toula

cie. toula limnaios

landscapes 1997

reviews

a journey for a body and a trombone (improvisation)
»just a body and a trombone. nothing else …
maybe a chair – to dream of silence, and the audience.
creating and developing from the experienced, reviving in the silent consent, constructing and instinctively assembling from the whim of the moment.
individually, they walk through the inner landscapes and bring in the crops of the found sounds, tones, chants, images and impressions.

the voice of a dancing body, the song of a trombone, entering the often tumultuous, absurd and tender dialogue.
whispering, mumbling, breathed and trembling.« (toula limnaios)

a production by cie. toula limnaios and konrad bauer.
guest performances: brussels, liege, berlin, quedlinburg, wuppertal, cottbus, offenburg

live-music

konrad bauer (trombone)

dance

toula limnaios

reviews

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»multimedial /// the outstanding musical personality of the festival has proved that improvised music stands for the liberation of the individual like no other. the trombonist conny bauer, a leading figure in the extremely vital free jazz scene of the former gdr, ensured together with the greek dancer toula limnaios and the dresden painter matthias r. bolt the highlight of the two days. bauer created his infinite melody by means of circular breathing, whose never-ending stream of ideas and richness of color gave eloquent testimony to this spiritual freedom. a freedom that sets limits to other individuals. as if she was hanging on the thread of his trumpet like a puppet, the barely 1.60 meter tall pina-bausch’ student toula limnaios gave herself to this will in breathtaking self-surrender, let herself be carried away by the current or resisted as best she could.« (badische zeitung, ralf brugmaier, 2001)

»body language indicates improvised music /// body language interpreting improvised music /// flowing harmonic movements were characteristic for the dance of the greek toula limnaios, a member of the folkwang dance studio in essen. with the title ›landscapes‹, she illustrated inner emotional worlds very impressively with a passionate body language, dancing to konrad bauer’s virtuoso trombone playing, in which motifs and themes kept repeating like a loop.« (westdeutsche zeitung, hartmut sassenhausen,1998)