Performers & Creative team
Concept/direction Gabriela Carrizo, Franck Chartier
Co-creators and performers Eurudike de Beul, Maria Carolina Vieira, Marie Gyselbrecht, Brandon Lagaert, Hun-Mok Jung, Yi-Chun Liu
Artistic assistance Lulu Tikovsky
Sound composition and arrangements Raphaelle Latini, Hjorvar Rognvaldsson, Renaud Crols, Annalena Frohlich, Fhun Gao, Yannick Willockx
Lighting design Amber Vandenhoeck, Sinan Poffyn (intern)
Costumes Lulu Tikovsky, Yi-chun Liu, Nina Lopez Le Galliard (intern)
Set design Justine Bougerol
Set construction KVS-atelier, Flora Facto, Peeping Tom
Props Nina Lopez Le Galliard (intern), Silvio Palomo (intern)
Sound engineer Hjorvar Rognvaldsson
Light engineer Hadrien Lefaure
Technical direction Filip Timmerman
Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (Italy/Argentina) and Franck Chartier (France). Everything at Peeping Tom starts from a hyperrealist setting. The space feels familiar, such as a retirement home in Vader (Father), two trailer homes in 32 rue Vandenbranden or a living room in Le Salon. The creators then break open this realism and begin to defy the logic of time, space and mood. You become the witness of what usually remains hidden and unsaid, discovering nightmares, fears and desires. Presented with rich imagery, a fascinating battle arises, against one’s environment and against oneself. Since its foundation in 2000 in Brussels, Peeping Tom has presented its creations around the world. The company has received many important awards, including an Olivier Award in the UK for 32 rue Vandenbranden, a Patrons Circle Award at the International Arts Festival in Melbourne as well as several selections for the Belgian and Dutch Theatre Festivals. Peeping Tom is supported by the Flemish Authorities. Several of its shows have featured at the London International Mime Festival in partnership with the Barbican, 32 Rue Vandenbranden (2015), and the first two parts of its family-themed trilogy, Mother (2018) and Father (2019).
Watch: London International Mime Festival 2020
For 2020, the 44th year of London’s annual festival of contemporary visual theatre, 10 overseas companies join 8 British groups, including 4 LIMF co-commissioned productions.
Gabriela Carrizo began her career as a dancer and choreographer in the Ballet de l'Université, Cordoba, under the tutelage of Norma Raimondi. At the age of 19 she moved to Brussels, where she worked with Caroline Marcadé. In 1993 she created her first solo show, et tutto sara d'ombra et di caline. She has since collaborated with artists and companies including Alain Platel, les ballets C de la B, Koen Augustinians and Needcompany. In Platel's lets op Bach she worked with Franck Chartier, with whom she subsequently founded Peeping Tom.
Franck Chartier started dancing at the age of 11. His mother sent him to study at the Rosella Hightower School in Cannes, where he focused on classical ballet. At the age of 19 he left for Brussels and joined the Ballet du XXème Siècle of Maurice Béjart and subsequently worked with the company in Switzerland until 1989. This was followed by a collaboration with Angelin Preljocaj on a production for the Paris Opera, Le Spectre de la Rose. In 1994 he became a member of Anne Teresa de Keersmaeker’s Rosas. In Brussels he became a member of several other notable groups based in the capital including Needcompany and les ballets C de la B. In 2000 Chartier and fellow choreographer Gabriela Carrizo founded Peeping Tom.
One of our starting points for Child (Kind) was a child that didn’t have any parents, that doesn’t know what a home or a family is. A child living in a dark forest at the foot of menacing cliffs, without a father or a mother. We’re used to children being loved and protected, but in Child, that’s not the case.
At the same time, we try to show how children express fears that arise from this lack of supportive (parental) framework. What happens in traumatic situations? How do children handle their quest for truth? And how do they organise their world through fantasy, role-playing or imitations in order to master certain situations or dynamics? In the show, we see how this child builds a world that has its own logic, which becomes something sombre, terrible and absurd.
For us, the space is always central to what we create. Here, the forest represents a hyper-realistic space, a place where you lose yourself. It’s a real space, but at the same time it’s something constructed, theatrical. In the piece we play with this contrast between what is constructed and what is real.
Peeping Tom wishes to thank Heloïse da Costa, Theater FroeFroe, Institut del Teatre, Jan Daems, Leen Mertens, Uma Victoria Chartier, Ina Peeters and the original extras: Farners, Eva, Elmo, Vera, Roger, Raisa, Mercè, Xefo, Amadeo, Rita, Gloria, Ariadne, Jonah, Sille, Leandro, Flo, Grace, Luke, Lucie, Cyril, Jill, Jan, An, Octavia, Germaine
London International Mime Festival
Somerset House, Strand, London WC2R 1LA
+44 (0)20 7637 5661 [email protected] www.mimelondon.com
London International Mime Festival (LIMF) promotes contemporary visual theatre. Its productions have been nominated for and won Olivier Awards, and in 2017 the festival was honoured with the Empty Space - Peter Brook Special Achievement Award for its work over four decades. Founded in 1977, LIMF is an Arts Council England National Portfolio Organisation.
Festival Directors Helen Lannaghan and Joseph Seelig
Production Manager Bill Deverson
Artists Manager Stephanie Brotchie
Press Representatives Anna Arthur PR [email protected]
Graphics & Website Iain Lanyon keanlanyon.com
Marketing Consultants Anne Dillow, Richard Fitzmaurice mobius industries.com
London International Mime Festival 2020 gratefully acknowledges co-operation / financial support from: Arts Council England; Institut français as part of its En Scène programme; Arts Queensland; Arts South Australia; Cheryl Henson; Jim Henson Foundation