EMANUEL GAT, CHORÉGRAPHE HUMANISTE
Comme dans un laboratoire, le chorégraphe Emanuel Gat s’efforce, dans chacune de ses pièces, de réinventer les interactions entre ses danseurs et la composition d’ensemble de ses tableaux. II en résulte une écriture tout en intensité valorisant chacun de ses interprètes, comme dans Lovetrain2020, qui tourne en 2024 dans toute l’Europe.
Read MoreDANSE – Le Grand Théâtre de Provence accueillait Lovetrain2020, du chorégraphe israëlien Emanuel Gat. Un homme double, un chorégraphe du sonore et un musicien du geste, dont le parcours atypique se traduit par une relation singulière à la danse, en collectif, en improvisation et en ouverture.
Read More"I put the dancers in a position that is active,” Gat says. “In which they can own the responsibility for their decisions, and as a consequence they become free.”
Read MoreHowever, a solo to ‘Famous Last Words’ into an ensemble frolic to ‘Sowing the Seeds of Love’ is a moment of genius.
Read MoreThis is a deeply unusual and contemporary performance. It plays with the very essence of how we see dance, and musicals, but in a way which feels accessible and thrillingly taboo.
Read MoreWillkommen in den 80ern. Oder im Hier und heute? Der Israeli Emanuel Gat kam mit seiner zwölfköpfigen Compagnie in den Pfalzbau Ludwigshafen. Nicht nur Tears-for Fears-Fans feierten 75 Tanzminuten mit Standing Ovations
Read More“Seventy uninterrupted minutes of joy: exotic figures in a playground, a catwalk, a stream of consciousness to the music of Tears For Fears…. Someone in the music business describes their music to me as honest, and I go along with that.
The dance is honest, the production is honest, the vibe is honest, generous and giving.
I read that he doesn't like to impose his signature on his dancers’ bodies, as some choreographers do. So, LOVETRAIN2020 is credited as created with and performed by Eglantine Bart, Tara Dalli, Noe Girard, Nikoline Due, Gilad Jerusalmy, Juhász Péter, Michael Loehr, Emma Mouton, Rindra Rasoaveloson, Abel Rojo, Karolina Szymura, Sara Wilhelmsson.
Thomas Alfred Bradley’s eccentric costumes are so Vivienne Westwood. All that camp strutting and preening... Different strokes for different folks: it’s a gig pure and simple. I am captivated.
Dancers are as unique as their variegated garb…. Many come forward to front stage and look at us openly, trying to make eye contact, inviting a communion with them, perhaps.
Solos are intense, though one looks to be marking his contribution as if in rehearsal, which takes me back and makes me smile. Nuts and bolts, so to speak. It may be a group, a community, but, they seem to be saying, we are not a homogenous mass.
Read MoreA glorious, physical journey through the iconic discography of Tears for Fears, it had me aching to jump straight back on board.
LOVETRAIN2020 was a loud, contemporary triumph, steeped in the irresistible charm of an era when things seemed flamboyant and free. Emanuel Gat has successfully paved the way for today's high brow culture to learn from the unbridled maximalism of the past, synths, smoke machines and all.
Read MoreExplicitly formulated: a wild party where the lights go out again and again and people lose their evening wardrobe, is LOVETRAIN2020 at the festivals in Theater im Pfalzbau Ludwigshafen (Deutschland) The enormous presence of the Emanuel Gat Dance ensemble to the sound of the 80s hits a nerve in the audience, which jumps from their seats to cheer. Each performance is a web of game rules and structures, where dancers make thousands of decisions.
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Après avoir triomphé à la Cité Musicale de Metz et avant de s’envoler vers New-York, le jubilatoire LOVETRAIN2020 d’Emanuel Gat fait escale à Chaillot.
Read MoreMalgré une saison 2020/2021 écourtée avec les périodes de confinement et de fermeture des salles de spectacle, le Syndicat Professionnel de la critique de théâtre, de musique et de danse a tenu à décerner cette année son 58ème Palmarès des Prix de la critique de théâtre et de danse 2020-2021. Palmarès qui ponctue chaque fin de saison depuis 1963.
