TRIPTYCH
THE MISSING DOOR THE LOST ROOM THE HIDDEN FLOOR
New creation (2020) adapted from Adrift, originally created for Nederlands Dans Theater (NDT1)
‘Zwaan’ most impressive dance production 2016 for The lost room TRIPTYCH
Triptych is a new creation by Peeping Tom, scheduled to premiere in 2020. The performance consists of three short pieces: The missing door (directed by Gabriela Carrizo), The lost room and The hidden floor (both directed by Franck Chartier).
In this new creation, Peeping Tom is reimagining the three short pieces and adapting them from the originals created by Gabriela Carrizo and Franck Chartier with Nederlands Dans Theater (NDT 1).
For the first time since 2009, Peeping Tom searched for a completely new ensemble to feature in this new production. After receiving more than 2400 applications, the company auditioned 600 candidates from around the world. Rehearsals will take place in Brussels in spring 2020, with a premiere in summer 2020.
In Triptych, several characters are evolving in spaces from which they cannot escape. They set out to seek an ideal, they left with a dream and with hope. Now, they keep wandering throughout a mysterious and macabre labyrinth in which they are lost. The characters live between reality and what’s imagined, guided by natural forces that lead them to an uncertain destiny. Gabriela Carrizo and Franck Chartier create a disturbing, dark and enclosed world – typical in the work of Peeping Tom, while at the same time putting a unique and extreme language of movement and performance at the centre of the pieces.
Gabriela Carrizo and Franck Chartier wanted to break the linearity of time by mixing the past, the present and the future. In that sense, memories and premonitions are very important. Memories are often not a literal reproduction of the past, but rely on constructive processes prone to error and distortion. We think we remember correctly, but then it turns out we’ve given shape to a story as we see it in present or even future times. Here, present and future events are capable of influencing the past, our memories and our ability to remember.
Each part of the trilogy has its own unique setting and evokes a film set. The missing door is set in a room or hallway filled with doors that won’t open. The action in The lost room happens in a cabin on a ship, focusing on the interior world of the characters. The hidden floor takes place in a public setting, an abandoned restaurant, where natural forces have taken over. The scenic changes between the piece are carried out in plain sight and become a part of the performance, as if it were a live film editing.
Photo credit title page: The lost room Ó Rahi Rezvani, Nederlands Dans Theater
The missing door Ó Rahi Rezvani, Nederlands Dans Theater
Credits*
Concept and direction Gabriela Carrizo and Franck Chartier Performed by Konan Dayot, Fons Dhossche, Lauren Langlois, Panos Malactos, Alejandro Moya, Fanny Sage, Eliana Stragapede, Wan-Lun Yu Production manager An Van Der Donckt Communication manager Sébastien Parizel Company manager Veerle Mans
Production Peeping Tom Coproduction KVS – Koninklijke Vlaamse Schouwburg Brussel, Théâtre National Wallonie-Bruxelles, Festival GREC Barcelona, Opéra de Lille, Tanz Köln Peeping Tom is currently looking for coproducers
With the support of the Flemish authorities Distribution Frans Brood Productions
*Preliminary credits, subject to changes. Please contact [email protected] in case of doubt.
