Emanuel Gat Dance: LOVETRAIN2020

In the next ten years, Emanuel participated as a choreographer in multiple projects, including Al-kuds (1996- 1998) in collaboration with the musician and author Mariano Weinstein; Good Year, a piece for nine dancers commissioned by the Kibbutz Dance Company on an original music piece written by himself, as well as Two Stupid Dogs (2002), a piece for five dancers accompanied by the Arab rap group MWR, a commission of Israël / Jésuralem Festival.  

In 2004, he founded his company Emanuel Gat Dance, before choosing to settle in France at the Maison Intercommunale de la Danse in Istres, in 2007.  

With his independent company Emanuel Gat Dance, he created several pieces that met international success. Winter Voyage and The Rite of Spring, created in 2004 at Festival d’Uzès, were represented more than 350 times all over the world. Emanuel then composed a piece for eight dancers on the Requiem de Mozart: K626, created in 2006 at Festival de Marseille. 

The next year, Emanuel choreographed 3for2007, a program composed of three pieces: My Favorite Things, a solo interpreted by Emanuel on music by John Coltrane; Petit torn de dança, a duet on French medieval music, and Through the Center, a piece for eight dancers on electronic music by Squarepusher. 

Silent Ballet, a piece in silence for eight dancers, was the first created in France and presented in Festival Montpellier Danse in 2008. A year later, Emanuel came back on stage with his fetish interpreter, Roy Assaf, to create the duet Winter Variations. In 2011, he created once again a group piece, Brilliant Corners, for ten dancers, for which he created the soundtrack as well. 

Emanuel Gat became associated artist of the 33rd edition of Festival Montpellier Danse in 2013. With his company, he developed the project Up Close Up, proposing two creations: The Goldlandbergs and Corner Etudes; a photographic installation “It’s people, how abstract can it get?;” and a choreographic event, Danses de Cour. The next year, Emanuel reinvested the Agora with Plage Romantique, a piece for nine dancers. 

In 2016, after three editions in association with Festival Montpellier Danse, Emanuel created SUNNY, a piece for ten interpreters and the musician Awir Léon live on stage. In parallel, he worked with young dancers from the region in the professionalization program Le Rouge et le Noir, presented during the festival in different public spaces. 

In 2017, Emanuel presented his second project as part of his residency at Montpellier Danse, which included two productions: a unique collaboration with the Ballet de l’Opera de Lyon, TENWORKS (for Jean-Paul), a program of ten short pieces mixing dancers from both companies; and DUOS, a series of duets presented at different public locations around the city of Montpellier. 

In 2018, Emanuel collaborated with the prestigious Ensemble Modern and created Story Water at the Cour d’Honneur during Festival d’Avignon. Gathering 12 dancers, 13 musicians and a conductor, Story Water examines the space between dance and music, with Dérives 2 by Pierre Boulez for the first time in the choreographic field. The score is also composed of “Fury II” by Rebecca Saunders and “FolkDance,” co-composed by the Ensemble’s musicians and Emanuel Gat. 

From the season 2018-19, Emanuel Gat is associated choreographer at the National Theater of Chaillot in Paris, for three years. 

Emanuel Gat is regularly invited by companies and structures for which he creates or transmits pieces. He worked for the first time with Ballet de l’Opéra de Paris in 2009, for which he created the piece Hark!. In France, he also choreographed pieces for Ballet du Rhin (Observation Action in 2010), the Ballet National de Marseille (Organizing Demons in 2012), the Ballet de Lorraine (Transposition #1 and Transposition #2 in 2013) and the Opéra de Lyon (Sunshine in 2014). 

He is also a guest choreographer for prestigious international companies. In 2010, he created Satisfying Musical Moments for the Sydney Dance Company, The Revised and Updated Bremen Structures for the Tanztheater Bremen and In Translation for the Candoco Dance Company (a company including dancers with disabilities), Préludes et Fugues for the Ballet du Grand Théâtre de Genève in 2011, Morgan’s Last Chug for the Los Angeles Dance Project at the invitation of Benjamin Millepied, Time Themes for Royal Swedish Ballet in 2013, Ida? for Cedar Lake (NY) in 2014, and LOCK for Vancouver’s Ballet British Columbia in 2017, among others.