Refreshing, soothing and stimulating, Emanuel Gat’s art cultivates the pleasure of dancing by positioning itself where the line – fluid, elegant and musical – and the point meet, an embroidered point that humanises the beauty of his work with its tiny enigmas.
In today’s choreographic landscape, he is a case apart. His pieces are really compositions in the musical sense of the word. “Do people ask what a sonata means? No. People have to see my dance in the same way, away from any concern about narration or comprehension. It’s a system of movements like music is a system of sounds,” he says.
He continues: “I like looking at the street from the fifth floor. You see people looking at each other, creating diagonals, passing each other. For me, a ballet is an organisation of relationships between people. It may well be artificial, but time has to unfold in it.”
With him, dance is innate. “What’s my style? It’s the dance I do! I’m heavily influenced by classical and neo-classical dance, even if I don’t have any background in it. Perhaps it comes from the music.”
His style is refined while being robust, sensual while being daring. In ten years, this choreographer has become one of the most renowned around.
Organizing Demons is a kind of study in the artistic sense of the word and fascinating to watch. Gérard Mayen, Mouvement