The missing door (2013)
The missing door was created by Gabriela Originally created with NDT Carrizo and the dancers of NDT1. The Concept & direction: Gabriela Carrizo original creation premiered on December Creation: Lydia Bustinduy, César Faria 6th, 2013 in Koninklijk Theater Carré in Fernandes, Spencer Dickhaus, Marne van Amsterdam (NL). Opstal, Roger van der Poel, Meng-ke Wu, Rena Narumi Artistic assistance: Seoljin By intertwining fantasy and reality, Kim, Anders Hellström Sound design & Gabriela Carrizo shows two parallel arrangements: Raphaëlle Latini Light dimensions. We are witnessing the last design: Tom Visser Set design: Gabriela minutes of life, which take place in the Carrizo Costume design: Gabriela Carrizo twilight zone between life and death. The dying man anxiously tries to find a way Duration: 28’ through the intricate maze of his thoughts. Production for 7 dancers While soundscapes of everyday sounds turn into lost rhythms, the man performs a Watch the trailer for The missing door: lonely battle with time, space and those http://www.peepingtom.be/en/productio who are absent. ns/11#video
The lost room Ó Rahi Rezvani, Nederlands Dans Theater
The lost room (2015)
In 2015, Franck Chartier created The lost Originally created with NDT room with the ensemble of NDT1. It Concept & direction: Franck Chartier followed The missing door (Gabriela Assistant to the director: Yi-Chun Liu, Carrizo, 2013) and premiered on October Louis-Clément da Costa, Ander Zabala 1st, 2015 in the Zuiderstrandtheater, The (NDT) In co-creation with the dancers: Hague (NL). Lydia Bustinduy, Spencer Dickhaus, Bob Verbrugge, Roger Van der Poel, Rena The lost room continues with some of the Narumi, Cesar Faria Fernandes, Chloe themes already addressed in The missing Albaret, Meng-Ke Wu, Marne van Opstal door. We find ourselves on a ship at sea, Music: New composition by Raphaëlle where freedom and entrapment go hand in Latini, Ismaël Colombani Piano recording: hand. In a labyrinth of rooms and corridors, John Elliot Gardner Light Design: Tom several stories are told simultaneously. Visser Set design: Justine Bougerol Characters seemingly exist in every time Costumes: Yi-Chun Liu and every place. At the same time, they are timeless, infinite and boundless. In that Duration: 38’ respect, The lost room could be seen as a Production for 8 dancers and 1 extra melancholic nostalgia for the future. Watch the trailer for The lost room: The lost room was awarded a ‘Swan most http://www.peepingtom.be/en/productio impressive dance production in 2016’ in ns/16#video The Netherlands.
The jury stated: “With The lost room, Franck Chartier creates a magical realism, surreal and absurd oppressive work that opens a new world for the NDT and its audience. Chartier uses plenty of special effects, pours suspense and (macabre) humour into one barrel and turns you over with a sublime and overthrowing fragile duet.”
The hidden floor Ó Rahi Rezvani, Nederlands Dans Theater
The hidden floor (2017)
In 2017, Franck Chartier completed the Originally created with NDT triptych that had started with The missing Concept & direction: Franck Chartier door (Gabriela Carrizo, 2013) followed by Assistant to the director: Louis-Clément The lost room (Franck Chartier, 2015). da Costa, Ander Zabala In co-creation with the dancers: Lydia Bustinduy, This short creation continues with the Spencer Dickhaus, Bob Verbrugge, Roger story and themes started in The missing Van der Poel, Rena Narumi, Cesar Faria door and The lost room: the memory, the Fernandes, Chloe Albaret, Meng-Ke Wu, disruption of time. The characters exist in a Marne van Opstal Light design: Tom public space, maybe a restaurant, taken Visser Set design: Justine Bougerol over by nature. They are experiencing their Costumes: Franck Chartier, final moments as the water slowly starts to Louis-Clément da Costa rise. Holding on to their last hope, they try to survive and find a way out, not only Duration: 28’ physically but also mentally. Production for 8 dancers en 1 extra
Franck Chartier received his second Watch the trailer for The hidden floor: nomination for a Zwaan for his work on The http://www.peepingtom.be/en/productio hidden floor. He previously took home The ns/17#video Netherlands’ most prestigious award for The lost room.
The lost room Ó Rahi Rezvani, Nederlands Dans Theater
The press about The missing door, The lost room and The hidden floor
"The power of each piece of the trilogy lies in the permanent unpredictability of events. […] The moments of surprise arise primarily from dance - from a seductive as well as compelling movement language that describes an overwhelmingly heightened atmosphere of psychic primal fears.” Tanz about The missing door, The lost room and The hidden floor 28.11.2017
"The famous ingredients of the two founders of the successful Belgian collective Peeping Tom are again present: dance, acrobatics, illusionism, cinematic suspense. And mad humour. […] The theatrical qualities of the nine excellent dancers are fully used." NRC Handelsblad about The missing door, The lost room and The hidden floor 18.10.2017
"The typical mix of magic, effects, slapstick and contortion is bombastic; the suspense is perfect. The entire piece is still worthy of the comparison with the surrealistic TV series Twin Peaks." **** (4 stars) De Volkskrant about The missing door, The lost room and The hidden floor 11.10.2017
