From the formative years of founder Elizabeth Dalman (1965-1975), the halcyon years of Jonathan Taylor (1977-1985), the experimentation of Leigh Warren (1987-1992), the innovative years of Meryl Tankard (1993-1999), to the interim artistic director Bill Pengelly (May 1999-December 1999) and the current artistic director Garry Stewart (2000 - 2005) ADT has always, and still is, creating dance history.

In 1965 when Adelaide-born dancer Elizabeth Dalman formed her own dance company, the innovative approach of its director, its contemporary style, and the social and political issues it addressed, stunned the 'establishment'.

Initially the independent company existed solely on box office takings and sponsorship from company members and the Elizabeth Dalman School of Modern Dance. As the company rapidly progressed from small venues to proscenium arch and outdoor performances, and to national and international tours, Dalman forced State and Federal governments to support what audiences were demanding - ADT.

The company won international acclaim, giving audiences in America, Europe, Asia, India and Papua New Guinea insights to Australian culture through the dancers' performances. The company also developed one of the first dance-in-education programs, which toured through schools throughout Australia.

The company had achieved a unique style by the early 1970's, but was forced to close temporarily in 1975, and went into recess for eighteen months.

In 1977 Jonathan Taylor took up the post of artistic director of ADT. A former dancer with the English Ballet Rambert, Taylor brought with him a style of movement not previously exhibited in the company. Within a few years the company had again toured nationally and internationally to critical acclaim. In 1980 it received the ultimate compliment - an invitation to open the Edinburgh Festival. During Taylor's nine-year reign, the company appeared at 11 international festivals and produced a string of works including Wildstars and Transfigured Night.

1986 saw ADT again pursuing a change of direction as part of its dance commitments. Former Adelaide Festival Director, Anthony Steele together with leading ADT dancer, Lenny Westerdijk undertook a joint artistic caretaker role while a new artistic director was sought. In 1987, Leigh Warren was appointed.

During one of Warren's first seasons, Graeme Murphy and New York choreographer Ruby Shingo worked with ADT, exposing South Australian audiences to the state-of-the-art modern dance. The new direction was radically different and audiences did not grant it immediate acceptance. Gradually, however, the company created a new audience, and built a contemporary repertoire using community and education programs. Again, the company toured interstate and overseas to Asia with success.

ADT was invited to join the country's three other major dance companies for the Bicentennial production VAST in 1988, Australia's largest-ever dance event, choreographed by Graeme Murphy.

Warren's tenure with ADT ended in 1992.

In 1993, the ADT Board appointed Meryl Tankard artistic director, marking the beginning of another era for the company. Her theatrical choreographic style and willingness to incorporate many different performance skills such as voice, mime and acting with the movement earned the respect of audiences and critics alike. Tankard brought with her repertoire that was considered some of the most innovative in the country.

Although it was difficult to define Tankard's choreographic style, it was perhaps best to describe her work as dance theatre. She worked intuitively and conveyed feelings and ideas through the media of music, spoken theatre, visual art, opera and movement, aiming to redefine theatre by drawing upon each of these art forms. Through her work, Tankard developed an approach to dance theatre that was uniquely Australian. She regularly led the company on international tours, for which she was awarded prestigious awards around the world for her choreography and design.

By 1999, ADT was again seeking a new direction and before announcing a long-term appointment, the Board appointed Bill Pengelly as interim artistic director for that year. In May, the selection panel announced the appointment of Garry Stewart as ADT's new artistic director for the years 2000-2002. Stewart's contract with ADT was later extended until 2005. Once again the company is taking a radically distinctive trajectory.

Stewart's work is characterised by a compelling physicality that is fast, aggressive, technically demanding, fraught with risk and charged with an urgency that is riveting to watch. The choreography is interplayed with other media, in particular film and video, as well as lighting and sound, that creates an extraordinary and engaging theatrical dialogue. As well as contemporary dance techniques and classical ballet, the dancers of ADT train in break-dance and gymnastics and from this, the company is developing an exciting and distinctive fusion of forms.

Today the current work of the company attracts a fairly broad audience base - the traditional dance and theatre audience as well as a younger, less conventional sector.

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