Morgan's Last Chug, is a study on layered temporality. A multifaceted look at the experience of passing time, through both the choreographic and the audible. Through a series of relentless variations, using different modalities of
Afflicted with an impenetrable program note, "Morgan's Last Chug" (2013) by Israeli choreographer Emanuel Gat proved the fiercest, freest piece — flyaway dance without a net. Set to (or against) recorded pieces by Bach layered with fitfully audible excerpts from Samuel Beckett's "Krapp's Last Tape," it owed allegiance to no formal movement system or narrative agenda but often looked so wild, willful and spontaneous that you'd guess the five dancers in casual streetwear made it up on the spot.
Pausing for occasional stage blackouts and getting together for a few cooperative unisons or moments of intimacy, Gat's cast members spent most of the 20-minute performance individually displaying their mastery of nondance motion, high-speed virtuosity, passionate gesticulation and body-surfing across the floor before simply walking away into the dark. What's Hebrew for wow?
Lewis Segal, Los Angeles Times
He was inspired in a special way by the city and Angelenos,” says Charles Fabius, the founding producer, describing the piece as dark, colorful and “very unexpected.” He added, “He would not have created a work like that in a different environment.
L’israëlien Emanuel GAT, un des chorégraphes préférés du public français, invite à la fois Bach, Purcell et Beckett pour rythmer une chorégraphie où les danseurs sont tels des oiseaux, où des groupes fragmentés se distordent et où les séquences s’enchaînent dans un style affirmé.
Consulat général de France à Shanghai