toula

cie. toula limnaios

irrsinn 2006

reviews

a fiction in motion
»irsinn« (engl. insanity) is a fiction in motion, a dedication to the hidden person behind a facade called reality. a reality that arises from the daily madness and our inner demons: shadows of memory, illusions, realities, possibilities – a day and an eternity – that distance us from one another or bring us closer together. to share a world that is yours as well as mine, and to constantly redefine that, like our unfolding life. a question of perspective, which aspect determines how we perceive reality, and what is the ambiguity of our sensory perception.
a group of people, brought together and locked in a room – a steadily growing and changing place. a place that is constantly being redefined by these people. they are confronted with an apparent reality that conceals everything – a world at the mercy of our daily madness, in which only those who dare to search for the hidden, manage to overcome their inner chaos and find it.

»… limnaios develops her choreography in a colourful landscape of dancers‘ personalities that is, despite the serious topic, almost amusing. from her solo works to the large ensemble pieces, she tells about the search for identity in a playful and inventive way.« (berliner morgenpost, constanze klementz, 2006)

a cie. toula limnaios production with the kind support of the senate for science, research and culture .
gastspiele: salvador de bahia, recife, fortaleza

resumption 2007 dance: mercedes appugliese, gabriel galindez, toula limnaios, elik niv, carlos osatinsky, ute pliestermann, katja scholz, hironori sugata

concept/choreography

toula limnaios

music

ralf r. ollertz

dance/creation

jiri bartovanec, eliane krauer, elik niv, carlos osatinsky, ute pliestermann, katja scholz, nefeli skarmea, hironori sugata

lightdesign

klaus dust

public relation

silke wiethe

costumes

antonia limnaios, toula limnaios

fotos

dieter hartwig

reviews

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»it was an ambiguously and magically poetic closing scene. the performers stood in a large square holding black and white portrait photos of themselves in front of their faces, which then slowly fell to the ground like leaves. emptiness lurked. but the greek choreographer toula limnaios positions her wonderfully intense dance performers directly in front of the two long rows of audience seating, letting their twitching bodies be mirrored in the large windows with the suddenly magically glowing red chestnut trees standing outside of the halle. eight human bodies, powerful and vulnerable like trees, submerged into darkness. breathless silence was followed by rightfully deserved rousing applause.« (neues deutschland, tanznetz.de, dr. karin schmidt-feister, 2006) 

»unheard sounds /// everyone is very busy. with themselves, with the people around them, as well. Eight dancers wander across the grass-green stage. they find each other for brief encounters that can be as non-committal as a fleeting pat on the shoulder, or as intimate as a hug.
sometimes they turn bizarre. like the man with the microphone who always tugs at the cable, as if waiting for a chainsaw to start. he tries to eavesdrop the sounds that arise unheard from a woman’ body while she is dancing.

the music by ralf r. ollertz pursues with live-alienation, voice distortion or overmodulation. a whisper can sound like a scream, a step turning into an earthquake or a breath growing into a storm. limnaios develops her choreography in a colourful landscape of dancers‘ personalities that is, despite the serious topic, almost amusing. from her solo works to the large ensemble pieces, she tells about the search for identity in a playful and inventive way.« (berliner morgenpost, constanze klementz, 2006)

»she examines the dark sides of the soul and tread the tracks of hidden realities. night, dream, delirium … for nothing is as it seems. ›i want to show the hidden persona, that which lies behind the façade‹, explains the choreographer. even when the figures in her pieces often fail to meet, are distant from each other, even when they feel close: there is always also their desperate desire for recognition this is what lets them faint and flounder. for those who are in search of something are always also confronted with their own otherness. the choreographer explores the inner chaos that everyone carries in them and which has its own beauty and poetry.« (tagesspiegel, spielzeit, sandra luzina, 2006)