toula

cie. toula limnaios

double sens 2004

reviews

»… the world is not as simple as people would have us believe. the outlines are vague; it’s the details that count. nothing is black and white; evil can be a disguise for good or beauty and vice versa, without one thing necessarily excluding the other.  … you can choose your own examples. life is an uncertain adventure in a diffuse landscape, whose borders are continually shifting, where all frontiers are artificial, where at any moment everything can either end only to begin again or finish suddenly…« (arturo pérez-reverte, »the flanders panel«)
nothing is as it seems – »double sens« looks into irritating sensory impressions and questions the core of individual bodily presence. the body, understood as a membrane which, like an electric field, mediates between its own surface and our surroundings, communicating what goes on beneath its skin.

»double sens« – a dual movement engaging with the world and retreating from it, a portrait as humorous as it is serious, which points beyond the visible image to what moves us internally, behind the visible surface.

»… toula limnaios once again enchants us with a somnambular-magical piece, her best in a long time.« (berliner zeitung, michaela schlagenwerth, 2004)

a cie. toula limnaios production with the kind support of the berlin senate for science, research and culture, and the pankow cultural office.
guest performances: frankfurt/main, nicosia/cyprus

resumption in 2005 dance: anuschka von oppen, carlos osatinsky, katja scholz, hironori sugata

concept/choreography

toula limnaios

music

ralf r. ollertz

dance/creation

hyoung-min kim, anuschka von oppen, carlos osatinsky, katja scholz

lightdesign

klaus dust

public relation

silke wiethe

stagedesign

katrin plötzky

stage constructions

heinz adlung

fotos

dieter hartwig

reviews

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»of the seven pieces premiered at the tanznacht festival, »double sens« was the most moving one, and also the only piece that placed the beauty of the movement and the modulation of the energy in the foreground. sometimes, the dancers appeared to be no more than dark silhouettes, slowly losing their shape, as if the ink with which the figures were drawn was dripping away. the scenes were connected by a strong suction. »double sens« was the only performance, in which the movements were given meaning of their own accord.« (taz, katrin bettina müller, 2004)

»… toula limnaios once again enchants us with a somnambular-magical piece, her best in a long time.« (berliner zeitung, michaela schlagenwerth, 2004)

»toula limnaios` stage is wrapped with semi-transparent materials. the curtains appears like a membrane. something penetrates from the outside in, slightly attenuated. sometimes the silhouette of a dancer comes through as an irritating shadow, whose partner moves on this side of the membrane. ›double sens‹ traces what is going on under the skin.« (neues deutschland, tom mustroph, 2004)

»… rehearsals in one’s own theatre, how wonderful! one floor higher, there’s another rehearsal space for guests, such as the unhoused berliner company rubato. of course, having a hall is a luxury and costs more than the subsidy. however, a miracle happens: now that limnaios has a permanent space, she’s being perceived. the natural law of settledness: only those who have a place for display, will be seen. it was no different for sasha waltz.« (ballet-tanz, arnd wesemann, 2004)

»toula limnaios is the poetess of dance, and at the same time – a woman of action. berlin owes its newest dance venue – the ›halle‹ to this choreographer.« (tagesspiegel, sandra luzina, 2004)

»the berlin-based cie. toula limnaios has turned its rehearsal space into a public stage and a meeting point of the dance scene.
the atmosphere in the landmarked hall is fantastic. the high wooden ceiling over the platform stage which, just like the auditorium, is softly bounded by transparent curtains. the curtains enhance the foggy impression of the milk-white light and let the brick walls disappear into an almost unperceivable distance.
the composer is surely right, when he says that it’s not as much about the venue as it is about the quality of the dancing. still, this space condenses what happens in it, enhances impressive occurrences.» (rbb inforadio, barbara wiegand, 2004)