Moeder (Mother) is the second volume of a trilogy that opened with Vader (Father) in 2014, directed by Franck Chartier, and will close in 2019 with Kind (Child). In Moeder Gabriela Carrizo is directing. The world première took place on 29 September 2016 in Theater im Pfalzbau (Ludwigshafen, DE). Since then, Moeder has been touring extensively throughout Europe.
In Moeder, Peeping Tom explores the theme and central figure, memory and the mother, with the same tender and sardonic eye that runs through all of its productions. At once funny and eerie; Moeder is disturbing, yet strangely familiar: we recognise in it the same fascination with the sense that the world is too much for us, the same amused gaze at our faltering attempts to make it fit our notions.
"Moeder is not about a mother, but about several mothers. We talk about motherhood, absence, lack. The play searches the memory and the subconscious to reveal what the mother carries as desires, fears, sufferings or violence. For this piece, I wanted a set design that could represent several spaces, like the multiplicity of mothers. The action takes place in a museum, but can also be seen as a private exhibit space, where family pictures and photos are displayed."
Source : Peeping Tom
More information : http://www.peepingtom.be/fr
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
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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
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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
More information : peepingtom.be
Artistic direction / Conception
Artistic direction assistance / Conception
Eurudike De Beul, Maria Carolina Vieira, Marie Gyselbrecht, Brandon Lagaert, Hun-Mok Jung, Yi-Chun Liu, Simon Versnel, Charlotte Clamens, Jean Bailly, Sadia Djafar, Adèle Garcier, Danielle Gillouin, Daniel Lachenal, Sandrine Lamure
Artistic consultancy / Dramaturgy
Gabriela Carrizo, Franck Chartier
Raphaëlle Latini, Renaud Crols, Glenn Vervliet, Peeping Tom
Giacomo Gorini, Amber Vandenhoeck
Diane Fourdrignier, Kristof Van Hoorde (stage), Peeping Tom
Amber Vandenhoeck, Peeping Tom Construction décors KVS-atelier, Peeping Tom
Yannick Willox, Peeping Tom, Hjorvar Rognvaldsson
Production / Coproduction of the choreographic work
Production / Coproduction of the video work
Maison de la Danse