Peeping Tom (Belgium)

Artemis Gordon

An artistic and pedagogical authority in Dance, Artemis Gordon was named Artistic Director of the Arts Umbrella Dance program in 1992 after graduating from the National Ballet School’s Teacher Training Program. Since then, Artemis has developed the program to be internationally recognized for producing graduates who are dancing in companies around the world such as Ballet BC, Nederlands Dans Theatre I & II, Batsheva Dance Company, and many others.

Artemis has toured the Arts Umbrella Dance Company to Holland, Italy, Japan, New York, and Montreal and fostered collaborations with Nederlands Dans Theatre, Yokohama Ballet, Spellbound Contemporary Dance, Joffrey Ballet School, and L’Ecole supérieure de ballet du Québec.

In 2015, Artemis secured the affiliation between Ballet BC and Arts Umbrella, extending the impact of international choreographers in Vancouver and increasing opportunities for young dancers in Vancouver. Artemis won the 2016 YWCA Women of Distinction award in the Arts, Culture, and Design category. Her vision extends beyond dance, preparing students with skills to navigate their lives with discipline, rigour, and innovation.

Janet Smith

Janet Smith is cofounder and editorial director of Stir, a digital arts magazine dedicated to the Vancouver arts scene. An award-winning arts journalist, she has spent more than 25 years writing about dance.

Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F). 

Peeping Tom’s hallmark is a hyperrealist aesthetic anchored to a concrete set. The space feels familiar, such as a retirement home in Vader, two trailer homes in 32 rue Vandenbranden or a living room in Le Salon. In these settings, the directors break open the realism and create an unstable universe that defies the logic of time, space and mood. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. You become the witness – or rather, the voyeur? – of what usually remains hidden and unsaid. Presented using a rich imagery, a fascinating battle arises, against one’s environment and against oneself. They explore an extreme language of movement and performance: nothing is ever gratuitous, and the human condition is throughout a main source of inspiration.

Using film editing techniques, they manage to extend the limits of the plot, which always comes across more as a contour than as something you can pin down with any certainty. The ‘huis clos’ of family situations remains for Peeping Tom a major source of creativity.

Gabriela Carrizo 

Gabriela has been the artistic director of Peeping Tom, along with Franck Chartier, since they co-founded the company in 2000. She was ten years old when she started dancing at a multidisciplinary school that had, at the time, the only group of contemporary dance for children and teenagers. Under Norma Raimondi’s direction, the school went on to become Córdoba’s University Ballet, where Gabriela danced for a couple of years, and where she created her first choreographies.

She moved to Europe when she was nineteen, and over the years she worked with Caroline Marcadé, Les Ballets C de la B (La Tristeza Complice, 1997, and Iets op Bach, 1998), Koen Augustijnen (Portrait intérieur, 1994) and Needcompany (Images of Affection, 2001). She never stopped working on her own choreographies, and these years saw the production of a solo piece, E tutto sará d’ombra e di caline, and Bartime, a collaboration with Einat Tuchman and Lisi Estaras. She also created the choreography for the opera Wolf (2002), by Les Ballets C de la B. She plays a leading role in Fien Troch’s movie Kid (2012), and in 2013 she created the short piece The missing door (2013) for the Nederlands Dans Theater – NDT 1 in The Hague. In 2015, Carrizo created The Land, a collaboration with the Munich Residenztheater. More recently, she worked with Franck Chartier on 31 Rue Vandenbranden (2018) an adaptation with Le Ballet de l’Opéra de Lyon of Peeping Tom’s original. The new piece opened the prestigious Biennale de la Danse de Lyon in 2018. In 2022, Gabriela directed La Ruta, her second short piece for Nederlands Dans Theater (NDT 1).

