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NAC Dance
· 2024-2025 Season

Triptych, Andrea Avezzu © La Biennale

Peeping Tom

Start: 2025-04-11T19:30:00-04:00
End: 2025-04-11T22:00:00-04:00
Location: Babs Asper Theatre

Diptych: The missing door and The lost room

https://nac-cna.ca/en/event/36100

In-person event

April 10 - 11, 2025

7:30 pm EDT

April 2025

Apr 10 2025

Thursday
7:30pm
Apr 11 2025

Friday
7:30pm

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Babs Asper Theatre 1 Elgin Street Ottawa Canada

Peeping Tom

Apr 10 - 11, 2025

Babs Asper Theatre

A female dancer hovers over a male dancer seated in an armchair, with their bare legs suspended upwards, as another dancer looks on from inside a closet door next to a floor lamp. — Triptych, Andrea Avezzu © La Biennale

2-triptych-andrea-avezzu-courtesy-of-la-biennale-2 — Triptych © Virgina Rota

3-triptych-andrea-avezzu-courtesy-of-la-biennale-2 — Triptych © Andrea Macchia

4-triptych-andrea-avezzu-courtesy-of-la-biennale-2 — Triptych © La Biennale

Dance Contemporary

“Dreams and mystery collide in this seductive, masterful show.  ”

In-person event
≈ 80 minutes · No intermission

Partial nudity
Mature themes
Sexual content
Flashing lights
Loud noises

Peeping Tom, the multiple-award-winning Belgian dance theatre company, makes its NAC debut with Diptych: The missing door and The lost room, created by Gabriela Carrizo and Franck Chartier. 

Through extreme acrobatic dance, audiences will discover an environment that seems real at first glance, but soon slides into an intriguing theatrical dream world that defies all logic of time, space and mood. On a quest for an ideal and driven by hope, the characters are lost in a labyrinth, caught between reality and imagination, guided by forces that lead them toward an uncertain fate. Through Peeping Tom’s dazzling mastery of images that evoke dreams, fear and desires, the audience becomes a witness—or perhaps a voyeur?—to things that usually remain hidden. 

Each part of the show has a different setting: a room with walls plastered with locked doors, and a ship’s cabin. Set changes are done in plain sight, like on a film set, giving the audience the sense that they are watching a movie shoot.  

In this mysterious, claustrophobic atmosphere—characteristic of the world of Peeping Tom—the dancers shine through the uniquely cinematographic direction of movement and scenic design.

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https://nac-cna.ca/en/event/36100

In-person event

Peeping Tom, the multiple-award-winning Belgian dance theatre company, makes its NAC debut with Diptych: The missing door and The lost room, created by Gabriela Carrizo and Franck Chartier.  Through extreme acrobatic dance, audiences will discover an environment that seems real at first glance, but soon slides into an intriguing theatrical dream world that defies all logic of time, space and mood. On a quest for an ideal and driven by hope, the characters are lost in a labyrinth, caught between reality and imagination, guided by forces that lead them toward an uncertain fate. Through Peeping Tom’s dazzling mastery of images that evoke dreams, fear and desires, the audience becomes a witness—or perhaps a voyeur?—to things that usually remain...

Artists

Featuring Gabriela Carrizo

Featuring Gabriela Carrizo

Gabriela (°1970, Córdoba, AR) 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, Gabriela 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. In 2022, Gabriela directed La Ruta, her second short piece for Nederlands Dans Theater (NDT 1).

Gabriela has been the artistic director of Peeping Tom, along with Franck Chartier, since they co-founded the company in 2000.

Gabriela (°1970, Córdoba, AR) commence la danse contemporaine à l’âge de dix ans, dans une école multidisciplinaire (la seule qui propose à cette époque un groupe de danse contemporaine pour enfants et adolescents). Sous la direction de Norma Raimondi, l’institut devient le Ballet de l’Université de Córdoba, dans lequel Gabriela danse pendant plusieurs années, et où elle crée ses premières chorégraphies.

Elle part en Europe à dix-neuf ans, et à travers les années, travaille avec Caroline Marcadé, Les Ballets C de la B (La Tristeza Complice, 1997, et Iets op Bach, 1998), Koen Augustijnen (Portrait intérieur, 1994) et Needcompany (Images of Affection, 2001). Durant ces années, elle n’a jamais cessé de travailler sur ses propres chorégraphies. Ainsi, elle crée le solo E tutto sará d’ombra e di caline, et Bartime, en collaboration avec Einat Tuchman et Lisi Estaras. Elle signe également la chorégraphie de l’opéra Wolf (2002), par Les Ballets C de la B. Elle tient le rôle principal dans le film Kid (2012) de Fien Troch. En 2013, Gabriela crée la pièce courte The missing door avec les danseurs de la compagnie Nederlands Dans Theater – NDT 1 (La Haye, NL) et plus récemment The Land (2015) avec les acteurs du Residenztheater (Munich, DE). En 2018, elle a adapté avec Franck Chartier la pièce 32 Rue Vandenbranden pour le Ballet de l’Opéra de Lyon. Ainsi, 31 Rue Vandenbranden a ouvert la prestigieuse Biennale de la Danse de Lyon. Gabriela a créé La Ruta, sa deuxième création courte pour le Nederlands Dans Theater, en 2022.

