a solo for two men 
the motif of the ‘doppelgaenger’ or look-alike is both irritating and fascinating at the same time: his appearance confounds the boundaries between oneself and others. the doppelgaenger questions concepts of similarity and difference, problematizes the subject and its identity.

«isson« means ‘same’ in greek and is dedicated to contrasts, reality and illusion, light and shadows, restlessness and peace. two realities that cannot be separated.

»synchronicity indicates more than virtuosity, but rather the merging of two states of awareness. this meticulously composed decrescendo is one of the most moving, most enlightening final scenes that i’ve seen in dance theatre for quite some time.« (tagesspiegel, franz-anton cramer 2003)

a cie. toula limnaios production in coproduction with theater am halleschen ufer. 2019 prsented by: exberliner, zitty.

recreation 2016 dance: leonardo d’aquino, daeho lee

photos: dieter hartwig

concept/choreography

toula limnaios

music

ralf r. ollertz

dance/creation

leonardo d’aquino, alessio scandale

lightdesign

klaus dust

costumes

toula limnaios

choreographic assistance

ute pliestermann, hironori sugata

public relation

silke wiethe

light technic

domenik engemann

reviews

efficace, essenziale, suggestivo: è il lavoro della compagnia cie. toula limnaios
(the historic dance group founded by the famous greek choreographer) »isson«: the stage, bare and devoid of scenery, is perfectly divided in half between the two dancers, who are placed, conversely, one to the right and one to the left of the audience.
the two protagonists, who never look at each other, move in unison in perfect synchronicity …
the dance, which is composed of precise gestures and executed with equal intensity, is hypnotic. it’s a piece that is essential, efficient, and charming. the two dancers are extremely talented in their extraordinary precision.
http://www.campadidanza.it, startseite, nicola campanelli, 2017

»synchronicity indicates more than virtuosity, but rather the merging of two states of awareness. this meticulously composed decrescendo is one of the most moving, most enlightening final scenes that i’ve seen in dance theatre for quite some time.«
(tagesspiegel, franz-anton cramer, 2003)

»toula limnaios goes back to the pure, unadorned movement and creates a form-conscious choreography. the almost frightening synchronicity of the dancers piques the spectators, who only on closer inspection find two totally different worlds. an outstanding dance evening.«
(berliner morgenpost, bm-live, constanze klementz, 2003)