Island of no memories
Vader is set in the visiting area of an old-folks home whose towering walls accentuate the fact that the action takes place deep underground. At the centre of this netherworld, somewhere between the world of the living and the dead, stands the figure of the father, who seems to be distancing himself gradually from the human community. His fading is drawn, not from the story of one individual, but from the mythology of the father, and in scenes that explode into action, and just as suddenly stop, this figure appears at once as God-like and ridiculous, as possessed of a rich mental life, and as disconnected, decaying, empty. His past may harbour a deep secret, or maybe he is simply mad or delusional. The other residents and the staff wonder at him, regarding him with amusement and hatred, affection and indifference. The piece plays on the widening gap between perception and reality, on the way time for the old appears to slow down so as to correspond to the lagging rhythm of their gestures, or articulate speech is received as static and music as noise, or the world itself seems to make sense only insofar as it is the embodiment of a memory. With poignancy and wit, Vader explores the moment when the memories (or are they fancies, hallucinations?) of an old man constantly threaten to tip the realities of daily life into fantasy.
Vader is the first part of the trilogy Father-Mother-Children. It premiered on 10 May 2014 in Theater im Pfalzbau (Ludwigshafen, DE). The piece got selected for the Theaterfestival 2015, gathering the most remarkable productions of the past season in Belgium and The Netherlands. and was elected Best Dance Performance of 2014 by Dutch newspaper NRC Handelsblad. In 2015 it was awarded a Premio de la Critica Barcelona (Barcelona Critics Award) in the category 'Best International Dance Production'.
source : www.peepingtom.be
Direction: Franck Chartier
Directorial assistance and dramaturgy: Gabriela Carrizo
Creation and performance: Leo De Beul / Jef Stevens, Marie Gyselbrecht / Tamara Gvozdenovic, Hun-Mok Jung, Maria Carolina Vieira, Simon Versnel, Brandon Lagaert & Yi-Chun Liu, , with the aid of Eurudike De Beul
Artistic assistance: Seoljin Kim, Camille De Bonhome
Sound composition and arrangements: Raphaëlle Latini, Ismaël Colombani, Eurudike De Beul, Renaud Crols
Sound mixing: Yannick Willox
Light design: Giacomo Gorini & Peeping Tom
Costume design: Peeping Tom & Camille De Bonhome
Set design: Peeping Tom & Amber Vandenhoeck
Set construction: KVS-atelier, Filip Timmerman, Amber Vandenhoeck
Technical direction: Filip Timmerman
Technicians: Hjorvar Rognvaldsson, Wout Rous & Amber Vandenhoeck
Production: Peeping Tom
Co-production: Theater im Pfalzbau (Ludwigshafen), KVS- Royal Flemish Theatre (Brussels), Festival GREC (Barcelona), HELLERAU – European Center for the Arts Dresden, Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville (Paris), Maison de la Culture (Bourges), La Rose des Vents (Villeneuve d’Ascq), Le Printemps des Comédiens (Montpellier), with the support of Sommerszene, Szene Salzburg (Salzburg).
Video direction : Fabien Plasson
Production : Maison de la Danse - 2016
Gabriela Carrizo (b. 1970, Córdoba – AR) was ten years old when she started dancing at a multidisciplinary school that had what was at the time the only group of contemporary dance for children and teenagers. Under Norma Raimondi’s direction, the school went on to become Córdoba’s University Ballet, where Gabriela danced for a couple of years, and where she created her first choreographies. She moved to Europe when she was nineteen, and over the years she worked with Caroline Marcadé, Les Ballets C de la B ( "La Tristeza Complice", 1997, and "Iets op Bach", 1998), Koen Augustijnen ("Portrait intérieur", 1994) and Needcompany ( "Images of Affection", 2001). She never stopped working on her own choreographies, and these years saw the production of a solo piece, "E tutto sará d’ombra e di caline", and "Bartime", a collaboration with Einat Tuchman and Lisi Estaras. She also created the choreography for the opera "Wolf" (2002), by Les Ballets C de la B. She plays a leading role in Fien Troch’s movie "Kid" (2012), and in 2013 she created the short piece "The missing door" (2013) for the Nederlands Dans Theater – NDT 1 in The Hague. In 2015, Carrizo created "The Land", a collaboration with the Munich Residenztheater. Gabriela has been the artistic director of Peeping Tom, along with Franck Chartier, since they co-founded the company in 2000.
