{"id":117142,"date":"2016-09-20T13:16:19","date_gmt":"2016-09-20T13:16:19","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=946"},"modified":"2023-06-15T09:45:18","modified_gmt":"2023-06-15T09:45:18","slug":"sobre-moeder-de-peeping-tom","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/en\/blog\/sobre-moeder-de-peeping-tom\/","title":{"rendered":"Sobre ‘Moeder’ de Peeping Tom"},"content":{"rendered":"

La segona part d\u2019una trilogia sobre la fam\u00edlia en rosega els fonaments com un corc \u00a0afamat. Despr\u00e9s de Vader<\/em>, \u00e9s el torn de Moeder<\/em>, la mare que, per a Franck Chartier \u201c\u00e9s l\u2019\u00fanica persona amb<\/em> qui hem estat realment units\u201d<\/em>. Per aix\u00f2 el lligam \u00e9s tan fort i ens marca de per vida, \u201cfins i tot en la<\/em> seva abs\u00e8ncia\u201d<\/em>, diu Gabriela Carrizo.<\/p>\n

Gabriela Carrizo i Franck Chartier s\u00f3n els ulls i les visions de Peeping Tom, la companyia belga amb nom de voyeur que es mou entre contorsions fren\u00e8tiques i teatralitat cinematogr\u00e0fica. Despr\u00e9s de crear a l\u2019un\u00edson mitja dotzena d\u2019obres trasbalsadores, en la seva trilogia han decidit repartir-se les tasques. Ell va dirigir Vader<\/em>; ella Moeder<\/em>. Kinderen<\/em>, la tercera part, vindr\u00e0 de la filla d\u2019ambd\u00f3s.<\/p>\n

Per\u00f2 no \u00e9s cap biografia, sin\u00f3 una investigaci\u00f3 profunda sobre la figura materna, en tota la seva complexitat. \u201cDes que ens arrenquen del seu interior<\/em> que l\u2019estem reclamant, com si ens priv\u00e9s d\u2019alguna<\/em> cosa\u201d<\/em>, i tanmateix, la core\u00f2grafa continua, \u201csempre<\/em> hi ha un moment -i passa en qualsevol edat- que<\/em> voldries cridar: Mama! I fer que s\u2019esva\u00efssin tots els<\/em> problemes!\u201d<\/em>. \u00c9s un crit instintiu per espantar les pors i acompanyar la solitud.<\/p>\n

Perqu\u00e8 la mare representa una estranya conjunci\u00f3 entre l\u2019abs\u00e8ncia i la pres\u00e8ncia: des que ens n\u2019han separat, la trobem a faltar sempre, no es tracta nom\u00e9s de la mort. I de fet, encara que sigui morta, la mare continua existint en nosaltres. \u201cEl seu rol \u00e9s<\/em> tan ampli que permet la duplicaci\u00f3 -personificada en<\/em> diverses ballarines alhora- aix\u00ed com la invisibilitat\u201d<\/em>, explica Chartier.<\/p>\n

Com \u00e9s habitual a Peeping Tom, la construcci\u00f3 escenogr\u00e0fica \u00e9s de vital import\u00e0ncia i aqu\u00ed es concep com un espai mental on el temps i l\u2019espai f\u00edsic es desplacen en un travelling visual que pot arribar a l\u2019origen de la vida. \u201cLa veu de la mare i els<\/em> seus sons interns s\u00f3n el primer que sentim\u201d, <\/em>ens recorda Carrizo. De fet, el so t\u00e9 la capacitat d\u2019acostar-nos i allunyar-nos dels petits detalls que l\u2019habiten, modificant-ne \u00a0totalment el sentit. Per a Peeping Tom, cada creaci\u00f3 \u00e9s un repte. I avisa Gabriella. \u201cSi no, ja haur\u00edem plegat\u201d<\/em>.<\/p>\n

____________________________________________________________________<\/p>\n

La segunda parte de una trilog\u00eda sobre la familia arrastra los fundamentos como carcoma hambrienta. Despu\u00e9s de Vader<\/em>, es el turno de Moerder,<\/em> la madre que, para Franck Chartier \u201ces la \u00fanica persona con qui\u00e9n hemos estado realmente unidos\u201d. <\/em>Por eso el lazo es tan fuerte y nos marca de por vida, \u201cincluso en su ausencia<\/em>\u201d, dice Gabriela Carrizo.<\/p>\n

Gabriela Carrizo y Franck Chartier son los ojos y las visiones de Peeping Tom, la compa\u00f1\u00eda belga con\u00a0nombre de voyeur que se mueve entre contorsiones fren\u00e9ticas y teatralidad cinematogr\u00e1fica. Despu\u00e9s de crear al un\u00edsono media docena de obras traspasadoras, en su trilog\u00eda han decidido repartirse las tareas. \u00c9l dirigi\u00f3 Vader, <\/em>ella Moeder<\/em>. Kinderen<\/em>, la tercera parte, vendr\u00e1 de la hija de ambos.<\/p>\n

