Moeder (Mother) is the second volume of a trilogy that opened with Vader (Father) in 2014, directed by Franck Chartier, and will close in 2019 with Kind (Child). In Moeder Gabriela Carrizo is directing. The world première took place on 29 September 2016 in Theater im Pfalzbau (Ludwigshafen, DE). Since then, Moeder has been touring extensively throughout Europe.
"Following the seclusion of a senile mind in a retirement home in Vader (Franck Chartier), choreographer Gabriela Carrizo shows in Moeder the body as a storehouse, in which a multitude of conscious and unconscious recollections merge, collide, and define who we are. The work creates unexpected connections that thread the boundary between suffering, mourning, and celebrating, between holding on or letting go, structure and madness. Here, life and death can be art, showcased for all to see. Out of the flux of the individual memories of the director and performers – the matrix of the piece – a universal and collective memory shines through. And this memory triggers disturbing reflections on the meaning and responsibilities of being a woman, a mother, a parent."
In Moeder, Peeping Tom explores the theme and central figure, memory and the mother, with the same tender and sardonic eye that runs through all of its productions. At once funny and eerie; Moeder is disturbing, yet strangely familiar: we recognise in it the same fascination with the sense that the world is too much for us, the same amused gaze at our faltering attempts to make it fit our notions.
"Moeder is not about a mother, but about several mothers. We talk about motherhood, absence, lack. The play searches the memory and the subconscious to reveal what the mother carries as desires, fears, sufferings or violence. For this piece, I wanted a set design that could represent several spaces, like the multiplicity of mothers. The action takes place in a museum, but can also be seen as a private exhibit space, where family pictures and photos are displayed."
Read the entire conversation of Bachtrack.com with Gabriela Carrizo
Direction: Gabriela Carrizo
Directorial assistance and dramaturgy: Franck Chartier
Creation and performance: Eurudike De Beul, Maria Carolina Vieira, Marie Gyselbrecht, Brandon Lagaert, Hun-Mok Jung, Yi-Chun Liu, Simon Versnel, Charlotte Clamens
Artistic assistance: Diane Fourdrignier
Sound composition and arrangements: Raphaëlle Latini, Renaud Crols, Glenn Vervliet, Peeping Tom
Sound mixing: Yannick Willox, Peeping Tom
Light design: Giacomo Gorini, Amber Vandenhoeck
Costume design: Diane Fourdrignier, Kristof Van Hoorde (intern), Peeping Tom
Set design: Amber Vandenhoeck, Peeping Tom
Construction set: KVS-atelier, Peeping Tom
Technical direction: Filip Timmerman
Light engineer: Amber Vandenhoeck
Sound engineer: Hjorvar Rognvaldsson
Foley coach: Elias Vervecken
Production Coordinator: Anastasia Tchernokondratenko
Video rehearsals: Sulok Swablamban (intern), Gaspard Rozenwajn
Production: Peeping Tom
Co-production: Theater im Pfalzbau (Ludwigshafen), Taipei Performing Arts Center (Taipei), KVS - Royal Flemish Theatre (Brussels), Grec Festival de Barcelona / Mercat de les Flors (Barcelona), HELLERAU - European Center for the Arts Dresden, Les Théâtres de la Ville de Luxembourg, Maison de la Culture de Bourges / Scène Nationale, La Rose des Vents (Villeneuve d’Ascq), Festival Aperto/Fondazione I Teatri (Reggio Emilia), La Bâtie Festival de Genève.
Moeder is supported by Theater im Pfalzbau (Ludwigshafen) and Taipei Performing Arts Center (Taipei), key partners in the Vader, Moeder, Kind trilogy.
Sales: Frans Brood Productions
Peeping Tom wishes to thank: Alexandre Obolensky, Jean-Philippe Altenloh, Romy Beni, Heidi Ehrhart, Ina Peeters, Elias Vervecken, François Heuse, Theater Froe Froe.
"Mother is an enormously intelligent work, its images deep and resonant, coming back to haunt you long after the show."
Total Theatre 03.02.2018 (in English)
"Moeder (Mother)’s imagery is a brilliant mix of naturalistic observation and weirdness, sometimes gruesome and often very funny."
