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Bratislava in Movement | PEEPING TOM
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22 October 2018, 7 pm

SND New Building


PEEPING TOM  are returning to Bratislava after 10 years and in the meantime, they have advanced to one of the most original and successful companies of the Belgian theatre and dance scene. The choreographer and director Gabriela Carrizo has created an interesting but also disquiting archetypal image of Mother, based on something of a collective memory. This is the second part of a trilogy about family members (Father 2014, Child 2019), in which Peeping Tom creates complex movement theatre, based on the thoughts on the significance and obligation of motherhood, on what it means to be a woman, a parent, am mother, on the subconsious, on the ideas, disappointments and desires which every mother experiences.

Moeder (Mother)

 Production: Peeping Tom

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 (internship), Peeping Tom

Set design: Amber Vandenhoeck, Peeping Tom

Set construction: KVS-atelier & Peeping Tom

Video rehearsals: Sulok Swablamban (internship), Gaspard Rozenwajn

Foley Coach Elias Vervecken

Co-production: Theater im Pfalzbau (Ludwigshafen), Taipei Performing Arts Center (Taipei), KVS – Koninklijke Vlaamse Schouwburg (Brussel), 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, La Rose des Vents (Villeneuve d’Ascq), Festival Aperto/Fondazione I Teatri (Reggio Emilia), La Bâtie – Festival de Genève.

With the support of the Flemish authorities

Distribution: Frans Brood Productions


Moeder is supported by Theater im Pfalzbau Ludwigshafen (DE) and Taipei Performing Arts Center (Taiwan), key partners in theVader, Moeder, Kind trilogy.



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. Since its premiere. in Theater im Pfalzbau (Ludwigshafen, DE) in 2016, Moederhas been touring extensively throughout Europe.


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.”
Gabriela Carrizo


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.”

Lieve Dierckx and Sébastien Parizel