Putting Bob Fosse on the same bill with José Limón isn’t typical, but then again neither is “Dancers’ Viewpointe VI,” the Harvard Dance Program’s spring medley of student- and professionally-choreographed pieces that runs tonight and Saturday at the Harvard Dance Center.

Susan Larson, producer of the “Dancers’ Viewpointe VI” and administrator of the Harvard dance program, describes the composition of the varied program as a gathering of all the great 20th century American choreographers.

“We were looking at the wonderful guest choreographers we were going to have access to this year and the works of great masters they had danced for, and we realized we had almost the entire 20th century covered in great American dance works,” Larson says.

“We decided to look at that as a seam,” she says.

“The second half of the program will be excerpts of works of Martha Graham, George Balanchine, and José Limón. The fourth piece [will be done by] Jeff Shade—who has taught for us in years past—in a Bob Fosse style,” Larson says.

The works of these famous dance visionaries have been restaged by professional dancers with special expertise in each of the great choreographer’s works.

“Jeff Shade was the dance captain for the original cast of ‘Chicago’ on Broadway and was one of the last of Bob Fosse’s protégés,” says Larson.

The other “restagers” have their own unique connection with the work of the famous choreographers showcased in “Dancers’ Viewpointe VI.”

Christine Dakin was the principal dancer and artistic director of the Martha Graham Dance Company and is currently teaching Dramatic Arts 25: “The Artist Revealed: Martha Graham’s Work and Creative Process;” Heather Watts was a former principal ballerina with the New York City Ballet and had the opportunity to perform some of Balanchine’s most famous works; and Jennifer Scanlon was the former principal dancer in the Limón Dance Company.

The producers, however, aren’t catering to a niche group of Balanchine buffs or Limón aficionados.

A multimedia presentation will introduce the work of each dance great before their respective piece.

“To further emphasize the importance of who these choreographers were, our new production designer here at the Harvard Dance Center has worked with the choreographers and Liz Bergmann [Dance Director of the Harvard Dance Center] to do video and projected image intros to each of these four pieces,” Larson says. “Each of the four works will begin with video and multimedia projected images and voiceovers about the choreographer. This will meld right into the student dancers of the same piece.”

Squeezing every bit of mileage out of the congregation of great dancers and their mentors’ work, Larson has also put together a discussion panel featuring the four restagers and Debra Cash, a well-respected Boston dance critic, as moderator.

“Since they were all going to be here, we thought it would be wonderful and exciting to produce a panel,” Larson says. “Those four artists will talk about their careers and what it was like dancing with the greats.” The panel will take place after an abbreviated matinee performance on Sunday.

Student choreographers Marin J. D. Orlosky ’07, Larissa D. Koch ’08, and Sonia K. Todorova ’07 will present their work at the Friday and Saturday performances of “Viewpointe,” lending a fresh perspective on the works of the four dance giants. Rachel A. Cohen ’95, the Clifton Visiting Artist in the Office for the Arts’ Learning from Performer series, will also present a piece.

Todorova emphasizes the importance of student participation in Dancers’ Viewpointe. “All dancers in my piece and in most of the pieces are students. I feel that [Dancers’ Viewpointe] would be a quite different thing if you were to take the students away,” she writes in an email.

When asked about how her piece fits in alongside those by some of the most esteemed names in dance, Todorova’s initial response is humorous. “Are you asking me whether I am a great 20th century choreographer? I’m really good,” she jokes. But she also emphasizes that each artists’ work must be viewed as individual, rather than just a part of the show.

“It’s hard to say how things fit together and I’d rather say that gathering is the best way to put it,” Todorova explains. “There is no common theme or style. My style is influenced by all the others out there, but what is it exactly? I want to think it’s my own.”