60
PERFORMANCE
Spectating the atmospheric inbetweenness: Peeping Tom Words Mehmet Kerem Özel
PROLOG A décor built in the emptiness of the stage space; a room defined by its floor and two perpendicular walls. There are numerous doors and a window on the walls. One or two people sitting on the chairs in the empty spaces left in two sides of the décor on the stage. Some of the spotlights are placed in these areas and made a part of the atmosphere that was created on the stage: the ones that watch ‘the scene on the stage’ and we, the audience, who watch both. When we first encounter this stage under a darkish light when the curtain is raised, a light coming on and off from the pee hole of the door facing us is visibly seen; as if there is someone behind the door and looking at us from the hole. As one moves, the light coming behind her/him goes off and reappears, just like when you look at the neighbor’s door when you are outside in the stair landing and think that there is no one home if there is light from the hole, but if there is a movement in the light you feel you are watched. This is the same strange situation, the same awkward feeling! Just like the name of the company who creates these works is ‘peeping tom’ which means “watching/peeking” in slang, this work starts with a mise-en-scène that fully fits into their name. I. It is impossible for a spectator who comes to theater to see a play categorized as ‘dance’ or ‘dance theater’, to define what goes on the stage as dance or dance theatre. The works contain parts with dance and also certain characteristics of dance theatre too. However, it seems
that, for its creators, rather than dance choreographies, it is more important to design choreography to create a certain atmosphere on the stage. Yes, ‘atmosphere’! An atmosphere having the qualities that no one ever thought to create on stage before. Their inspiration is not a secret of course, especially David Lynch cinema and all the things that those films evoke: a mysterious, weird, surreal and nightmare-like atmosphere. Also recognized elements of B movies of horror. As for the content, it can be associated with Ingmar Bergman cinema: digging the problems in human relations, especially those in the family (between woman-man, parent-child, mother-son, father-son) in such a way to hurt the parties. In terms of stage aesthetic constituted of theatrical situations and fragmented structure Pina Bausch; in terms of the fluidity of choreographic language Alain Platel and Sidi Larbi Cherkaoui could be mentioned as muses. So, for whom am I doing this long introduction, whom am I talking about? They are two choreographer-dancers, Gabriela Carrizo and Franck Chartier, the founders of Belgium based dance theater company Peeping Tom. Carrizo and Chartier met while they were working in Les ballets C de la B for the famous Belgian choreographer and orthopedic therapist Alain Platel. In 2000 they founded their own company and gained recognition in Europe especially with the trilogy consisting of Le jardin (2001) – Le salon (2004) – Le sous sol (2007). In addition to rewards they received with the trilogy, they continued to receive rewards successively and
furthermore indulge into new collaborations with famous dance or theatre companies. Their last work Vader (2014) received the first prize of the category ‘Best International Dance Production of 2014’ by the jury of the Premios de la Critica Barcelona, while their previous work 32 rue Vandenbranden (2009) won in the category ‘Best New Dance Production’ a Olivier Award in 2015 in London. In May 2015 they produced a work named The Land with the players of Munich Residenztheater, which is one of the prestigious theater companies of Germany. The missing door which was created by Carrizo in 2013 under the umbrella of Netherlands Dance Theater (NDT) 1 which is one of the most important dance groups not only of The Nederlands but also of the world and, the new work of Chartier which he created with the same company were included in the program of 2015-16 season to be performed successively the same night. The lost room has recently been nominated for The Netherlands’ most prestigious dance award, the Zwanen (Swans) as ‘Most Impressive Production in 2016’, which will be announced in coming October during the Festival of the Dutch Dance in Maastricht. It should also be noticed that such an internationally known company like NDT which has lots of world premieres choreographed by such talented artists like its intendants Paul Lightfood and Sol León, and also like Crystal Pite, Gai Behar, Sharon Eyal and Marco Goecke in its programs every season, hasn’t been nominated in Zwanen for years. Peeping Tom has been named after Michael Powell’s