EMANUEL GATE DANCE

14 dancers >76 mn without intermission

World Premiere October 3rd, 2020

at Opera Comédie, Montpellier Danse 40 Bis.

14 dancers >76 mn without intermission

World Premiere October 3rd, 2020

at Opera Comédie, Montpellier Danse 40 Bis.

Choreography and lights:

Emanuel Gat

Music:

Tears for Fears

Costume design:

Thomas Bradley

Costume construction:

Thomas Bradley, Wim Muyllaert

Created with and performed by

the dancers of the company.

Choreography, scenography and lights:

Emanuel Gat

Music:

Giacomo Puccini, Tosca,

Act II & III (1965

recording, conducted by

Georges Prêtre).

Cast:

Maria Callas (Tosca),

Carlo Bergonzi (Carvadossi),

Tito Gobbi (Sciarpa)

Technical direction:

Guillaume February

Sound:

Frederic Duru

Created with and performed by:

Eglantine Bart, Thomas Bradley, Robert Bridger, Gilad Jerusalmy, Péter Juhász, Michael Loehr, Emma Mouton, Eddie Oroyan, Rindra Rasoaveloson, Ichiro Sugae, Sara Wilhelmsson

1 1 dancers > 75 min without intermission

World Premiere October 7th, 2021

at l’Arsenal - Cité Musicale, Metz (FR)

Contains nudity

“The gesture fires the smallest details, fingers that point or make “horns” […]. It follows or contradicts the directions taken by the dancers who form flows, efface them, dissolve, invent, arise. The conversation game conducted by […] brilliant and fully invested dancers multiplies the unexpected forms, combines the most diverse feelings and leaves the viewer speechless. As if he saw before his eyes, in a joyous and abundant outpouring, the birth of and death of the salt of life itself.” - Ariane Bavelier, Le Figaro.

artistiC directOR:

EMANUEL

GAT

FRANCE

The asset of Emanuel Gat, besides his energy, is obviously his talent: the extraordinary velocity of his dance; the permanent challenges that he gives himself and raises with sovereign elegance. When many others gargle with concepts before even knowing how to put one foot in front of the other, the rigor of Emanuel’s beautiful, bewitching and thoughtful writing, makes him a rarity; and authentic and brilliant choreographer combined with a magnificent dancer. Raphaël de Gubernatis - L’Obs.

A contemporary “Musical” for 14 dancers, LOVETRAIN2020 will call upon the wonderful music of the 80s British duo Tears for Fears (Mad world, Shout, Everybody Wants to Rule The World, Change, Sowing The Seeds Of Love and many other incredible hits from that glorious decade). A choreographic ode to the sound and vibe of the 80s, as embodied in the music of Tears For Fears, with its utopic drive and epic groove.

LOVETRAIN2020 is marvelous, a rambunctious yet rigorously staged piece for 14 dancers, set to tracks by the British pop group Tears for Fears (big in the ’80s), outlandishly costumed by Thomas Bradley: ruffles, peculiar shapes, huge skirts, missing parts of clothes, plaid mixed with satin. Mr. Gat melds gestural detail with larger-scale movement, sometimes working against the music’s rhythms, sometimes with them, frequently in silence. This eccentric physical dialogue with the music — mostly in a minor key and vaguely gloomy in content yet somehow gloriously singalong — is exhilarating.

LOVETRAIN2020 is everything the small-scale, often somber work made for video during the past months is not. It’s loud, joyous, physical, close. […] A celebration of the body, of performance, of life. — Roslyn Sulcas, The New York Times

Act II&III or The Unexpected Return Of Heaven And Earth is a choreographic and theatrical exploration, evolving in parallel to the 1965 historical recording of the second and third acts from Puccini’s Tosca, sung by Maria Callas, Carlo Bergonzi, Tito Gobbi and directed by Georges Prêtre.

Sharing one performative time-frame and space, the live choreography engages in a multi-layered conversation with the recording of Puccini’s work. Rather than follow or depict the well-known libretto and the opera’s characters, the choreography evolves independently, engaging in a detailed mapping of its rich musical content and with the myriad universal themes it addresses such as love, betrayal, jealousy, hope, death, war, political intrigues and persecution.

The music of Puccini, and the genre of the Italian opera of the late 19th century, receives an unorthodox theatrical treatment through choreographic means, allowing for new narratives to emerge and once more, navigating the wide spaces that lie at the meeting point of the visual and the audible, the musical and the choreographic.