"These dancers delivered an incredible performance. With their bodies, they challenge the rules of dance and the laws of nature. In [The hidden floor], humour, darkness and beauty coincide in superlative degree." Cultureel Persbureau about The missing door, The lost room and The hidden floor 06.10.2017
“With The lost room (2015), Franck Chartier and his magic, realistic but surreal and absurd oppressive world, finds a wonderful connection with the Kylián tradition of NDT and therefore receives the ‘Swan Most Impressive Dance Production.” De Volkskrant on the Swan for The lost room 08.10.2016 (in Dutch)
“Best plays and shows of 2015 according to NRC Handelsblad.” NRC Handelsblad on The lost room 20.12.2015 (in Dutch)
“The first highlight of the new season.” ***** (5 stars) NRC Handelsblad on The lost room 09.10.2015 (in Dutch)
“A vigorous example of surreal dance horror.” **** (4 stars) de Volkskrant on The missing door and The lost room 03.10.2015 (in Dutch)
“Dance which thoroughly shakes you up.” **** (4 stars) Theaterkrant on The missing door and The lost room 02.10.2015 (in Dutch)
“[The missing door] is like a good Netflix series; the highly disturbing, ad-hoc relationships and events leave you wanting more.” Cultureel Persbureau on The missing door 02.10.2015 (in Dutch)
“A dazzling, extravagant experience.” Haarlems Dagblad on The missing door and The lost room 02.10.2015 (in Dutch)
“I have not seen any piece like it to date. I am not surprised NDT takes on an idea like this, and I doubt that any other group of dancers could have co-created the incredible spectacle we watched.” Bachtrack on The missing door 16.12.2013 (in English)
“A surreal thriller which makes ‘Twin Peaks’ feel like a walk in the park. Extraordinary how Carrizo depicts derailment in a physical way, touching upon our deepest fears and turning the whole into a hallucinatory trip.” Trouw on The missing door 09.12.2013 (in Dutch)
“Carrizo doesn’t just make dance theater, she makes a unique theater experience.” Theaterkrant on The missing door 06.12.3013 (in Dutch)
Gabriela Carrizo & Franck Chartier, © Jesse Willems, Peeping Tom
Choreographers
Gabriela Carrizo (°1970, Córdoba, AR) Gabriela was ten years old when she started dancing at a multidisciplinary school that had, 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. More recently, she worked with Franck Chartier on 31 Rue Vandenbranden (2018) an adaptation with Le Ballet de l'Opéra de Lyon of Peeping Tom's original. The new piece opened the prestigious Biennale de la Danse de Lyon in 2018.
Gabriela has been the artistic director of Peeping Tom, along with Franck Chartier, since they co-founded the company in 2000.
Franck Chartier (°1967, Roanne, FR) Franck 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 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, for which he received the prestigious Dutch price ‘Swan Most Impressive Dance Production 2016’.
2017 marked the world premiere of The hidden floor, his second collaboration with the Dutch company. More recently, he worked with Gabriela Carrizo on 31 Rue Vandenbranden (2018) an adaptation with Le Ballet de l'Opéra de Lyon of Peeping Tom's original. The new piece opened the prestigious Biennale de la Danse de Lyon in 2018.
Franck has been the artistic director of Peeping Tom, along with Gabriela Carrizo, since they co-founded the company in 2000.
The hidden floor Ó Rahi Rezvani, Nederlands Dans Theater
About Peeping Tom
Short biography
Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F).
Everything at Peeping Tom starts from a hyperrealist setting. The space feels familiar, such as a retirement home in Vader, 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 - or rather, the voyeur? - of what usually remains hidden and unsaid, you are taken into subconscious worlds and discover nightmares, fears and desires. Presented using a 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 several important awards, including and Olivier Award in the United Kingdom 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.
Discover more about Peeping Tom on www.peepingtom.be Peeping Tom is supported by the Flemish Authorities.
Did you know? Ø The team at Peeping Tom – artists, choreographers, technicians, designers, collaborators – is made up of 13 nationalities. Ø The oldest artist at Peeping Tom is 80 years old, the youngest is 26. Ø Over 280.000 people worldwide have seen a Peeping Tom show. Ø More than 1500 local extras worldwide have performed in a Peeping Tom show. Ø In 2015, Peeping Tom won a prestigious Olivier Award in London for 32 rue Vandenbranden.
Our Story
Peeping Tom is a Belgian dance theatre company founded in 2000 by choreographers Gabriela Carrizo (I/AR) and Franck Chartier (F). Together with would-be long-time collaborator Eurudike De Beul, they created a location project that took place in a trailer home, Caravana (1999), followed by the film Une vie inutile (2000).
Le Jardin (2002) Before starting their own company, they had earned praise as dancers at internationally renowned companies such as Les Ballets C de la B (Alain Platel), Rosas, Maurice Béjart, Angelin Preljocaj and Needcompany.
A hyperrealist aesthetic Peeping Tom’s hallmark is a hyperrealist 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), a Le Salon (2004) burned theatre in A Louer (2011) or a retirement home in Vader (2014).
