Peeping Tom’s Diptych is this and much more. A cinematic set design, an overwhelming and enveloping dance, a work full of implicit and iconic meanings about the transience of human relationships. The show opens with a man slumped over a small table on the right side of the stage, on the floor a woman lying in a lake of blood will be dragged away, a man washes the floor, while a maid dusts a large armchair. What lies between the one and the other is not known, but it is certainly something horrendous and unspeakable from which these figures are catapulted onto the scene or are sucked into it with their lost, terrified gaze, living fragments of stories whose overall vision escapes us: a romantic encounter, a murder, a son torn from his mother’s arms madness, desire, fear. The visionary and hallucinatory poetics of Peeping Tom play here on the evocation of a submerged, a Freudian traumatic repressed, which remains concealed but from which the humans on stage – without a name, without a defined identity but evidently marked by a history – are continually upset.įive doors in a row on a panel at an obtuse angle, in the first piece cupboard doors in a hotel room or perhaps a ship’s cabin, in the second. The show stems from the re-elaboration of cult pieces from the past. It’s been almost four years since I watched and interviewed Peeping Tom choreographers’ Gabriela Carrizo and Franck Charter in the occasion of their American debut with 32 rue Vandenbranden, winner of Britain’s prestigious Olivier Award for Best Dance Performance 2015.įast forward to January 12, 2023, I was in Baden (Switzerland) to watch Peeping Tom’s double bill Diptych.
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