The Independent 29.01.2018 (in English)
"The virtuosity of the dancers is always impressive, and [Moeder] is always a feast for the eyes."
The Reviews Hub 25.01.2018 (in English)
"Riveting, imaginative dance theatre that explores the uncanny side of motherhood." **** (4 stars)
The Stage 25.01.2018 (in English)
"Their productions swirl with strange, surreal images. They swing from silly to unsettling in a few steps, until audiences are bamboozled. These are shows that refuse to be shaken off."
The Guardian 09.01.2018 (in English)
"Theatre: The best of the year 2017"
Publico 22.12.2017 (in Portuguese)
"The company manages to hypnotize the audience again and again. Apparent irrationality and surreal scenes, in which an almost slapstick humour is surprising, form a kind of nightmare that disturbs and fascinates at the same time."
Dresdner Kulturmagazin 09.12.2017 (in German)
In Moeder, the absurd and the unintelligible open up a crack in the daily fiction to show humanity in its vivid, visceral plainness. The brilliant interpreters are shaken to their cores by pain, jumping backwards, drowning in concrete floors and getting sucked up by walls. Nobody escapes the unbearable fragility of existence.
Teatro.persinsala.it 18.10.2017 (in Italian)
"Gabriela Carrizo’s direction induces a dream state. She goes to work on your subconscious. […] Seeing Moeder, I struggled to remember the last time I felt so brilliantly all at sea in a theatre."
What’s on Stage 05.09.2017 (in English)
"[Moeder] is brilliant in all its simplicity. But at the same time furiously cleverly done."
Svenska Yle 01.09.17 (in Swedish)
"The dancers of the work are of the highest level"
Demokraatti.fi 01.09.17 (in Finnish)
"It's challenging and exciting to be in the audience, and it's one of those shows you'd like to see again."
Den 4 Vaeg 23.08.17 (in Danish)
"To describe the work of Peeping Tom, the words “dream” and “nightmare” are not sufficient: they are in the middle, in that infinite limbo oscillating between the summit and the terrifying."
Recensito 14.07.2017 (in Italian)
"The show works perfectly through striking metaphors, powerful allegories and images that linger in our thoughts for a long time. And the artists are simply dazzling."
Revista Proscenium 13.07.2017 (in Catalan)
"Guided by characters abducted by their own inner urges, the public attends a proposal of technical rigor and expressive design that allows you to watch with fascination, between the familiar and the strange, in a landscape where women drown dry, where the painted heart bleeds and where coffee machines reveal the absolute solitude of men and human beings."
Teatro Critico Universal 13.07.2017 (in Galician)
"[Moeder] opens up repeated emotional floodgates. There are those who laugh loudly, there are those who cry silently, some who are frightened without fear of denouncing themselves. In Moeder, there is not much to hide."
Publico 30.06.2017 (in Portuguese)
"Never completely free of humor, Moeder is the embodiment of love, desire, and inner revolt with the perverted means of physicality, play and sound. Aesthetic through precise direction. Brilliant!"
Land 26.05.2017 (in German)
"The bodies at times distorted perspire their disarray, without shame. They stiffen, wrinkle, deform, throw themselves on the ground without vertigo, climb to the wall with truthfulness and soak in water. The technique is remarkable and the corporality of the dancers, fierce."
Le Clou dans la Planche 25.05.2017 (in French)
"Dream and reality, comedy and tragedy, dance/theatre and music intertwine on a damned rhythm throughout this twirling saraband, at the same time impeccably arranged and totally torn to pieces."
Le Brigadier may/june 2017 (in French)
"The piece is very humane, with performers with an extreme precision regarding placement and acting, of which some are also and above all breathtaking dancers with incredible movements."
Luxemburger Wort 13.05.2017 (in French)
"Peeping Tom is one of the most enjoyable dance companies of the moment. Technically outstanding. Funny. Shocking. Stunning. Living. And above all excellent."
Sud Ouest 07.04.2017 (in French)
"Seldom will you be able to see on a stage a talent similar to that of this company."
