more information about «Moeder» by Peeping Tom (BE) 28+29.10
©HermanSorgeloos »Moeder» scene image
Press Voices
"The complexity and strength of this work is not only the result of the union of various artistic languages (music, theater, dance, set design), typical for the shows of the Belgian company, but especially through the expressive power of the performers: the audience laughs with them, cry with them, despairs with them, takes possession of their pain."
BlauBart Dance Webzine 19.10.2016
"Moeder is an extreme performance, devastating, full of hyper-realism, of deconstruction, construction, that wants to tell a story about the mother figure, the nightmares and desires of society, of the individual, the weight that the life can have and the weight that death can have; it wants to show mothers, that are exposed as in a museum, mothers torn by indecision, mothers that are frightened from being mothers, mothers who sing (scream) up to scratch the throat, human mothers, mothers who do not have peace. Peeping Tom makes our darkness "shine", makes our eyes hurt, makes you think that "today is a very sad day", sheds light on the fragility of a framed human heart, wounded, bleeding, patched and nailed onto a wall."
BlauBart Dance Webzine 19.10.2016
"Disturbing, strong, yet strangely familiar, that's how Moeder (Mother) is."
Gazetta di Reggio 15.10.2016
"The dance theater of Peeping Tom is very original and unique."
GB Opera 15.10.2016
“Because of the mixture of trauma and the grotesque, wit and disturbance, this is one of the most impressive performances that has been seen in this category for quite some time.”
Die Rheinpfalz 01.10.2016
©HermanSorgeloss «Moeder» scene image
Die Compagnie Peeping Tom
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.
Website Cie Peeping Tom
©HermanSorgeloos «Moeder» scene image
Cie Peeping Tom @ Gessnerallee
Cie Peeping Tom has already performed the successful trilogy «Le Jardin», «Le Salon» and «Le Sous Sol» at the Gessnerallee, as well as the piece «32 rue Vandenbranden». In addition, they showed their work «For Rent» at the 2012 Festspiele. «VADER (Father)» the first part of the actual trilogy has been shown at Festspiele Zurich in 2012 at Gessnerallee Zuerich.