Peeping Tom: Father (Vader)

Peeping Tom was founded by Gabriela Carrizo and Franck Chartier in 2000. Together they created a location project that took 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. 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 a major source of creativity for Peeping Tom. 

Gabriela Carrizo (b. 1970, Córdoba) was ten years old when she started dancing at a multidisciplinary school that had what was at the time the only contemporary dance group 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 choreography. 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 choreography, 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. 

Franck Chartier (b. 1967, Roanne) 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. 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 perform 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. 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 Jerôme Deschamps at the Opéra Comique de Paris. For Nederlands Dans 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 prize ‘Swan Most Impressive Dance Production 2016’ for the piece. 2017 marked the world premiere of The Hidden Door, his second collaboration with NDT and the final short piece of the trilogy Adrift, which also includes The Missing Door and The Lost Room.