Dreams 360

Gabriela Carrizo

“I’m amazed that it has already been eight years since we created The Missing Door with NDT 1. It still feels like yesterday, the moment I first discovered those characters and personalities that I encountered there. Now I have the privilege to see some of them back in 2022 as well as to meet new people, to start a new creative, artistic and human collaboration. I’m very happy to embark on this new adventure together.”

Gabriela (1970, Córdoba, AR) 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, Gabriela 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.

Gabriela has been the artistic director of Peeping Tom, along with Franck Chartier, since they co-founded the company in 2000.

Carrizo’s experimental style constitutes a mix between dance and theatre and between the everyday and the mysterious. In 2013 Carrizo created her first piece for the dancers of NDT 1, The missing door. In line with this work, Chartier created The lost room in 2015. In season 2017-2018, the duo completed the trilogy in the programme Side B: Adrift, which premiered on October 5 2017.

Crystal Pite

Canadian choreographer and performer Crystal Pite (Vancouver, 1970) is associate choreographer with NDT since 2008 for which she created: Pilot X (2005), The Second Person (2007), Frontier (2008), Plot Point (2010, nominated for the prestigious Benois de La Dance award), Solo Echo (2012), Parade (2013), In the Event (2015), The Statement (2016) and Partita for 8 Dancers (2018).

Her latest work with Paul Lightfoot, Sol León and Marco Goecke, Kunstkamer, premiered in 2019. In 2002 Pite founded Kidd Pivot, her own company in Vancouver.

Pite’s professional choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created over 50 works for companies such as The Paris Opera Ballet, The Royal Ballet, Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montréal (Resident Choreographer, 2001-2004), Cedar Lake Contemporary Ballet, and Ballet British Columbia. She has also collaborated with Electric Company Theatre and Robert Lepage. Pite is an Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist at Sadler’s Wells, London.

In 2002, Pite formed her own company Kidd Pivot in Vancouver. Kidd Pivot tours nationally and internationally, performing works such as Dark Matters and Lost Action. Kidd Pivot’s residency at the Künstlerhaus Mousonturm in Frankfurt (2010-2012) provided Pite the opportunity to create and tour The You Show and The Tempest Replica.

Roy Assaf

The Israeli Roy Assaf has been dancing and creating for as long as he can remember. At the age of six, he began giving tap concerts for his neighbor, who watched him dance on his concrete balcony from her window across the yard. From 1990 to 1996 he began creating and performing his own dances for monthly family gatherings in Jerusalem. In 1997, a morning performance by Batsheva – The Young Ensemble revealed to Roy his desire to pursue a career in dance.

At the age of 16 he met Regba Gilboa, an educator, dance lover, and believer in people who rooted in Roy the confidence that dance is where he belongs. Between 1998-2000, endless hours were spent in her red Volkswagen, on the road to another show or workshop, Two years later he was drafted into the Israel Defence Forces (not a point of pride, but part of his past which cannot be denied), where, with vest, helmet and a rifle on his shoulder he danced through the 8-hour checkpoint shifts. In 2004, he met Emanuel Gat, with whom he put on a dress for the first time in public. He found he liked it so much that he did it about 300 more times over the next 5 years. In 2005 he met Anat Inditzky, who to this very day loves him with all his drawbacks and disadvantages, and encourages him to face his fears. In 2010 he decided to try to make a dance of his own again, and since then he hasn’t stopped.

Assaf works as a freelance choreographer since 2010. Before that, he collaborated as both performer and choreographic assistant with Emanuel Gat from 2004 until 2009. For his work, Assaf received several awards. He created for, among others, Théâtre National de Chaillot, Jacob’s Pillow, The Royal Swedish Ballet and the Batsheva Dance Company. Assaf, a new face to the company, will create a world premiere for NDT 1 in season 2021-2022.