En Platea 10.02.2017 (in Spanish)
"In Moeder, as in Vader, the dancers and actors are stunning, both choreographically and dramatically." *****
Bachtrack 02.02.2017 (in French)
"[They have] a style between virtuosity and the wild, praising the personal work of the dancers (acrobats?) playing with the plasticity of their bodies, skirting the limits of what is humanly possible and setting new models of what you can compose as a choreography."
Cicutadry 02.2017 (in Spanish)
"Time, suspended, allows us to experience a moment in turn dazzling, moving, funny, offbeat and delusional, sometimes grotesque or disturbing but eminently impressive."
ThéaToile 29.01.2017 (in French)
"The performers are enlightened by a body language pushed to the extreme: the bodies twist, contort, bend savagely, struggle in a pool of sounds, for the benefit of breathtaking surrealist scenes."
maculture.fr 29.01.2017 (in French)
"In seemingly trivial settings - a retirement home for Vader, an apartment-museum in Moeder - vertebral columns for the evolution of the characters, the spectacular excesses formidably encircled by Gabriela Carrizo and Franck Chartier testify to the aesthetic and human scale of their vision since their beginnings."
Le Monde 25.01.2017 (in French)
"The beauty and originality of this danced theater lies in the tender and raw gaze on each character laid bare in an ultra-precise direction, sometimes outraged extravagance and perfectly controlled agitation."
Sceneweb.fr 17.01.2017 (in French)
"The performers are absolutely dazzling. The ensemble is of a rare intelligence, as much by the musical and vocal treatment as by a striking choreographic vocabulary."
La Terrasse 17.12.2016 (in French)
"What makes Peeping Tom productions so interesting, is their detailed analysis of the human behavior."
Concertnews 15.12.2016 (in Dutch)
"Moeder (Mother) is almost an explosion of all senses, with vigorous dance theater about an expectant birth and a bitter good bye, about the primal power of giving birth to the rage over loss."
Volkskrant 25.11.2016 (in Dutch)
"The scenes of Moeder remind us of distorted dreams or memories, all made into a parallel universe David Lynch could learn from."
Trouw 28.11.2016" (in Dutch)
"A classic but nonetheless touching, engaging and even funny portrait of the most beautiful role a woman can play, both on stage and in life."
Knack Focus 21.11.2016 (in Dutch)
"[Moeder by Peeping Tom]: virtuosity in service of emotion."
RTBF 17.11.2016 (in French)
"Peeping Tom shows the circle of life in an odd but intriguing dance spectacle."
De Standaard 16.11.2016 (in Dutch)
"One must accept to lose oneself in the meanders of this choreography about the unconscious of the thread of the maternal figure ... [...] Aesthetics, dance, sound: everything is hypnotic in these dream paintings."
Le Soir 15.11.2016 (in French)
"Peeping Tom confirms that its shifted universe, which probes the unfathomable, which mixes laughter and melancholy, always touches us."
La Libre Belgique 11.11.2016 (in French)
"Peeping Tom is more than an ensemble, they are a family and all their pieces are about family structures and love relationships, presented in hyperrealistic spaces by always enchanting figures - using a lot of slapstick and comedy, but always with a melancholic undertone."
Der Landbote 31.10.2016 (in German)
"[Peeping Tom] surprises with powerful, poetic metaphors, that cut into the soul's flesh"
Kölnische Rundschau 22.10.2016 (in German)
"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 (in Italian)
"Disturbing, strong, yet strangely familiar, that's how Moeder (Mother) is."
Gazetta di Reggio 15.10.2016 (in Italian)
"The dance theater of Peeping Tom is very original and unique."
GB Opera 15.10.2016 (in Italian)
“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 (in German)
ARTICLES & INTERVIEWS
"Bélgica, meca de la vanguardia"
El País 03.02.3018 (in Spanish)
"Peeping Tom bring Moeder to London International Mime Festival"
The Sunday Times 21.01.2018 (in English)
"Memories about mother, drifing in time and space"
Art Unlimited 11-12.2017 (in English)
"An abstract fresco of unexpected sensations and movements that challenges the fascinatingly flexible anatomy of its dancers."
TV3 Catalunya 10.02.2017 (in Catalan)
"Oscillating between humor and nightmare, Moeder is a work of art of rare uniqueness. "
ARTE TV 16.11.2016 (in German/French)
"With Moeder (Mother) Peeping Tom reached into the eerily and unsuitable depths of the familial, maternal or rather human existence in general."