Franck Chartier 

Franck has been the artistic director of Peeping Tom, along with Gabriela Carrizo, since they co-founded the company in 2000. He 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 Angelin Preljocaj, 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 Ine Wichterich and Anne Mouselet, as well as in productions by Needcompany (Tres, 1995) and Les Ballets C de la B: La Tristeza Complice (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 Jerôme Deschamps at the Opéra Comique de Paris. For Nederlands Dans Theater, he directed The lost room in 2015, for which he received the prestigious Dutch prize ‘Swan Most Impressive Dance Production 2016’.   2017 marked the world premiere of The hidden floor, his second collaboration with the Dutch company. More recently, he worked with Gabriela Carrizo on 31 Rue Vandenbranden (2018) an adaptation with Le Ballet de l’Opéra de Lyon of Peeping Tom’s original. The new piece opened the prestigious Biennale de la Danse de Lyon in 2018. In 2021, he directed Dido & Aeneas, a collaboration between Peeping Tom, Le Concert d’Astrée and the Grand Théâtre de Genève. 

Konan Dayot

Konan Dayot (°1990, Nantes, FR) joined Peeping Tom in 2020, for Triptych: The missing door, The lost room and The hidden floor. He trained in jazz drums, classical percussion, and contemporary dance at the Nantes Conservatory. He also did an exchange with the Julliard School.

In 2010, he graduated from the Conservatoire Supérieur de Paris and the Center National de la Danse. He has worked, among others, with Boris Charmatz, Thierry Smits, Olivia Granville, Helge Letonja, Ashley Chen, John Scott and Thomas Lebrun. Passionate about music, he is the founder and percussionist of the trio Dazlamm , and has collaborated with Atelier Terre et Son, a French manufacturer of udus. In 2023, he released his first album recorded in empty theaters, No Seat Reservation.

In 2024, he joined the teaching team at Pont Supérieur in Nantes as a tutor and teacher for preparatory classes for the Technical Aptitude Examination (E.A.T.).

He has collaborated intensively, both in dance and in music, sometimes combining the two, in conventional spaces but also in national theaters, at the Louvre museum or the Tate Modern, as well as in more informal spaces, such as the submarine base of Saint-Nazaire, the scaffolded cathedral of Aquila or the burning immensity of the Sahara.

Fons Dhossche

Fons Dhossche (°1999, Ghent, BE) joined Peeping Tom in 2020 for Triptych: The missing door, The lost room and The hidden floor. As a child, he took acting classes in the Kopergietery, a theatre for children and teenagers in Ghent. In 2008, he worked with the Berlin-based theatre collective Gob Squad, working with them for eight years. In 2017 he graduated from MUDA in Ghent, a high school for contemporary dance. Fons is currently finishing his Bachelor in Modern Theater Dance (MTD) in Amsterdam. Recently he released his first short film Silvermind in collaboration with Eliana Stragapede.

Lauren Langlois

Lauren Langlois (°1985, AU) joined Peeping Tom in 2020 for Triptych: The missing door, The lost room and The hidden floor. She co-created and performed in Frank Chartier’s new creation S 62° 58’, W 60° 39’ ,premiering at the Biennale de la Danse in Lyon, 2023.

She studied classical ballet at the Marie Walton-Mahon Dance Academy in Sydney before training in contemporary dance at the New Zealand School of Dance. Lauren began her career with the Australian Dance Theatre from 2008-2010, performing and touring in two of the company’s major works G and Be Your Self. In 2011, she joined Sydney Dance Company under Artistic Director Rafael Bonachela, performing in LANDforms , 6 Breaths , We Unfold, The Land of Yes and The Land of No.

In 2012, Lauren relocated to Melbourne to join Chunky Move to collaborate with Antony Hamilton on his work Keep Everything , for which she has been nominated for Helpmann, Green Room and Australian Dance Awards. Lauren has collaborated intensively with Anouk van Dijk, performing in An Act of Now , 247 Days , Complexity of Belonging and LUCID. For her work in Complexity of Belonging , she received the 2015 Green Room Award for Best Female Dancer. Lauren has also collaborated independently with Force Majeure, Lucy Guerin Inc, Stephanie Lake Company, Antony Hamilton, Prue Lang, Chamber Made and Ross McCormack.

