Brilliant Corners is a new piece for 10 dancers to an original score by Emanuel Gat. The work explores the forces, both mechanical and human, which generate the choreographic substance. The ever evolving structures are a direct manifestation of these forces and as such, hold revealing qualities and possible insights. Within the simplicity and clarity of a well-determined square of light, unfolds an ever-changing choreographic organism. An explosion of simultaneous ideas, Brilliant Corners functions as a seismograph of choreographic activity, tracking its vanishing structures and multiple perspectives, exposing both the fragility of the choreographic moment and its burning relevancy. A flow of kinetic events with endless rhythmic and melodic layers, Brilliant Corners moves through time and space in elaborate counterpoint, built around an intimate confidence in the capacity of the choreographic process to invent structures, which hold fundamental truth.
Gat and his performers described series of detailed instructions which changed from sequence to sequence; protocols affecting the parameters of their proximity, relationship, velocity and direction. The performers also spoke of differing outcomes in every performance. “It’s not something you learn and create fifty times exactly, and after the tenth show you slowly get bored with doing it every day,” dancer Michael Löhr noted. “The moods the people are in will effect what I do. It’s just very interesting to see what actually happens.” “There has to be a lot of flexibility in this structure,” Gat continued. “[The dancers] are very interdependent. They’re linked in so many ways… It’s like jazz: the musicians will improvise within very clear harmonic or rhythmic patterns, but they’re still in a very precise context.” The consequential element of dancers almost constantly watching one another—mandated to maintain programmed distances and relationships—asks how does surveillance change the idea of individual space? /Byron Woods, Indyweek/
Choreography Music and Lights: Emanuel GAT
Additional Music: Franz SCHUBERT - Nacht und Träume, D. 827.
Singer: Gérard SOUZAY
Dancers: Hervé CHAUSSARD Amala DIANOR Andrea HACKL Fiona JOPP Michael LÖHR Pansun KIM Philippe MESIA Geneviève OSBORNE François PRZYBYLSKI Rindra RASOAVELOSON
Commissioned by: Dance Umbrella (London), La Biennale di Venezia (Venice), Dansens Hus (Stockholm) within ENPARTS with the support of the European Commission.
Co-production: Festival MontpellierDanse 2011 (France), Sadler’s Wells (UK), deSingel (Belgium).
Emanuel Gat Dance acknowledges the support of: Ouest Provence, DRAC PACA, Conseil Général des Bouches du Rhône – Domaine départemental de l’Etang des Aulnes, Régie Culturelle Scènes et Cinés.
Gat and his performers described series of detailed instructions which changed from sequence to sequence; protocols affecting the parameters of their proximity, relationship, velocity and direction. The performers also spoke of differing outcomes in every performance. “It’s not something you learn and create fifty times exactly, and after the tenth show you slowly get bored with doing it every day,” dancer Michael Löhr noted. “The moods the people are in will effect what I do. It’s just very interesting to see what actually happens.” “There has to be a lot of flexibility in this structure,” Gat continued. “[The dancers] are very interdependent. They’re linked in so many ways… It’s like jazz: the musicians will improvise within very clear harmonic or rhythmic patterns, but they’re still in a very precise context.” The consequential element of dancers almost constantly watching one another—mandated to maintain programmed distances and relationships—asks how does surveillance change the idea of individual space? /Byron Woods, Indyweek/
Choreography Music and Lights: Emanuel GAT
Additional Music: Franz SCHUBERT - Nacht und Träume, D. 827.
Singer: Gérard SOUZAY
Dancers: Hervé CHAUSSARD Amala DIANOR Andrea HACKL Fiona JOPP Michael LÖHR Pansun KIM Philippe MESIA Geneviève OSBORNE François PRZYBYLSKI Rindra RASOAVELOSON
Commissioned by: Dance Umbrella (London), La Biennale di Venezia (Venice), Dansens Hus (Stockholm) within ENPARTS with the support of the European Commission.
Co-production: Festival MontpellierDanse 2011 (France), Sadler’s Wells (UK), deSingel (Belgium).
Emanuel Gat Dance acknowledges the support of: Ouest Provence, DRAC PACA, Conseil Général des Bouches du Rhône – Domaine départemental de l’Etang des Aulnes, Régie Culturelle Scènes et Cinés.
