THE GOLDLANDBERGS is the story of a family. Less a story of factual narratives, but more of a metaphoric comment on life through the intimate glimpse at the complex nature of human relations. The choreographic score stands as a threshold to the quiet ecstasy of individuals engaging with each other. Not aiming to reproduce the experience of reality, the work uses structural clarity immersed in a spontaneous way of being, proposing various observations on social structures and the way they effect individuals. THE GOLDLANDBERGS exploits the contrapuntal essence of choreography, in order to generate numerous possibilities allowing both performers and audience the freedom of artistic choice and interpretation.
Emanuel Gat is as much a painter as an art director and a choreographer. He highlights what may go unnoticed, a hand, a foot, a leap. In a subtle way, without mannerism. […] In plain underwear, the dancers seize the stage and transform it. They become icons. The whole scene is transcended, without a doubt, aided by the voice and the notes so delicately weaved by Gould. […] We are delighted by the adagios of duets and by the great passion that sweeps the entire Corum of their feet. Nothing religious about it, but undoubtedly, Emanuel Gat has a very close relation to what is Sacred.