She was the recipient of the prestigious 2017 Tanja Liedtke Fellowship and has since been commissioned to choreograph works for the New Zealand School of Dance, Footnote New Zealand Dance Company, Western Australian Academy of Performing Arts, Chunky Move and Sydney Dance Company.

In 2016, Lauren became a certified Countertechnique teacher and enjoys teaching students and professional dancers in Australia and overseas.

Panos Malactos

Panos Malactos (°1994, Limassol, CY) is working with Peeping Tom in Belgium since 2020. 

At the age of 17, he moved to London to study musical theatre with a scholarship (Dance and Drama Award) at the Bird College. He then continued his training at the Rambert School where he obtained his “BA Degree in Ballet and Contemporary Dance”.

He worked as a dancer with Festspielhaus St. Pölten, Austria (Ohad Naharin/Shahar Binyamini), Liliana Barros(DE), Fresco Dance Company, KENZO Paris, Compagnie Tabea Martin(CH), Andre Uerba (DE), Jason Mabana Dance(UK), Emma Evelein Dance(NL), X-it Dance Theatre(CY/GR), Milena Ugren Koulas(CY), Asomates Dynamis Dance Company(CY), and collaborated multiple times with the Greek director Elias Adam as a performer and choreographer.

Panos’ choreographic work traveled to New Zealand and many places in Europe and is supported by the “Outward Turn” Cultural Export Program of ONASSIS STEGI and the Deputy Ministry of Culture of Cyprus.

Alejandro Moya

Alejandro Moya (°1993, Madrid, ES) joined Peeping Tom in 2020 for Triptych: The missing door, The lost room and The hidden floor. He began to breakdance in the street at 10. In this discipline he has been invited to dance in different parts of the world, receiving awards in the United States, Switzerland, England, South Korea and China among others. Since 2006, his crew “Fusion Rockers” has been a reference, winning much of the main events to date and being the Spanish representation in international competitions.

In 2009, at the age of 15, he joined the company Dani Pannullo Dancetheatre. Since then he has participated in several productions: Desordances_5, Uirapurú, Soul Pait, Bird of Fire, Alma Malabar and Avalanche , performing around the world. In 2010 he began studying contemporary dance at the “Royal Professional Conservatory of Dance Mariemma” in Madrid, receiving training in classical dance, graham, release, improvisation, yoga, music, etc.

From 2013 to 2016 he worked in the Company Sharon Fridman Projects in Mouvement , participating in different productions, as a dancer in the piece Caída Libre and as interpreter of the duet Hasta Donde. In 2015 he began working with the Company KORSIA in the piece Cul de Sac , with whom he still works. In 2018 he began working with Company Antonio Ruz in the piece presente.. As a teacher he has given dance workshops “Contact” in different countries such as Germany, Italy, Israel and Singapore.

As a choreographer he developed the piece Lucero. Taking inspiration from the traditional folklore, literature, Spanish history, street language, etc.

As a teacher he is researching how to introduce osteopathic techniques to be used in dance education, what are the most useful acrobatic techniques to be adapted to different bodies and conditions, and dance theatre. More specifically how to develop different skills that allow us to create a dramatic language through the body.

Fanny Sage

Fanny Sage (Paris, FR) joined Peeping Tom in 2020 for Triptych: The missing door, The lost room and The hidden floor. She obtained a degree as a dancer at the Conservatoire National Supérieur de Musique et de Danse de Lyon. She works in different universes: choreographer and dancer for publicity for Chanel, Cartier, Hermès, Kenzo, Nina Ricci, Vogue, Valentino, Lancôme, Gucci, Bulgari, Swarovski, and in video clips for Stromae, Placebo, Elton John, Angèle, Malik Djoudi,…

Fanny has also worked as a performer and choreographer for dance companies including Cie d’Abou Lagraa, La Baraka, cie Maryse Delente, cie Paul les oiseaux. More recently, she created a solo with La Compagnie SansLettres, a duo with the company Art Track and a female duo with the company LAC. Her latest creation is a solo, AMA , that was inspired by Japanese philosophy. Fanny enjoys mixing dance and acting, working also in short films for the Opéra de Paris or feature films, such as La Danseuse (double for Lilly Rose Depp). Finally, she worked with Romain Duris in Vernon , a tv series for Canal+ by Cathy Verney.

