IDA ?

After Emanuel Gat’s recent work seemed a sociological experiment in overcrowding set to specific protocols, the choreographer announced a potentially significant divorce following the perplexing world premiere of Ida? [...] “The practice of choreography is not necessarily related to dance,” he calmly observed. “It’s a way of structuring and organizing time and space that is independent from it.”

This simple scenario gives Gat plenty to play with. Notice, for example, how the dancers watch other unmoved. Whatever the recoil or yearning, they witness it calmly. [...] They switch readily between watcher and doer; they never complain or compel. There’s something edenic about Ida ?.

IDA ? inspires contemplation of humanity's connection to nature and the intricacies of modern relationships—a reflection of our era. [...] The dancers’ performance is utterly captivating throughout [...]. It is a deeply expressive contemporary dance vocabulary—abstract movement that conveys meaning through dreamlike imagery.