Pero no es ninguna biograf\u00eda, sino una investigaci\u00f3n profunda sobre la figura materna, en toda su complejidad. \u201cDesde que nos arrancan de su interior que la estamos reclamando, como si nos privara de alguna cosa<\/em>\u201d, y del mismo modo, la coreograf\u00eda continua, \u201csiempre hay un momento- y pasa a cualquier edad- que quisieras gritar: \u00a1Mam\u00e1! Y hacer que se esfumaran todos los problemas<\/em>\u201d. Es un grito instintivo para alejar los miedos y acompa\u00f1ar la soledad.<\/p>\n

Porque la madre representa una extra\u00f1a conjunci\u00f3n entre la ausencia y la presencia: desde que nos han separado, la echamos de menos siempre, no se trata solo de la muerte. Y de hecho, aunque est\u00e9 muerta, la madre continua existiendo en nosotros. \u201cSu rol es tan amplio que permite la duplicaci\u00f3n-personificada en diversas bailarinas al mismo tiempo- as\u00ed como la invisibilidad<\/em>\u201d, explica Chartier.<\/p>\n

Como es habitual en Peeping Tom, la construcci\u00f3n escenogr\u00e1fica es de vital importancia\u00a0 y aqu\u00ed se concibe\u00a0 como un espacio mental d\u00f3nde el tiempo y el espacio f\u00edsico se desplazan en un travelling visual que puede llegar al origen de la vida. \u201cLa voz de una madre y sus sonidos internos son lo primero que escuchamos<\/em>\u201d, nos recuerda Carrizo. De hecho, el sonido\u00a0 tiene la capacidad de acercarnos y alejarnos de los peque\u00f1os detalles que lo habitan, modificando totalmente el sentido. Para Peeping Tom, cada creaci\u00f3n es un reto. Y avisa Gabriella. \u201cSino, ya habr\u00edamos plegado<\/em>\u201d<\/p>\n

____________________________________________________________________<\/p>\n

The second part of a trilogy about the family, gnawing at its foundations like a hungry woodworm. After Vader <\/em>comes Moeder<\/em>, mother, the figure that for Franck Chartier \u201cis the only person we have really<\/em> been joined to.\u201d <\/em>Which is why the connection is so strong, and marks us for life, \u201ceven in her absence,\u201d<\/em> says Gabriela Carrizo.<\/p>\n

Gabriela Carrizo and Franck Chartier are the eyes and the visionaries of Peeping Tom, the Belgian company with the voyeuristic name whose work oscillates between frenetic contortions and cinematographic theatricality. After creating half a dozen breathtaking works in unison, in this trilogy they\u2019ve decided to split the directorial duties. He directed Vader<\/em>; she directs Moeder<\/em>. Kinderen<\/em>, the third part, will be directed by their daughter.<\/p>\n

But this is not biography, rather a far-reaching investigation into the figure of the mother in all its complexity. \u201cFrom the moment we\u2019re torn from inside<\/em> her, we call out to her, as if we were being deprived of<\/em> something,\u201d <\/em>and at the same time, the choreographer continues, \u201cthere\u2019s always a moment \u2014 and it can<\/em> come at any age \u2014 when you want to call out \u201cMama!\u201d<\/em> to make all your problems go away.\u201d <\/em>It\u2019s an instinctive cry, to chase away our fears and soothe our loneliness.<\/p>\n

The mother figure represents a strange conjunction of absence and presence: from the moment we\u2019re separated from her, we miss her, and not only in death. In fact, even after her death, our mother continues to exist within us. \u201cHer role is so all-embracing that it allows<\/em> duplication \u2014 personified in several dancers at the same<\/em> time \u2014 as well as invisibility,\u201d <\/em>explains Chartier.<\/p>\n

As usual with Peeping Tom, the construction of the set is crucial. It is conceived in this show as a mental space in which time and physical space shift in a visual travelling shot that can reach right back to the origins of life. \u201cOur mother\u2019s voice and the sounds<\/em> inside her body are the first things we hear,\u201d <\/em>Carrizo reminds us. In fact, sound can draw us into, or distance us from, the tiny details that it contains, changing its meaning completely. For Peeping Tom, every new creation is a challenge, as Gabriella points out \u2014 \u201cotherwise, we\u2019d have called it a day already\u201d<\/em>.<\/p>\n

Moeder de PEEPING TOM es present\u00e0 al Mercat de les Flors del 9 al 12 de febrer<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cSempre hi ha un moment -i passa en qualsevol edat- que voldries cridar: Mama! I fer que s\u2019esva\u00efssin tots els problemes!”<\/p>\n","protected":false},"featured_media":117143,"template":"","categoria":[6770],"etiqueta_blog":[6784,6785,6786,6787,6788,6789,6790,6791,6675,6792,6793],"class_list":["post-117142","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2016-17","etiqueta_blog-cinema","etiqueta_blog-escenografia","etiqueta_blog-familia","etiqueta_blog-family","etiqueta_blog-franck-chartier","etiqueta_blog-gabriela-carrizo","etiqueta_blog-moeder","etiqueta_blog-peeping-tom","etiqueta_blog-teatre","etiqueta_blog-trilogia","etiqueta_blog-vader"],"acf":[],"yoast_head":"\nSobre 'Moeder' de Peeping Tom<\/title>\n<meta name=\"description\" content=\"\u201cSempre hi ha un moment -i passa en qualsevol edat- que voldries cridar: Mama! 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