Gabriela est co-directrice artistique de Peeping Tom, avec Franck Chartier, depuis la fondation de la compagnie en 2000.

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Featuring Franck Chartier

Featuring Franck Chartier

Franck (°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 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.

Franck (°1967, Roanne, FR) a commencé la danse à l’âge de 11 ans. A 15 ans, sa mère l’envoie étudier la danse classique au Rosella Hightower à Cannes. Après avoir obtenu son diplôme, il rejoint le Ballet du 20ème siècle de Maurice Béjart, avec lequel il travaille entre 1986 et 1989. Ensuite, pendant trois ans, il travaille avec Angelin Preljocaj et danse dans Le spectre de la rose à l’Opéra de Paris.

En 1994, il déménage à Bruxelles pour danser dans la pièce Kinok (1994) de Rosas, puis travaille sur des duos avec Ine Wichterich et Anne Mouselet, mais aussi dans des productions de la Needcompany ( Tres, 1995) et des Ballets C de la B: La Tristeza Complice (1997), Iets op Bach (1997) et Wolf (2002). De plus, en 2013, Franck a créé 33 rue Vandenbranden pour l’Opéra de Göteborg, une adaptation de la pièce 32 rue Vandenbranden de Peeping Tom. La même année, il a créé la chorégraphie de l’opéra Marouf, savetier du Caire, par Jérôme Deschamps, à l’Opéra Comique de Paris.

Avec le Nederlands Dans Theater, il a réalisé The lost room. Pour cette pièce, Franck a remporté un prestigieux ‘Zwaan 2016’ en tant que ‘Production de Danse la Plus Impressionante’. En 2017, il a présenté sa deuxième pièce courte avec NDT, The hidden floor. Un an plus tard, il a adapté avec Gabriela Carrizo la pièce 32 Rue Vandenbranden pour le Ballet de l’Opéra de Lyon. Ainsi, 31 Rue Vandenbranden a ouvert la prestigieuse Biennale de la Danse de Lyon de 2018.

Franck Chartier est co-directeur artistique de Peeping Tom, avec Gabriela Carrizo, depuis la fondation de la compagnie en 2000.

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Concept and direction Gabriela Carrizo and Franck Chartier
Performance Konan Dayot, Fons Dhossche, Lauren Langlois, Panos Malactos/Akira Yoshida, Alejandro Moya, Fanny Sage, Eliana Stragapede, Wan-Lun Yu
Artistic assistance Thomas Michaux
Sound dramaturgy Raphaëlle Latini
Sound composition and arrangements Raphaëlle Latini, Ismaël Colombani, Annalena Fröhlich, Louis-Clément Da Costa, Eurudike De Beul
Light design Tom Visser
Set design Gabriela Carrizo, Justine Bougerol
Costume design Seoljin Kim, Yichun Liu, Louis-Clément Da Costa
Confection costumes Sara van Meer, Lulu Tikovsky, Wu Bingyan (internship)
Technical coordination Giuliana Rienzi, Pjotr Eijckenboom (creation)
Technical engineers Bram Geldhof/Ilias Johri (lights), Tim Thielemans/Jonas Castelijns/Jo Heijens (sound)
Stage management Thomas Dobruzskes (stage manager), Clement Michaux, Kato Stevens (stage assistants)
Production interns Lisa Gunstone, Robin Appels
Tour manager Alina Benach Barceló
Production manager Helena Casas
Communication manager Sébastien Parizel
Production and administration Rhuwe Verrept
Company manager Veerle Mans
Based on the work Adrift by NDT Created with the dancers of NDT I: Chloe Albaret, Lydia Bustinduy, César Faria Fernandes, Fernando Hernando Magadan/Spencer Dickhaus, Anna Hermann, Anne Jung, Marne Van Opstal, Roger van der Poel, Meng-keWu, Ema Yuasa/Rena Narumi, with artistic assistance by Louis-Clément Da Costa, Seoljin Kim and Yi-Chun Li.
Production Peeping Tom
Co-production Opéra National de Paris, Opéra de Lille, Tanz Köln, Göteborg Dance and Theatre Festival, Théâtre National Wallonie-Bruxelles, deSingel Antwerp, GREC Festival de Barcelona, Festival Aperto / Fondazione I Teatri (Reggio Emilia), Torinodanza Festival / Teatro Stabile di Torino – Teatro Nazionale (Turin), Dampfzentrale Bern, Oriente Occidente Dance Festival (Rovereto)
With the support of: The Flemish authorities
Distribution Frans Brood Productions
Diptych: The missing door and The lost room was created with the support of the Tax Shelter of the Belgian Federal Government