In these settings, 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. They explore an extreme language of movement and performance: nothing is ever gratuitous, and the human condition is throughout a main source of inspiration. Le Sous Sol (2007)
Using film editing techniques, they manage to extend the limits of the plot, which always comes across more as a contour than as something you can pin down with any certainty. The ‘huis clos’ of family situations remains for Peeping Tom a major source of creativity. The company is currently producing a second trilogy – Vader, Moeder, Kind – around this theme.
32, rue Vandenbranden (2009)
Organic and intuitive collaborations In Peeping Tom, everything connects to everything else. The organic and the intuitive are the breeding ground for collaborations and for creation processes. Their work is a collective and continuous research, coupled with long- term relations with creative and unique performers that ensure the continuity of form and content.
Each finished production is for the dancers/actors a – temporary – surrender of the flow of short scenes generated during the creation period. Each creation A Louer (2011) process represents for the choreographers a new step in their search for a graceful intertwining of movement with the theatrical, the emotional, with text, sound and set design.
Over the years, the company has developed a strong relation with theatres and audiences. The performances attract a wide, faithful, mostly young public, both at home and abroad. The list of tour dates is exceptionally long, as is the – growing – number of countries they visit each year. With Peeping Tom, creation periods tend to be long, and the productions grow and ripen during the tours. This means that on average, there is a new Vader (2014) production every two years.
Opening up to external collaborators Since 2013, Peeping Tom has opened up to external collaborations with other artists, companies and organizations. In 2013, Gabriela Carrizo created the short piece The missing door with and for the Nederlands Dans Theater – NDT I, while Franck Chartiers adapted 32 rue Vandenbranden for the Opera of Göteborg (as 33 rue Vandenbranden, 2013).
In 2015, Gabriela Carrizo directed The Land, a joint production created with members of Peeping Tom and the actors of the Residenztheater that premiered on May, Moeder (2016) 8th in the Cuvilliéstheater (Munich, DE) in the frame of festival DANCE 2015. October 1st, 2015, marked the premiere of Franck Chartier and NDT I’s The lost room in The Hague (NL). The short piece is a sequel to Gabriela Carrizo’s The missing door.
In 2017, Peeping Tom and NDT I collaborated once again for the creation of The hidden floor, directed by Franck Chartier with the dancers of the Dutch dance company. This closed the trilogy of Adrift, comprising of The missing door, The lost room and The hidden floor.
Peeping Tom’s offices are situated in Molenbeek (Brussels). The company benefits from structural support from the Flemish authorities and the KVS – Royal Flemish Kind (2019) Theatre (Brussels) is its major partner in Belgium.
Awards 2018 - MOEDER: ‘Best Theatre Performance’ at the Festival Internacional de Teatro y Artes de Calle in Valladolid (ES). 2017 - THE MISSING DOOR: Herald Angel at the Edinburgh International Festival (UK) (together with Stop-Motion and Shoot the Moon by Paul Lightfoot and Sol León) 2016 - THE LOST ROOM: Swan for ‘Most Impressive Dance Production’ (Maastricht, NL) 2015 - 32 RUE VANDENBRANDEN: ‘Best New Dance Production’ at the Olivier Awards (London, UK) - VADER: Selection for Het Theaterfestival (BE) - A LOUER: Nomination for a Critics Award as Best International Dance Production (Barcelona, ES) 2014 - VADER: ‘Best International Dance Production’ at the Barcelona Critics Awards (ES) - VADER: ‘Best Dance Performance of the Year’ by Dutch newspaper NRC Handelsblad 2013 - 32 RUE VANDENBRANDEN: ‘Best Dance Show of the Year 2013’ in São Paulo by magazine Guia Folha. - A LOUER: Nomination for the Ubu Awards in Italy in the category ‘Best Performance in a Foreign Language’. 2012 - A LOUER: Selection for Het Theaterfestival (BE)
