At the Théâtre du Rond-Point, Peeping Tom works on traumas in the body

We first met them in a camper van. That was in 2001. Parked in the basement of the Centre Pompidou in Paris, the mobile home, battered by thousands of kilometers of wandering, seemed crushed under the weight of the junk accumulated by its occupants. Outside the window, between a stuffed deer head and a crystal chandelier, we could see them, sprawled in front of the TV or cooking up a snack. And, when the tribe left to go and crash a few meters further, the accident left us speechless.

This tireless ride was titled A Useless Life . It introduced the Belgian collective Peeping Tom. A manifesto name that immediately laid the kilo of red, the shouts and whispers, the overflowing dirty laundry on the camping table. A ransacking of the intimate for spectators glued to the keyhole. "At the beginning, for us, there was the idea of ​​talking about human and family relationships, then this desire to enter, like in the cinema, into people's heads, to read thoughts by showing all the layers that coexist in each one ," explain the choreographers Gabriela Carrizo and Franck Chartier, co-pilots of Peeping Tom. We are very interested in parallel worlds linked to the unconscious, to taboos, to things left unsaid..." They cite among their sources of inspiration the novels of Fyodor Dostoyevsky, Kobo Abe or Jorge Luis Borges, the cinema of Shohei Imamura and Satyajit Ray.

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