Ballet and philosophy rarely converge. But there we were, with not one but two such examples of theorizing and thought-provoking choreography, venturing to convey concepts through movement. Good luck!

Trey McIntyre’s world premiere “Big Hunger” explains it all (at least in the printed notes): The big hunger in humanity is the yearning for meaning, an existential clue to purpose. The scenic design’s massive structure (Thomas Mika) was a further clue: A prominently illuminated EXIT door on stage. This could symbolize a way out for those baffled by existence here, or merely a cheery path for us toward the cemetery.

But wait! Toward the end, even the EXIT door vanishes, along with the set. This may or may not represent the end of civilization, with all the questions remaining unanswered, baffling everyone involved.

And you thought ballet was a mere entertainment. However unresolved, you have to credit this highly regarded American choreographer for going above and beyond. He gives us, among other things, a big hunger for big messages, big sets, and bright red page-boy wigs you can see down the block glowing in the dark—every bit as disorienting and weird as it sounds.

There’s a fetching young couple representing thee and me, plus the intrusion of the wild, flamboyant dances of the page-boy boys which may or may not be the forces of ignorance or conformity. These are soon transformed into grey-drab post-mortem figures, perhaps zombies, whose vivacious dances make us in the audience feel even more dead. You’ll get an exam on all this, for Philosophy 201 credit, at the end of the hour!

On Feb. 13 the lead was Dores André, with Benjamin Freemantle. She was bent into pretzel shapes and various gymnastics moves that they never taught at my ballet school. The high-energy dances were a perfect match for the Prokofieff Piano Concerto No. 2, an untamed and not easily pigeonholed challenge for pianist Yekwon Sunwoo playing under the sure-handed baton of Martin West.

The other philosophical ramble stemmed from Taiwan-born Edwaard Liang’s “The Infinite Ocean.” Liang’s figures suggest a close-knit, knotted community balled up at center stage, perhaps worshipping the giant orb of the sun. Sofiane Sylve and Tiit Helimets were in the lead, with Sylve’ supple backbone taking the shape of a crescent moon, all to an easy-listening score by Oliver Davis. The men’s arms suggested upside-down candelabras, as if in some arcane, angular ritual. Liang is fascinated with issues of life and death; his people must let go of what holds them here to cross “the infinite ocean” to the other side.

The night’s grand finale, Harald Lander’s perennial “Etudes” (1948) links a flashy circus score to a very successful, very long display of every ballet move taught at the barre and beyond. The sight of some 40 perfectly drilled dancers in unison, with legs brightly lit, creates a crescendo of emotion, sweeping you along inexorably, whether they’re doing a simple plié or an expert arabesque penché.

Finally coming into her own as a ballerina here was Sasha de Sola, capturing the pillowy softness and feathery landings of Danish ballet as set down by Bournonville. Where other performers may be warriors or attack dogs, de Sola is kittenish and affectionate in the triangle formed with Angelo Greco, who whirled through a show-stopping solo, and Carlo di Lanno.

Overall, this Program No. 3 was a mix between knotty, Nietschean ideas and the gaudy spectacle of Lander’s “Etudes” knocking your eyes out, with its precision comparable to drill teams on the West Point parade ground.

Casts rotate night to night throughout the run. No. 3 runs alternatively with No. 2, which had to be reshuffled because of sexual harassment claims against British choreographer Liam Scarlett. His work was deleted, replaced with rotating shorter pieces.

San Francisco Ballet, Program 3, continuing through Feb. 23, with orchestra. Opera House, S.F. For info, call (415) 865-2000, or go online: www.sfballet.org.

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