June 24th and 25th, 8:00 p.m.
Teatro Piccolo Arsenale
choreography, lights, soundtrack Emanuel Gat
with Hérvé Chaussard, Amala Dianor, Andrea Hackl, Fiona Jopp, Pansun Kim, Michael Lohr, Philippe Mesia, Genevieve Osborne, François Przybylski, Rindra Rasoaveloson
technical direction Samson Milcent
commissioned by La Biennale di Venezia, Dance Umbrella (London), Dansen Hus (Stockholm) as part of the Enparts – European Network of Performing Arts project
with the support of the Culture Programme of the European Union
co-produced by the Festival Montpellier Danse 2011, Sadler’s Wells, deSingel
Emanuel Gat Dance wishes to thank SAN Ouest-Provence, Conseil Général des Bouches du Rhône, DRAC PACA-Ministère de la Culture and the BNP-Paribas Foundation for their support.
Considered a dance purist, with a remarkably sensual and physical quality of movement, Israeli artist Emanuel Gat is one of the leading choreographers on the international scene. His new production Brilliant Corners, exploring the ephemeral art of dance, which is born and dies and is renewed over and over 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 program promoted by La Biennale in association, for dance, with the Dance Umbrella festival of London and the Dansen Hus centre in Stockholm.
To create dance like Thelonious Monk composed music. Brilliant Corners was written with this ambition, referring in the title to the homonymous album released by the great American pianist in 1957 which became one of the milestones in jazz history.
“Jazz is my adventure. I’m after new chords, new ways of syncopating, new figures, new runs. How to use notes differently. That’s it. Just using notes differently”, wrote Monk, the author of one of the most famous standards in jazz music, Round Midnight. Emanuel Gat considers choreography as the process of discovering and elaborating sets of structures, a way of composing that seeks to find harmony in the apparent dissonance of the elements of which it is constituted. In fact, Emanuel Gat does not use the music of the great and enigmatic composer, which will be absent from the performance, but borrows it as a model for his creative research. The performance hence becomes a way to speak of dance, to highlight how the choreographic writing takes shape and evolves with the dynamics of the dancers.
“Within the simplicity and clarity of a well-determined square of light unfolds an ever-changing choreographic organism created by ten 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 must immediately address expectations, exposing both the fragility of the choreographic moment and its burning relevancy.
As when paint is poured into water, and an ever-changing drawing emerges. A complex four-dimensional structure of kinetic events with endless rhythmic 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).
Born in Israel in 1969, at the age of 23 Emanuel Gat joined the Liat Dror Nir Ben Gal company which which he toured around the world. His career as an independent choreographer began in 1994 when he created his first solo piece Four Dances to the music of Bach. Over the next ten years he intensified his work as a choreographer creating pieces such as Al-Kuds (1996-98) with musician Mariano Weinstein, who also wrote the texts, Kasha (1999), a duet in which Gat also composed the music, Good Year (2000), a piece for 9 dancers commissioned by the Kibbutz Dance Company for which he also wrote the soundtrack, Two Stupid Dogs (2002), a work for 5 dancers in collaboration with the Arab company MWR, commissioned by the Festival Israeli/Jerusalem. After presenting his works at home and abroad and winning several prizes and scholarships, in 2004 Gat founded the company that carries his name. Since then he has choreographed 6 pieces exclusively for his company, which have toured the world: Winter Voyage, The Rite of Spring (for which he won the Bessie Award in 2006), K626, 3for2007 (My Favourite Things, a solo piece to the music of Coltrane, Petit torn de dança, a duet to French Medieval music, through the center…, for 8 dancers with the electronic music of Squarepusher).
In 2007 Gat moved to France and established his company at Istres, Ouest Provence, where he stayed in residence for 3 years. Here he created Silent Ballet, a piece without music for 8 dancers, presented at the Festival of Montpellier. In 2009 he was invited by the Corps de Ballet of the Opéra de Paris to create a choreography for 13 dancers. The same year he created Winter Variations, a duet with Roy Assaf, which made its debut at the American Dance Festival, and was later presented at Montpellier Danse and at the Lincoln Center Festival.