Eliana Stragapede

Eliana Stragapede is a freelance performer, choreographer, and teacher based in Brussels. She began her dance education in Italy with mentors such as Silvia Humaila, Sara Accettura, Ernesto Valenzano, Osnat Kelner, Kerry Nicholls, and Yoshua Cienfuegos.

She later trained at Codarts in Rotterdam, working with internationally renowned artists including Club Guy & Roni, Lukas Timulak, Jiří Kylián, Raphael Bonachela and others. After graduating, she started her professional career with Marina Mascarell and Club Guy & Roni.

In 2018, Eliana joined the Staatstheater Mainz, performing new works by Roy Assaf, Club Guy & Roni, Victor Quijada, Felix Berner, and Pierre Rigal. 

Since 2020, she has been part of Peeping Tom, touring internationally with Triptych: The Missing Door, The Lost Room, and The Hidden Floor , including performances in prestigious theaters as the  Paris Opera.

Eliana has also worked with Club Guy & Roni on productions such as Fortune (2022) and Empathy (2023).

As a choreographer, she co-created AMAE with Borna Babić in 2022, winning first prize at the Copenhagen International Choreography Competition and production awards for Nederlands Dans Theater and Holstebro Dansekompagni. In 2023, AMAE received further recognition at the Rotterdam International Choreographic Competition with Partner Awards from Codarts and Dansateliers.

In 2025, Eliana and Borna will create a new piece for NDT2 as part of the Up and Coming project and choreograph for Bayerisches Staatsballett Munich, alongside other international artists, including Paul Lightfoot and Sol León, curators of the event. 

Recently Eliana has been awarded as Performer 2024 by Danza & Danza magazine.

In addition to her work as dancer and choreographer, Eliana teaches workshops around the world, nurturing her passion for teaching as well.

Wan-Lun Yu

Wan Lun Yu (°1990, Taichung, TW) joined Peeping Tom in 2020 for Triptych: The missing door, The lost room, and The hidden floor. She graduated from the Taipei National University of the Arts in 2013, where she studied ballet, contemporary dance, Chinese folk dance, Taichi, contact improvisation, and Chinese martial arts.

Since then, she has been performing and collaborating with various choreographers, directors, filmmakers, and visual artists, including Hsiao-Mei Ho, Yen-Cheng Liu, Ming-Chen Li, Chien-Ming Chang (Hofesh Shechter Company), Kuan-Hsiang Liu, Chien-Ju Chia, Hiroaki Umeda, Gerard&Kelly, Jos Baker and Mylène Benoit. 

Aside from being a dancer and performer, she also worked as a process assistant and facilitator.  She assisted Kuan-Hsiang Liu’s work Superbeing for Cloud Gate 2 (TW) in 2018. She was invited by Thinker’s Studio (TPE) to assist and facilitate an online residency platform called Connect with SEA (Gender Issue) : Residency in the CLOUD in 2021.

As a maker, Wan-Lun’s first personal project was a collaboration with Belgian audiovisual artist Joeri Verbesselt on the short film titled Retreat (2020). The film was selected for Copenhagen’s CPH: DOX film festival (2020),  Ann Arbor Film Festival (2021), The New York Science Fiction Film Festival (2022),  The European Philip K Dick Film Festival(2022), Breedbeeld short film festival (2022). The second project Tableau Vivant has developed into two site-specific installation performances, which are foam, slaver, froth, sperm (2019), and Find the Apple (2020). This collaboration has received financial support from the Taiwan National Culture and Arts Foundation and the Flemish Government.