"The dancers act grandiosely. With an absolute and very precise use of body control, they expand in continuously changing roles and grotesque sceneries."
WDR3 Mosaik 19.10.2016 (in German)
|29 Mar 2018||Le Bâteau Feu Dunkerque (FR)|
|06 Apr 2018||Theater aan het Vrijthof Maastricht (NL)|
|19-20 May 2018||Festival Internacional de Teatro y Artes de la Calle Valladolid (ES)|
|14 Jun 2018||Tanz und Theater Festival Freiburg (DE)|
|29-30 Sep 2016||Theater im Pfalzbau Ludwigshafen (DE)|
|15-16 Oct 2016||Festival Aperto/Fondazione I Teatri Reggio Emilia (IT)|
|20-22 Oct 2016||Schauspiel Köln Cologne (DE)|
|28-29 Oct 2016||Gessnerallee Zürich (CH)|
|03-05 Nov 2016||Dansens Hus Oslo (NO)|
|10-12 Nov 2016||KVS Brussels (BE)|
|15-17 Nov 2016||KVS Brussels (BE)|
|25 Nov 2016||Stadsschouwburg Amsterdam Amsterdam (NL)|
|02-03 Dec 2016||Teatro Central Sevilla (ES)|
|07 Dec 2016||Teatro Romea Murcia (ES)|
|12 Dec 2016||Monaco Dance Forum Monaco (MC)|
|15-17 Dec 2016||deSingel Antwerp (BE)|
|20 Dec 2016||C-mine cultuurcentrum Genk (BE)|
|17-18 Jan 2017||MC Bourges Bourges (FR)|
|26-28 Jan 2017||Théâtre de la Ville / Maison des Arts de Créteil Paris (FR)|
|01-03 Feb 2017||Le Maillon Strasbourg (FR)|
|09-12 Feb 2017||Mercat de les Flors Barcelona (ES)|
|05-07 Apr 2017||TNBA Bordeaux (FR)|
|11 Apr 2017||MaZ Brugge (BE)|
|18 Apr 2017||Stadsschouwburg Utrecht Utrecht (NL)|
|21-22 Apr 2017||L'Onde Vélizy-Villacoublay (FR)|
|25-26 Apr 2017||Le grand R La Roche-sur-Yon (FR)|
|03-04 May 2017||Theâtre de Caen Caen (FR)|
|11-12 May 2017||Les Théâtres de Luxembourg Luxembourg (LU)|
|17-20 May 2017||TNT Toulouse (FR)|
|30 May - 01 Jun 2017||La Rose des Vents Villeneuve d'Ascq (FR)|
|11 Jul 2017||Festival de Almada Almada (Lisbon) (PT)|
|20-21 Aug 2017||Waves Festival Vordingborg (DK)|
|30 Aug - 01 Sep 2017||Helsinki Festival Helsinki (FI)|
|05 Sep 2017||Schauspielhaus - Tanztheater International Hannover (DE)|
|09-10 Sep 2017||La Bâtie - Festival de Genève Genève (CH)|
|13-14 Sep 2017||Maison de la danse Lyon (FR)|
|17 Sep 2017||Centro Cultural Vila Flor Guimarães (PT)|
|05-06 Oct 2017||30 CC / Schouwburg Leuven (BE)|
|14 Oct 2017||One Dance Week Plovdiv (BG)|
|17 Oct 2017||Dimitria Festival Thessaloniki (GR)|
|31 Oct 2017||KVS Brussel (BE)|
|02-04 Nov 2017||KVS Brussel (BE)|
|08-09 Dec 2017||HELLERAU - European Center for the Arts Dresden (DE)|
|20 Jan 2018||CC De Westrand Dilbeek (BE)|
|24-27 Jan 2018||London International Mime Festival London (UK)|
|30-31 Jan 2018||La Comédie de Saint-Etienne Saint-Etienne (FR)|
|13-14 Feb 2018||La Comète - Scène Nationale Châlons-en-Champagne (FR)|
|27-28 Feb 2018||Les Treize Arches Brive (FR)|
|16-17 Mar 2018||Teatros del Canal Madrid (ES)|