What has taken the place of conventional (or even unconventional) narrative, so devalued among some contemporary dance artists? One answer: the scientific and mathematical frames around several major new works, a development suggesting, among other things, a future in which a number of choreographers might also be termed chief investigators.
Press - English - Brilliant Corners
Are Israeli choreographers taking over the contemporary dance world? It certainly seems so.
Brilliant Corners isn’t ‘brilliant’, it doesn’t dazzle in an open, overt fashion, rather it fluidly winds and wriggles itself into complex knots and angular flurries, then disperses with the urgent ease of scattered marbles, only to be drawn back together like something magnetised.
”Brilliant corners” on the Dance House
Only five minutes into “Brilliant Corners”, I already felt giddy. Movement at such a
dizzying pace intense and hectic flow, I have not seen for quite a long time.
It is fortunate, somewhat blissful to have Israeli choreographer Emanuel Gat and his
company guests at Dansens hus.
Emanuel Gat is an acclaimed and rising star in dance. It is easy to see why.
In a contemporary scene where the pure movement almost vanished in the face of metatheatrical
and circus elements, Emanuel Gat seems like a fluorescent counterforce. A
living proof that dance can be self-sufficient.
Not even when someone in the audience suddenly felt bad and vomit smell spread from
the tumult two rows of seats behind me, did my concentration on what was happening
on stage shifted. It was simply so good. At last!