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Triptych: The missing door, The lost room and The hidden floor 14

Triptych: The missing door, The lost room and The hidden floor

Peeping Tom, Brussel, Belgium

Director: Gabriella Carrizo, Franck Chartier

without text

2 hours 5 minutes with 1 breaks.

In Triptych: The missing door, The lost room and The hidden floor, several characters are evolving in spaces from which they cannot escape. They set out to seek an ideal, they left with a dream and with hope. Now, they keep wandering throughout a mysterious and macabre labyrinth in which they are lost. The characters live between reality and what’s imagined, guided by natural forces that lead them to an uncertain destiny. Each part of the trilogy has its own unique setting and evokes a film set. The missing door is set in a room or hallway filled with doors that won’t open. The action in The lost room happens in a cabin on a ship, focusing on the interior world of the characters. The hidden floor takes place in the public setting of an abandoned restaurant, where natural forces have taken over. The scenic changes between the piece are carried out in plain sight and become a part of the performance, as if it were a live film editing. 


Konan Dayot
Fons Dhossche
Lauren Langlois
Panos Malactos
Alejandro Moya
Fanny Sage
Eliana Stragapede
Wan-Lun Yu


Stage designer: Gabriela Carrizo, Justine Bougerol
Costume designer: Seoljin Kim, Yi-chun Liu, Louis-Clément Da Costa
Composer: Raphaëlle Latini, Ismaël Colombani, Annalena Fröhlich, Louis-Clément Da Costa, Eurudike De Beul
Sound dramaturge: Raphaëlle Latini
Artistic assistance: Thomas Michaux,
Light design: Tom Visser

Technical coordination:  Giuliana Rienzi
Technical engineers: Bram Geldhof, Ilias Johri (lights), Jonas Castelijns (sound)

Stage management: Thomas Dobruszkes (stage manager), Clement Michaux, Kato Stevens (stage assistants)

Production interns: Lisa Gunstone, Robin Appels  Based upon Adrift, created with the dancers of NDT I: Chloe Albaret, Lydia Bustinduy, César Faria Fernandes, Fernando Hernando Magadan/Spencer Dickhaus, Anna Hermann, Anne Jung, Marne Van Opstal, Roger van der Poel, Meng-ke Wu, Ema Yuasa/Rena Narumi, with artistic assistance by Louis-Clément Da Costa, Seoljin Kim and Yi-Chun Liu


Collaborating partner:
the Belgian Embassy in Hungary, Representation in Flanders.

Director / Choreographer
National Dance Theatre
Gabriella Carrizo

Gabriella Carrizo

(1970, Córdoba, AR) started dancing at the age of 10. She attended a multidisciplinary school (the only one with a group of contemporary dance for children and teenagers in that period), led by Norma Raimondi, who transformed the school into the University for Ballet of Córdoba. Gabriela danced a few years at the school, which is also where she created her first choreographies. At age 19 she moved to Europe, where she worked with Caroline Marcadé, Alain Platel, les ballets C de la B (La TristezaComplice (1997), Something on Bach (1998)), Koen Augustinians (Portrait Intérieur(1994)) and Needcompany (Images of Affection (2001)). In the meantime, she continued to create her own work. She went solo with Et tuttosara et d’ombra di caline and created Bartime, a collaboration with Einat Tuchman and LisiEstaras. For les ballets C de la B, they also signed for the choreography of the opera Wolf (2002). Gabriela starred in FienTrochs film Kid (2012), and in 2013 she made the short piece The missing door for and with the Dutch Dance Theatre (NDT I). In 2015, Carrizo created The Land, a collaboration with the Munich Residenztheater, and in 2022, she created her second piece for Nederlands Dans Theater (NDT 1), La Ruta.

Franck Chartier

Franck Chartier

Franck Chartier (1967, Roanne, FR) started dancing when he was eleven, and at the age of fifteen his mother sent him to study classical ballet at Rosella Hightower in Cannes. Between 1986 and 1989, he was a part of Maurice Béjart’s Ballet du 20ème Siècle. The following three years, he worked with AngelinPreljocaj, dancing in Le spectre de la rose at the Opéra de Paris. He moved to Brussels in 1994, to perform in Rosas’ production Kinok(1994), and he stayed on, working on duos with IneWichterich and Anne Mouselet, as well as in productions by Needcompany ( Tres, 1995) and Les Ballets C de la B: La TristezaComplice (1997), Iets op Bach (1997) and Wolf (2002). In 2013, he created 33 rue Vandenbranden for the Göteborg Opera, based on Peeping Tom’s 32 rue Vandenbranden, and he developed the choreography for the opera Marouf, Savetier du Caire by JerômeDeschamps at the OpéraComique de Paris. For NederlandsDans Theater, he directed The lost room in 2015, a second collaboration with the Dutch dance company after Gabriela Carrizo’s The missing door (2013). He was awarded the prestigious Dutch price ‘Swan Most Impressive Dance Production 2016’ for the piece. 2017 marked the world premiere of The hidden floor, his second collaboration with NDT and the final short piece of the trilogy Adrift, which also consists of The missing door and The lost room.". Chartier created Peeping Tom’s first opera, Dido & Aeneas in 2021 for the Grand Théâtre de Genève, and made the duet Oiwa with and for the Ballet National de Marseille in 2022.

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