2007 - LE SALON: Montblanc Young Directors Award at the Salzburg Festival (AT) - LE SALON: Patrons Circle Award at the International Arts Festival Melbourne (AU) - LE SOUS SOL: Selection for Het Theaterfestival (BE)
2005 - LE SALON: Prix du Meilleur Spectacle de Danse (FR)
Tour Calendar Season 2019 – 2020 (Some dates might change, please contact [email protected] in case of doubt)
KIND (Child) (2019) 25-26 AUG 2019 Waves Festival – VORDINGBORG (DK) 01 SEP 2019 Tanztheater International – HANNOVER (D) 13-14 SEP 2019 Festival La Bâtie – GENÈVE (CH) 20-21 SEP 2019 One Dance Week – PLOVDIV (BG) 27-28 SEP 2019 Festival Aperto/Fondazione I Teatri – REGGIO EMILIA (IT) 01 OCT 2019 Torinodanza – TORINO (IT) 17-19 OCT 2019 KVS – Koninklijke Vlaamse Schouwburg – BRUSSELS (BE) 23-25 OCT 2019 KVS – Koninklijke Vlaamse Schouwburg – BRUSSELS (BE) 31 OCT 2019 Cultuurcentrum – BRUGGE (BE) 7-9 NOV 2019 Gessnerallee – ZURICH (CH) 04-05 DEC 2019 CDN Orléans – ORLEANS (FR) 11-12 DEC 2019 Théâtre de Caen – CAEN (FR) 14 JAN 2020 Le Bâteau Feu – DUNKERQUE (FR) 16 JAN 2020 Stadsschouwburg – KORTRIJK (BE) 23-25 JAN 2020 London International Mime Festival – LONDON (UK) 29-31 JAN 2020 Théâtre de la Ville/MAC Créteil – PARIS (FR) 05-06 FEB 2020 Théâtre de Lorient – LORIENT (FR) 13-15 FEB 2020 deSingel – ANTWERP (BE) 01-02 APR 2020 STUK – LEUVEN (BE) 14-15 APR 2020 Malraux, Scène Nationale Chambéry Savoie – CHAMBERY (FR) 23-26 APR 2020 Teatros del Canal – MADRID (ES) 29-30 APR 2020 Scène Nationale d’Albi – ALBI (FR) 07-08 MAY 2020 Teatre Principal – VALENCIA (ES) 12 MAY 2020 Le Manège – MAUBEUGE (FR) 19 MAY 2020 Maifestspiele Festival – WIESBADEN (DE) 28 MAY 2020 Stadsschouwburg – UTRECHT (NL) 30 MAY 2020 SPOT/Stadsschouwburg – GRONINGEN (NL) 05-06 JUNE 2020 Vooruit – GENT (BE)
MOEDER (Mother) (2016) 06-08 SEP 2019 Theatre Olympics 2019 – ST. PETERSBURG (RU) 03 OCT 2019 Torinodanza – TORINO (IT) 14 MAR 2020 Museum of Art – KOCHI (JP) 19-21 MAR 2020 Setagaya Theatre – TOKYO (JP) 15-16 MAY 2020 Pavillon Noir – AIX-EN-PROVENCE (FR)
VADER (Father) (2014) 05 OCT 2019 Torinodanza – TORINO (IT) 08-09 OCT 2019 Teatro Nazionale – GENOVA (IT) 18-19 DEC 2019 Théâtre Le Liberté – TOULON (FR) 32 RUE VANDENBRANDEN (2009) 20-23 NOV 2019 Next Wave Festival – NEW YORK (US)
31 RUE VANDENBRANDEN (2018) 19-20 SEP 2019 Festival Dance Inversion – MOSCOW (RU)
THE MISSING DOOR (2013) / Part of the ‘Soir Historique’ 28 NOV – 01 DEC 2019 Zuiderstrandtheater – DEN HAAG (NL) 05-08 DEC 2019 Internationaal Theater Amsterdam – AMSTERDAM (NL) 11 DEC 2019 Theaters Tilburg – TILBURG (NL) 13 DEC 2019 Stadsschouwburg Nijmegen – NIJMEGEN (NL) 18 DEC 2019 Parkstad Limburg Theaters – HEERLEN (NL) 20-21 DEC 2019 Zuiderstandtheater – DEN HAAG (NL)
PEEPING TOM Rue des Etangs Noirs 97 1080 Brussels – Belgium T +32 2 290 22 07 BE0473.380.883 [email protected] www.peepingtom.be
Artistic directors: Gabriela Carrizo and Franck Chartier
Company manager: Veerle Mans [email protected]
Technical director: Amber Vandenhoeck [email protected]
Production manager: An Van Der Donckt [email protected]
Tour manager: Lulu Tikovsky [email protected]
Communication manager: Sébastien Parizel [email protected]
Distribution: Frans Brood Productions Gie Baguet / Tine Scharlaken T +32 9 234 12 12 [email protected] www.fransbrood.com
Peeping Tom is supported by the Flemish authorities