Previous Works
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Act II&III or The Unexpected Return Of Heaven And Earth is a choreographic and theatrical exploration, evolving in parallel to the 1965 historical recording of the second and third acts from Puccini’s Tosca, sung by Maria Callas, Carlo Bergonzi, Tito Gobbi and directed by Georges Prêtre.
Sharing one performative time-frame and space, the live choreography engages in a multi-layered conversation with the recording of Puccini’s work. Rather than follow or depict the well-known libretto and the opera’s characters, the choreography evolves independently, engaging in a detailed mapping of its rich musical content and with the myriad universal themes it addresses such as love, betrayal, jealousy, hope, death, war, political intrigues and persecution.
WORKS was originally created as a collaboration between Emanuel Gat Dance and Le Ballet de Lyon, mixing ten dancers from each company. Two years after its creation, Emanuel recreated a new version with dancers only from Emanuel Gat Dance, further developing the ideas and themes explored in the first version of the work.
WORKS is a dance piece celebrating dancers. Their uniqueness, virtuosity, engagement, fearlessness, sense of responsibility and humanity. A group of 10 dancers, all long time collaborators of Emanuel Gat Dance, sharing years of a joint artistic collaboration as well as an intimate knowledge of Gat’s creative process, fill the stage in a frantic succession of choreographic fragments evolving through various constellations, formats, musical environments and choreographic procedures.
Story Water is an intermediary.
It is warm water, it is bread. It is a garden. It is the story of dancing bodies, of music being played, of color and line, and of the light that hides and shows it all.
It is an intermediary put to work in the service of communities, through reflecting the issues and concerns of the places where they land. It stands witness to meaning beyond the known, and is therefore a transcendent commerce, a currency, an economy of experiences. It is a place of fluid metaphors waiting for new contexts to emerge, so as to reveal new meanings.
Emanuel Gat together with Awir Leon, producer, musician and performer, created SUNNY as a multi-layered event, juxtaposing a live musical concert with a vibrant choreographic exploration. An explosion of ideas, SUNNY is a flowing free-form merging new sounds with an in-depth questioning about contemporary choreographic possibilities.
“SUNNY by Emanuel Gat is a blast of pleasures. Gat is one of the rare artists of the moment who puts forwarda notion or research. His writing is a continuous flux of of new sensations. Together with Awir Leon on stage, SUNNY offers some of the most beautiful sequences of the season. The richness of composition, the intelligenceof changing moods and colors, renders SUNNY a choreographic miracle.”
Philippe Noisette - Les Échos
SACRE is a revisited version of the piece originally created by Emanuel Gat to Stravinsky's eponymous score back in 2004. A work for three women and two men, SACRE takes apart the mechanics of Cuban salsa dancing, and reassembles them to create a complex and dramaturgically charged choreographic score.
A free spirited and challenging reading of Stravinsky's masterpiece, SACRE offers no notions of sacrifice, but rather a multitude of options for action.
GOLD is the story of a family. Less a story of factual narratives, but more of a metaphoric comment on life through the intimate glimpse at the complex nature of human relations. The choreographic score stands as a threshold to the quiet ecstasy of individuals engaging with each other. Not aiming to reproduce the experience of reality, the work uses structural clarity immersed in a spontaneous way of being, proposing various observations on social structures and the way they effect individuals.
Can sound serve as a vehicle for thought? Or an observation tool? What happens when the space between the visual and auditory is stretched? Can that space be choreographed? How might musicality inform us about networks, systems, social structures or individual behavior? Can group musicality have anthropological qualities? Is the LIVE aspect of theater a myth? Is it at all attainable? Plage Romantique is a playful examinations of these questions as well as many others, harnessing the effectiveness of the choreographic process as a revelatory means.
GOLD is the story of a family.
Less a story of factual narratives, but more of a metaphoric comment on life through the intimate glimpse at the complex nature of human relations. The choreographic score stands as a threshold to the quiet ecstasy of individuals engaging with each other. Not aiming to reproduce the experience of reality, the work uses structural clarity immersed in a spontaneous way of being, proposing various observations on social structures and the way they effect individuals.
These four short pieces are all a continuation of themes and ideas explored in “Brilliant Corners”, the company's production from 2011. All four are a sort of zoom-in into different aspects of choreography making, and as a consequence, a reflection on performance modalities.
Étude (study), refers to the musical origins of the term – a composition, usually short and of considerable difficulty, designed to provide practice material for perfecting a particular musical skill. A choreographic take-off on the idea of étude, these four pieces offer a close look into the mechanics and heart of choreography making.
“Danses de cour” is a modular site-specific choreographic one-time event, which was premiered at Montpellier Danse Agora’s courtyard.
At its center lay a number of choreographic building blocks, highly flexible in their editing and structuring options, relating to the immediate environment in which they are performed. Music, lighting, costumes and set as well as the performance space itself (indoor or out) and audience configuration are conceived and set especially for each performance.
The closeness of spectators/performers is enhanced through the choices being made both in the specific pre-configuration of the event, and in real time by the dancers.
"Brilliant Corners" is a choreographic playground for a group of nine dancers. It explores the ways in which structures emerge, and how a deep understanding of these processes allow an intense look into some of the most intriguing questions out there.
"Brilliant Corners" is the title of an album by Jazz musician Thelonious Monk released in 1957. Monk’s music appears in no way in the score of this piece, but many aspects of his music are very much present. I have always found in it endless inspiration for dance making, and although the piece contains no direct reference to this music, it shares with it a certain understanding regarding the process of transforming concrete artistic matter (sounds and musical composition / dancers, movement and choreography), into environments where both artists and audiences are offered a somewhat clearer glance at life.
Winter Voyage, the first piece to be presented after the establishment of Emanuel Gat dance, was created early 2004 and danced by Roy Assaf and Emanuel Gat to three lieders from Schubert masterful cycle. Since its creation, the two have danced this duet more then 250 times all over the world to great acclaim.
Dance as a musical score.
An orchestration of movements, this dance piece is using silence as well as its own live sounds, as a dense, thick musical environment, open to endless opportunities for melodic, harmonic and dynamic interpretation.