“Rite of Spring,” by the Israeli choreographer Emanuel Gat, is more distinctive. It’s a kind of stunt, hearing in the ritual sacrifice of Stravinsky’s score the ritual of a crowded dance floor in which three women and two men engage in the Möbius-strip partnering of salsa and swing dancing. This reading of the score, if perverse and diminishing, is almost entirely persuasive — as it was when Mr. Gat’s company first brought the work to New York in 2006.