»every single day« is freely inspired by the myth of sisyphus by albert camus. the absurd is the tension between the absurdity of the world on the one hand and the longing for a meaning or meaningful action. sisyphos is a symbol of an attitude to life and throws us back to our vulnerability as a human being and its transience.
camus has reinterpreted the myth – he drew a person who, while carrying the weight of his task heavily, found meaning and even happiness in the permanent monotony of his everyday life.
like sisyphus, the interpreters are involved in actions that seem hopeless – not because they want to, but because they are unable to free themselves from them. in a time loop of recurring movements with slight, almost imperceptible changes, the situation escalates and inevitably leads to an outbreak that can lead to a possible resolution.
»every single day« is a choreography of contemplation, a poetic approach to the constantly growing absurdity. it drives everyday situations to the limit of the surreal and allows deep human characteristics to appear there.

they are moving images in constant development like the cycle of life. sisyphos stands for the daily challenge of doing something “impossible”. the recurring monotony combines hope and illusion at the same time. »The fight against summits can fill a human heart. we have to imagine sisyphus as a happy person.«

»for the futile longing of people, she finds fascinating, powerful images. monotony never arises because everything remains in a dangerous state of suspense, because the rebellion against the senselessness of this great ensemble is demonstrated with such strength and force that you want to keep on watching. music played a large part in the atmospherically extremely dense dance evening. in the end, deeply impressed spectators.« nürnberger nachrichten

a cie. toula limnaios with the kind support of the cultural administration of the state of berlin and the fund performing arts e.v. from federal funds.
tours berlin, hameln, düsseldorf, heilbronn, vilnius, nürnberg, lublin

premiere 2011 creation/danc: hwan hee hwang, mayra wallraff, fernando balsera, alexander carrillo, antonios vais


toula limnaios


ralf r. ollertz


maría de dueñas, elia lópez gonzález, amit preisman, karolina wyrwal, giacomo corvaia, yannis karalis, hironori sugata


jan langebartels

public relation

silke wiethe


antonia limnaios, toula limnaios


sabine wenzel, d. matvejev



»a dance theater territory of threshold states … ; painted like tableaux vivants. a piece, which you never want to wake up from again.« (frankfurter allgemeine zeitung, marcus hladek, 2011)

»either way: the evening is a revelation !«(offenbach-post, stefan michalzik)

»… a piece of archaic strength and beauty…” (nürnberger nachrichten, georg kasch)

»toula limnaios has created a parable of humankind itself and today’s way of feeling, thinking and yearning. as almost always with toula limnaios, every single day is a piece that reverberates in the soul for a long time.« (rbb kulturradio, frank schmid)

»toula limnaios create enormously haunting images in one of her densest creations, in which she uncompromisingly exposes the dancers to the earth element. The tension doesn’t let up for a moment, in the end there is another increase. When the lights went out above everything, Limnaios ’newly formed international troupe also achieved great things: in dance and inspiration for the choreographer.« (neues deutschland/www.tanznetz.de, volkmar draeger)

»toula limnaios tells the story of the beautiful gravity of being human in memorable images. you’ll leave with the elating resolution to cherish every single day of your life like a precious treasure – even if you’ll have to roll boulders uphill all day.« (zitty)

»camus’ sisyphus interpretation was brought to mind here in an impressive way, actions that were repeated into infinity. were gracefully illustrated. even if a dancer – like an atlas – has to carry the whole world on her shoulders, the hardship of life appears so gracefully weightless. mountains, even entire worlds, can be moved through them.« (b.z., dan cotreanti)

»the cie. toula limnaios provided one of the most exciting of their regular guest performances in the nuremberg tafelhalle. monotony never arises, because everything remains in a dangerous state of suspense, because the rebellion against the senselessness of the psychological and physical exertion is shown of this great ensemble with such force and impressiveness that you always want to keep watching. in the end, the audience was deeply impressed.« (nürnberger nachrichten)

»poetic-archaic images that stay in the memory: a oppressive performance by the flagship dance company with the excellent dance-like septet. the viewer holds up the magnifying glass and is amazed. because the ensemble meanders in a floating state between myth, reality and moving images. many an idiocy of everyday life lets limnaios quietly trickle through fingers and lifting figures lose themselves in the throat of brown earth. it is the sovereignty of the dancers and the artistic stubbornness that make the murmur.« (nürnberger zeitung)

»the cie. toula limnaios provided a furious start to the new season in the tafelhalle nuremberg. toula limnaios is in top form. her choreography has archaic weight, demands constant presence from the dancers and flashes entirely in the spirit of the inventor into the clouded metaphor with clairvoyant thoughts. the choreographer picked up flowers and bravos personally.« (abendzeitung nürnberg)

»the myth of sisyphus danced – as light sense in pointless. danced monotony and repetitions as fascinating images. plus: electronically generated music (ralf r. ollertz), minimalist composition. time as ticking from different sources, also from the parquet – swelling, then spilling again, penetrating, threatening. changes that always get into the repetition loop. increases to driving rhythms – then again calm sequences, romanticized. a grandiose finale in which a mountain is moved. dynamism that increases – whoever collapses on the new pile of earth is filled in. almost euphoric at a tremendous pace – and the absurdity of the situation almost something like happiness. defied happiness. triumph of spirit over reality. a grandiose ensemble performance, danced all the way through in one piece, always under the highest tension and nevertheless transfering the myth of sisyphus into playful ease. differently sensual and visually stunning.« (deister- und weserzeitung, kultur, richard peter, hameln)

»the choreography ›every single day‹ tells of the myth of sisyphus and the absurdities of life. a bizarre and poetic dance with seemingly archaic movements. the cie. toula limnaios is one of the best ensembles in contemporary dance. earth and death – here, too, things come full circle – ›every single day‹ – the next performance the day after tomorrow in berlin..« (3sat, kulturzeit, 2012)