Large groups are different than small ones. Creating a system which manages smoothly and clearly 20 dancers, calls for different adjustments and specific adaptations from those for smaller groups. The shift in scales, complexity and the density of the information to be structured, reveals the inner logics and mechanics of human groups. Choreography as an experiment in social studies, decision making, collaborative strategies, question of efficiency, equality and the distribution of resource. The work is build around the 'cause and effect’ relations between responsibility and freedom.

A personal journey of five individuals, four physically absent yet present through the choreographic story telling of four men and one woman. A choreographic structure made out of bits of stories, memories, fragments of narratives and personal impressions. Rewritten each evening in a unique new way, the dancers travel through various layers of realities, private and shared, while managing the delicate real-time structuring of the work.

Counterpoint as a field of research, as a natural phenomena present within any moving system, is being carefully examined and joyfully played with by two dancers. A light yet in-depth look into the nature of counterpoint, its inner logics and the information it might hold regarding human relations and interactions.

Long time collaborators with EGD, Sara and Pansun weave a meticulous conversation, a fine tuned yet expressive dialog between bodies, ways of using them, theatrical approaches and musical interpretations.

Long term collaborators of Emanuel Gat, Milena and Michael share years of a joint artistic collaboration, as well as an intimate knowledge of Gat's creative process. A dance reduced to its most fundamental elements, "Milena & Michael" is a reflection on the act of dancing, and at the same time a simple story of two people looking to connect. The work is a sort of zoom-in on the voids between movements, choreographic fragments, sounds and the two dancers.

COUZ I and II, are two un-identical twin pieces, created under the same set of choreographic tools and procedures, with two different groups of ten dancers from both companies. The works are an experiment with real time choreography, and with the elaboration of mechanics relating to choreography as an event being assembled in real time. The dancers are ‘driving’ the piece and recreating it each time anew, examining the role of the performer as an onstage, live creator.