELERJ) and the Brazilian Power Company (ELETROBRÁS) through the Ministry of Culture's Federal Law for Cultural Incentive.
In 1998 the Company achieved an old dream: the purchase and renovation of their own dance facility, allowing for better working conditions and, consequently, a more productive relationship between the dancers. Since then, the Company has gained a new enthusiasm, increasing the number of its members, producing new works, maintaining a wide repertoire, and going on national tours.