Dancers are always searching for new moves, but Attack Theatre has taken that search to a whole new level for next season.

The "newness" begins with its home. When the company's lease expired at its studio on Penn Avenue in Garfield, founders Michele de la Reza and Peter Kope started looking for a fresh base of operations.

They didn't have to look far. Pittsburgh Opera had just moved into its newly renovated facility in the Strip District. With the building's history in mind -- it had been George Westinghouse's first air brake factory -- the opera used exposed brick interiors and historically accurate windows. But it was furnished with an eclectic taste and has a sun-filled, open floor plan. The opera had the space and since the two companies had a rich collaborative past ("Aida," "Sampson and Dalila" and more), it seemed like a good fit.

The Attackers began the transition in June, "moving from one great space to another," as de la Reza puts it. Kope adds that "getting out was more difficult than getting in -- it was a trip down memory lane."

Among the rediscovered items were a poster from the Avignon Festival in France and a bronze bowl, a gift from the company's Indonesian tour. The company and volunteers loaded the equivalent of two semi-tractor trailers and filled two full-sized garbage Dumpsters.

By July 1, the initial move was complete. Attack Theatre will share its rehearsal space with the opera chorus with plenty of room to spare and, when the opera goes into full production, they will move across the street to a back-up dance studio, affectionately labeled "Peter's Playground."

There, onlookers will find Attack history -- the red leather restaurant booths from "Resolution Cafe," the large ramp from "Games of Steel," the kitchen from "The Kitchen Sink."

Virtually everything is recycled except for the recently constructed dance floor and its painted surface, officially named "Attack Theatre Gray." By this time, Kope has it down to a science -- it's the third complete studio that he has built.

Together with de la Reza, his wife, they've built a season that promises to have a familiar feel in new surroundings. First up is Pittsburgh Opera's "Eugene Onegin," a collaboration premiering at the Benedum Center Sept. 26.

It's an opera that puts the dancers in the same period costumes as the chorus and deeply integrates them throughout the production. Already de la Reza reports a "nice sharing of ideas -- there's something about meeting at the coffee machine." But she also has to factor in travel time within the spacious building. She should have it down pat for the second collaboration in March, "Carmen," a subject that has been a favorite with Attack.

"I already know every note of the score!" says de la Reza.

Attack will christen its new space with "Game Night and the Seven-Minute Dance Series" at the opera's parking garage Oct. 10, repeated Jan. 29 and May 21. Kope says that it will be "Game Night on steroids."

But the first real performance at the opera's sumptuous Studio B, complete with red velvet curtains and a balcony area, will take place in November. In "Incident[s] in the Strip," current plans call for moving the audience during intermission, a skateboarding percussionist and a martial arts cellist (music director Dave Eggar).

Attack also will refurbish "Some Assembly Required" into "Assemble This," an improvisatory dance interpretation of art that originated at the Frick Art & Historical Center in Pittsburgh's East End. This time, de la Reza and Kope plan to take their show on the road, visiting nine galleries, museums and cultural institutions with nine different performances in less than two weeks.

"It's called being in the moment," they say. "We'll be practicing improvisation, but we'll have to be hyper-aware of our surrounding environment."

They'll also bring Eggar and drummer Charlie Palmer along to add to the performances.

"It will connect us with the arts community, something that will be really rewarding." Kope says.

"We hope to have an intimate look at choreography in a socially unintimidating atmosphere," de la Reza adds.

They both have a sense of adventure in exploring the new season, which will include a full plate of educational activities that will involve Gateway to the Arts, Arts Educational Collaborative, Chartiers Valley School District and Winchester Thurston School.

They'll cap it off with the return of The Dirty Ball, location to be announced, and promise "a few more surprises" during the course of the season.

Always known for its intense work ethic and enthusiasm, Attack will be busier than ever.

"We never do the same thing twice," asserts Kope, who also shares a full-time movement position in Carnegie Mellon University's vocal department with his wife.

As they look over Pittsburgh Opera's Studio A, de la Reza and Kope say they have managed to cut the budget and emerge with the company and health benefits intact. That's something else that's new -- creativity with numbers in the best sense.

The full schedule is: "Eugene Onegin," Benedum Center, Sept. 26-Nov. 4; "Game Night and the Seven-Minute Dance Series," Pittsburgh Opera studios at 2425 Liberty Ave., Oct. 10, Jan. 29 and May 21; "Incident[s] in the Strip," Pittsburgh Opera studios, Nov. 13-21; "Assemble This," various locations including Andy Warhol Museum, Mattress Factory, August Wilson Center for African American Culture and Children's Museum of Pittsburgh, Feb. 12-24; "Carmen," Benedum Center, March 20-28; The Dirty Ball (location TBA), April 24.