EMANUEL GAT (France)
24-25 June 2011
Teatro Piccolo Arsenale, Venice
10-11 October 2011
Dance Umbrella, Sadler’s Wells, London
14-15 October 2011
Dansens Hus, Stockholm
2-3 July 2011, Festival Montpellier Danse 2011, Montpellier / 7-8-9 July 2011, American Dance Festival, Durham / 3-4-5-6 August 2011, Paris Quartier D’eté, Paris / 16-17 August 2011, Tanz Im August - Hau, Berlin / 8-10 September 2011, Pact, Essen / 11 February 2012, Le Cratère Scène Nationale D’alès, Alès / 16-18 February 2012, Desingel, Antwerp / 22-25 February 2012, Pavillon Noir, Aix En Provence / 5 April 2012, Belgrade
Considered as a purist of dance, in which the sensual and physical quality of movement stands out, Israeli artist Emanuel Gat
is currently one of the leading choreographers on the international scene. His new production, Brilliant Corners
, which explores the ephemeral art of dance, which is born, dies and is always renewed in the circumscribed space of a gesture, will make its world premiere debut in Venice on June 24
at the Teatro Piccolo Arsenale
(with a repeat performance on June 25). The production was created as part of the European Network of Performing Arts programme that the Biennale advances and shares, for dance, with the Dance Umbrella Festival of London and the Dansens Hus centre in Stockholm.
“Within the simplicity and clarity of a well-determined square of light, unfolds an ever-changing choreographic organism created by 10 dancers.
An explosion of simultaneous ideas, Brilliant Corners
functions as a seismograph of choreographic activity, tracking its vanishing structures and multiple perspectives. Rules and mechanisms are created and immediately address expectations, exposing both the fragility of the choreographic moment and its burning relevancy.
As when paint is poured into water, what emerges is an ever-changing drawing. A complex 4-dimensional structure of kinetic events, made of endless rhythmical and melodic layers that move through space and time in elaborate counterpoint. Brilliant Corners
is built around an intimate confidence in the capacity of the choreographic process to invent structures, which hold fundamental truths” (E.Gat)