Source: Peeping Tom's website
Franck Chartier (°1967, Roanne, FR) started dancing when he was eleven, and at the age of fifteen his mother sent him to study classical ballet at Rosella Hightower in Cannes. Upon graduating, he joined Maurice Béjart’s Ballet du 20ème Siècle, where he worked between 1986 and 1989. For the following three years he worked with Angelin Preljocaj, dancing in Le spectre de la rose at the Opéra de Paris. He moved to Brussels in 1994, to dance in Rosas’ production "Kinok" (1994), and he stayed on, working on duos with Ine Wichterich and Anne Mouselet, as well as in productions by Needcompany ( "Tres", 1995) and Les Ballets C de la B: "La Tristeza Complice" (1997), "Iets op Bach" (1997) and "Wolf" (2002). More recently, Franck has adapted Peeping Tom’s "32 rue Vandenbranden" for the Göteborg Opera: "33 rue Vandenbranden" (2013), and created the choreography for the opera Marouf, savetier du Caire, by Jérôme Deschamps, at the Opéra Comique de Paris (2013). October 1st 2015 marked the premiere of "The lost room" in The Hague (NL), a second collaboration with Nederlands Dans Theater after Carrizo’s 2013 "The missing door". Franck has been the artistic director of Peeping Tom, along with Gabriela Carrizo, since they co-founded the company in 2000.
Source: Peeping Tom's website
Artistic direction: Gabriela Carrizo & Franck Chartier
Gabriela Carrizo (I/AR) and Franck Chartier (F) founded Peeping Tom in 2000. Together they created a first location project that was taking place in a trailer home, Caravana (1999), with would-be long-time collaborator Eurudike De Beul, followed by the film Une vie inutile (2000).
Peeping Tom’s hallmark is a hyperrealistic aesthetic anchored to a concrete set: a garden, a living room and a basement in the first trilogy ( Le Jardin , 2002; Le Salon , 2004; and Le Sous Sol , 2007), two trailer homes in a snow-covered landscape in 32 rue Vandenbranden (2009), or a burned theatre in A Louer (2011). In these, the directors create an unstable universe that defies the logic of time and space. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. The huis clos of family situations remains for Peeping Tom a major source of creativity. The company has started working on a second trilogy – Vader (Father), Moeder (Mother), Kinderen (Children) – around this theme, with Vader (Father) already having premiered.
In 2005, Le Salon was awarded the Prix du Meilleur Spectacle de Danse (Best Dance Show Prize) in France. In 2007, the company received the Mont Blanc Young Directors Award during the Salzburg Festival and the Patrons Circle Award at the Melbourne International Arts Festival. The pieces Le Sous Sol , A Louer and Vader (Father) all got selected for the Theaterfestival, which gathers the most remarkable shows of the past season in Belgium and The Netherlands. In 2013, A Louer was nominated for the prestigious Ubu Awards in Italy, in the category Best Performance in Foreign Language, during the theatrical season 2012-2013. 32 rue Vandenbranden was elected Best Dance Show of the Year 2013 in São Paulo (BR) by magazine Guia Folha and won in 2015 a prestigious Olivier Award, in the category 'Best New Dance Production'.
Peeping Tom's latest production, Vader (Father), is the first part of the trilogy Father-Mother-Children. It premiered on 10 May 2014 in Theater im Pfalzbau (Ludwigshafen, DE). Apart from being in the official selection of the Theaterfestival 2015, it was also elected Best Dance Performance of 2014 by Dutch newspaper NRC Handelsblad. The jury of the 'Premios de la Crítica Barcelona' awarded Vader in its turn with a first prize in the category 'Best International Dance Production of 2014'. Source: Peeping Tom
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