Read MoreSur le son pop eighties de Tears for Fears, LOVETRAIN2020 d'EMANUEL GAT célèbre les corps déconfinés et échappe au passage à la morosité ambiante par l’exaltation dansée.
Read More“With LOVETRAIN2020 and its choreographic material drawn from the repertoire of Tears For Fears, Emanuel Gat is about to electrify the Montpellier Danse festival (…). Supported in France by some of the most important choreographic institutions, Gat never ceases to amaze with his gestural palette. From a SACRE with latino accents to Story Water of an assumed rigor, the choreographer varies tempos as much as movements. LOVETRAIN2020, a new controlled turn, could be defined as a contemporary musical. On condition of broadening the horizon of a genre, the musical, a little stuffy. “Take this term musical in the fourth or fifth degree. But we find the dynamics specific to this genre with constant peaks in intensity. “
Read MoreLOVETRAIN2020 is marvelous, a rambunctious yet rigorously staged piece for 14 dancers, set to tracks by the British pop group Tears for Fears (big in the ’80s), outlandishly costumed by Thomas Bradley: ruffles, peculiar shapes, huge skirts, missing parts of clothes, plaid mixed with satin. Mr. Gat melds gestural detail with larger-scale movement, sometimes working against the music’s rhythms, sometimes with them, frequently in silence. This eccentric physical dialogue with the music — mostly in a minor key and vaguely gloomy in content yet somehow gloriously singalong — is exhilarating. LOVETRAIN2020 is everything the small-scale, often somber work made for video during the past months is not. It’s loud, joyous, physical, close. […] A celebration of the body, of performance, of life.
Read More"With its baroque costumes, its 80s soundtrack and a company happy to be back on stage, LOVETRAIN2020 celebrates the pleasure of being connected through dance”.
Read MoreThe audience of Montpellier reserved a triumph to LOVETRAIN2020 by Emanuel Gat. This vibrant and magnetic show made them forget the pandemic. Tears for Fears come one after another, but the music doesn't overwhelm the choreography. It pauses at times to let the dancers invest the stage in magnificent chiaroscuro lights. Emanuel Gat’s show is a deep breath of fresh air. LOVETRAIN2020 is a subtle blend, a touch of baroque for the costumes, influences from Egyptian civilizations and India, all on pop music from the 1980s, Emanuel Gat achieves a stunning choreographic mix.
Read MoreLong awaited, LOVETRAIN2020, the creation of Emanuel Gat for the Montpellier Danse festival did not disappoint. Refined, complex but also generous and popular, this remarkable achievement offers a lyrical and baroque reflection on the dialectic of the group and the individual.
Read More“A fabulous choreographic firework carried by a troupe of bright and extraordinary dancers. Chaining the very 1980s hits - which the public finds themselves humming -, slows, silences, solos, pas de deux, group dances, the Israeli choreographer composes a sort of fascinating musical, flamboyant, kaleidoscopic. Each part transforms into a painting reminiscent of some masterpieces of the Italian Renaissance, some ancient, romantic bacchanalia. (…) Carried away by the beauty of this subtle alliance between movement, music, lights, scenography and interpretation, LOVETRAIN2020 is Gat at his best, a really grandiose and hypnotic show, a piece at the crossroads of the arts to be indulged without moderation. The Montpellier audience got it right in this world premiere, standing well before the last note sounded, bursting into applause.. “
Read MoreRegrouped in clusters, with rapid moves that occupy the scenic space with tremendous enthusiasm, aligned in front of the audience, the performers are all up to a dance that is going crescendo. As a counterpoint, solos and pas de deux take shape, invite the eyes to wander in the background, structure a space conducive to an exhilarating dance that feeds itself and emancipates from the soundtrack, not to be formed under this musical influence, but to be present to the world.”
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