Bogotá — As the sun dips behind the towering mountains surrounding Bogotá, the streets buzz with an energy only a city like this can embody. The return of the renowned Peeping Tom Theatre Company after 12 long years is more than just a homecoming for fans of contemporary dance and theater—it’s an emotional journey through time, space, and the delicate balance of human fragility. There’s something about this moment that feels pivotal, almost like the arrival of long-lost friends who have come bearing stories no one else could tell.
Peeping Tom’s Return: More Than Just Performance
Peeping Tom Theatre Company, led by the visionary duo Gabriela Carrizo and Franck Chartier, isn’t your average theater troupe. To witness their work is to step into a world where the familiar becomes surreal, and the boundaries between reality and dream blur into obscurity. As they bring “Diptych: the missing door and the lost room” to the Festival Internacional de Artes Vivas de Bogotá (FIAV), the anticipation ripples through the city, raising one fundamental question: What does this mean for us?
For Carrizo and Chartier, their return to Bogotá isn’t just another stop on their international tour; it’s deeply personal. “We all have something we hide,” Chartier reflects. “And when we explore those hidden parts of ourselves, that’s when things get truly interesting.”
Peeping Tom’s work is, at its core, an exploration of taboos—those quiet, unspoken truths that we often bury beneath layers of social expectation. Their latest production doesn’t shy away from this; instead, it delves deeper into the very human need to escape, to dream of a life beyond the one we know.
Diptych: A Journey Through Time and the Fragile Human Psyche
At the heart of Diptych is a couple, bound together by their shared dreams and haunting pasts, navigating a voyage on a transatlantic ship. But the boat is more than just a vessel—it’s a metaphor for life’s uncertainties, its tremors, and the push-and-pull between nostalgia and hope. As their bodies twist and contort in Peeping Tom’s signature blend of contemporary dance and emotional realism, time itself becomes slippery, bending backward and forwards, much like the memories we try so hard to keep in check.
“We wanted to play with the idea that what we do in the future somehow changes the past,” says Chartier, his words carrying the weight of existential inquiry. It’s a notion that lingers, like the scent of rain on warm pavement, long after the curtain falls. How often do we look back, wishing we could rewrite our stories? How much of who we are is shaped by the things we dare not speak?
Peeping Tom understands that life is a constant navigation through these unspeakable truths. Their performance mirrors our inner worlds—the rooms in our minds that we lock tight, hoping no one will ever find the key.
Breaking Boundaries: Theater as a Mirror for Society
What sets Peeping Tom apart isn’t just their stunning choreography or their seamless integration of cinematic storytelling on stage. It’s their relentless pursuit of the uncomfortable, the unspeakable. In a world where much of theater seeks to entertain or distract, Peeping Tom’s work is a stark reminder of the power of art to hold up a mirror to society—and, perhaps more importantly, to ourselves.
“In some cultures, audiences are stunned by the realism of what we present. It’s too raw for them,” Chartier muses, acknowledging the sometimes discomforting impact their productions have. But this discomfort is necessary. It pushes boundaries, challenges taboos, and forces us to confront the parts of ourselves we’d rather leave in the dark.
Their return to Bogotá, a city with its own history of conflict and rebirth, feels especially poignant now. With migration becoming a global issue—particularly in Latin America, where many dream of a better life abroad—the themes of escape and displacement in Diptych strike a chord. It’s as if the stage itself becomes a liminal space where Bogotá’s own stories of longing and survival are silently woven into the narrative.
Creation as Collaboration: The Collective Power Behind Peeping Tom
One of the most fascinating aspects of Peeping Tom’s process is its collective nature. “We work together, all of us,” Chartier explains. “Each member brings something to the table. We don’t start with a strict script or plan; instead, we let the ideas flow.” This collaborative approach results in a fluid, organic development of their productions, with each movement, each flicker of light or shadow, meticulously crafted by the ensemble.
But even in this collective, Chartier ultimately holds the reins. It’s a delicate balance—allowing for creativity while ensuring cohesion. “I have the final say,” he admits, “because we can’t fit every idea into the final piece. There’s always some sadness in that—letting go of a dream or concept. But in the end, that’s what creation is. It’s about distilling the essence of something, even if it means leaving parts behind.”
For any artist, this process of distillation can be painful, but it’s also where the magic happens. It’s in the moments of loss and letting go that new ideas, new expressions, and new possibilities are born.
The Power of Vulnerability: Why Peeping Tom Matters Now More Than Ever
There’s a reason Peeping Tom has gained such international acclaim. Beyond their mastery of movement and narrative, their work resonates because it taps into something deeply human: our vulnerability. In a world that often demands strength, composure, and certainty, Peeping Tom gives us permission to tremble, to fall apart, to confront the parts of ourselves that we’ve long buried.
As you sit in the theater, watching their characters teeter between past and present, between the tangible and the abstract, you can’t help but reflect on your own life. What are the doors in your mind that you’ve closed? What rooms have you left behind, forgotten? And what would it mean to open them again?
Peeping Tom’s return to Bogotá isn’t just a performance—it’s an invitation. An invitation to explore the hidden spaces within ourselves, to confront our taboos, and perhaps, to finally speak the truths we’ve long kept silent.
Conclusion: Invitation to Look Deeper
In a world where many performances seek only to entertain, Peeping Tom’s work stands apart. It demands something more from its audience—something raw, something real. As they take the stage at the Teatro Jorge Eliecer Gaitán this October, they will undoubtedly leave Bogotá forever changed, much like the characters in Diptych who emerge from their journey at sea altered, haunted, yet somehow freer.
If you have the chance to see them, don’t hesitate. Because while we all have things we hide, sometimes, it’s in the act of confronting them that we find the most profound beauty.
