There is an itchy sense of restlessness to Emanuel Gat's ephemeral piece with Scottish Dance Theatre, a heightened kind of hypervigilance with a dozen dancers onstage always looking over their shoulders. They appear primed to pounce at any time, all too aware of lurking predators. It's there in Gat's lighting design, which is hugely evocative of twilight corners. It's woven into the alertness of eyes, the scratchy shapes of arachnid hands twitching in the air and protective hunches on haunches, the groups of two or three, rearing up like horses on hind legs. This “fight or flight” stance is a constant, a reminder of observing or being observed in cities, where there is nowhere to hide.
Scottish Dance Theatre in “The Circle” by Emanuel Gat. Photograph by Brian Hartley