Brilli

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!

”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.

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.

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.