Memory work: interview with Gabriela Carrizo (Peeping Tom)

Peeping Tom is working at the KVS on its Vader, Moeder and Kinderen trilogy, with their characteristically tender and sardonic view. The KVS is showing the premiere of the latest part: Moeder, which is both humorous and odd, alarming, but also amazingly recognisable. We asked the director Gabriela Carrizo a few questions.

In the Vader – Moeder – Kinderen trilogy your main starting point is the memory. How do you use your memory in an artistic creation?
The memory is a laboratory that recreates things, a motor shows how we reconstruct the past – and in so doing transform it. Vader was mainly about decline, the age of a father and the people around him who are involved with him. Moeder is not so much about a mother, but about the conflict between two aspects of motherhood – giving and intense sorrow – and between what we give and pass on and how we react to loss and leave-taking.

The Belgian premiere will be at KVS. Is this a special place for you?
KVS offered us support from the very beginning. As early as 2000, KVS gave us a small corner of the car park at the Bottelarij to work on Caravana. That was followed by Le Jardin, Le Salon and Le Sous-sol. 32 rue Vandenbranden was the first production we did in KVS BOX. So many people wanted to see it that we had to move to the BOL. Since then we have also performed A louer and Father in KVS BOL.

And the KVS audience?
They have kept track of us and are still doing so. At first a lot of students and youngsters. That was really special. Perhaps it was because we approach dance in a different way. We don’t have a fixed recipe, of course… It’s most likely because of the encounter between dance, song, theatre and music. The audience often came to us after the show to say that the characters on the stage could have been themselves.