Peeping Tom’s work finds itself on the borderline between theatre and contemporary dance. With a hyperrealistic aesthetic, the company depicts a universe in which the prevailing logic of time, space and atmosphere is questioned, always with a strong focus on the dark side of the individual and community.
Dance Days Chania Summer Workshop
The company’s work is always anchored to a concrete set, the basis for the creation: 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). Isolation in these spaces leads to an unconscious world of nightmares, fears and desires. The huis clos of family situations remains for Peeping Tom a major source of creativity. The company is currently working on a second trilogy – Vader (Father, 2014), Moeder (Mother, 2016), Kind (Child, 2019) – around this theme.
Peeping Tom was co-founded in 2000 by Gabriela Carrizo and Franck Chartier, who have been the artistic directors of the company ever since.
About Gabriela Carrizo
(1970, Córdoba, AR) started dancing at the age of 10. She attended a multidisciplinary school (the only one with a group of contemporary dance for children and teenagers in that period), led by Norma Raimondi, who transformed the school into the University for Ballet of Córdoba. Gabriela danced a few years at the school, which is also where she created her first choreographies. At age 19 she moved to Europe, where she worked with Caroline Marcadé, Alain Platel, les ballets C de la B (La TristezaComplice (1997), Something on Bach (1998)), Koen Augustinians (Portrait Intérieur(1994)) and Needcompany (Images of Affection (2001)). In the meantime, she continued to create her own work. She went solo with Et tuttosara et d’ombra di caline and created Bartime, a collaboration with Einat Tuchman and LisiEstaras. For les ballets C de la B, they also signed for the choreography of the opera Wolf (2002). Gabriela starred in FienTrochs film Kid (2012), and in 2013 she made the short piece The missing door for and with the Dutch Dance Theatre (NDT I). In 2015, Carrizo created The Land, a collaboration with the Munich Residenztheater.
About Franck Chartier
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. Between 1986 and 1989, he was a part of Maurice Béjart’s Ballet du 20ème Siècle. The following three years, he worked with AngelinPreljocaj, dancing in Le spectre de la rose at the Opéra de Paris. He moved to Brussels in 1994, to perform in Rosas’ production Kinok(1994), and he stayed on, working on duos with IneWichterich and Anne Mouselet, as well as in productions by Needcompany ( Tres, 1995) and Les Ballets C de la B: La TristezaComplice (1997), Iets op Bach (1997) and Wolf (2002). In 2013, he created 33 rue Vandenbranden for the Göteborg Opera, based on Peeping Tom’s 32 rue Vandenbranden, and he developed the choreography for the opera Marouf, Savetier du Caire by JerômeDeschamps at the OpéraComique de Paris. For NederlandsDans Theater, he directed The lost room in 2015, a second collaboration with the Dutch dance company after Gabriela Carrizo’s The missing door (2013). He was awarded the prestigious Dutch price ‘Swan Most Impressive Dance Production 2016’ for the piece. 2017 marked the world premiere of The hidden floor, his second collaboration with NDT and the final short piece of the trilogy Adrift, which also consists of The missing door and The lost room.
