a solo in fragments for two women
the concept is based on poems by ingeborg bachmann. a few fragments are put together to form a coherent text that, like a diary, describes the inner monologue of a woman going through spaces, places and landscapes, while the differences between the experienced and the fantasized merge seamlessly into one another.
a diary of a woman who in a delirious state goes through an imaginary odyssey and loses herself, for nothing seems real, and nothing seems impossible.


»the time devours me.
day after day it engraves its work into my skin, where the mirror throws its image back to me, with its teeth, it tirelessly digs a grave into the furthest part of my mind and triumphs over the void. it dismantles me..

fragmented, i try to put the missing and scattered parts of myself back together, fear and loneliness nestle in the emptiness left behind my ruins.
i stayed behind, with my eyes on my back, overtaken by the time, i run after it and myself.
i struggle with the broken pieces – dispersed in the wind of time.« (ingeborg bachmann)

»the perfect ending of a wonderful performance, full of elegance and poetry, interpreted by two excellent dancers« (kiosque 1998, brüssel)

with the kind support of the commission communauté française de la région de bruxelles-capitale, the sacd, du ministère de la culture de la communauté française de belgique. in co-production with the academy of the arts – künstlerhof buch – berlin, studio l‘l brussels and studio icem institut, essen.
guest performances: paris, berlin, brussels, valencia


toula limnaios


ralf r. ollertz


raphaëlle chevalier, toula limnaios


franco marri


toula limnaios, michael friedrichs-friedlaender (iron costume)



»traveling to the time after /// in collaboration with ralf ollertz for the musical part, toula limnaios creates this ›time after‹ – a world as beautiful as it is frightening, which approaches nightmare as well as inner serenity. the world made of soothing music, bangs, plucked piano strings, vehement or slow gestures. passionate and frenetic, her dance is mysterious. the unusual mood, at the same time inspired by the art of pantomime and asian gestures, seems to be reminiscent of bunuel or dali. toula limnaios´ dance invites you to enter a world that listens to other languages, but at the same time remains very personal. What if this world were the ›time after‹?« (le soir, christelle prouvost,1997, brüssel)

»telling backwards. unique ///›le temps d’après‹ is full of fears that dismember the individual, torment his oneness and feed his doubts. the dancers go restlessly on stage and augment each other. the duo brings the paradox of indecision and a silent scream with a ravishing clarity. reinforced at the end by a metal construction, surmounted by a magnifying glass. on the motionless body, the dance is concentrated in the enlarged and deformed face, attentive abstraction of the feelings that conclude this choreography, which finds its strength in the fact that it never denies the illusion.« (la libre belgique, marie baudet,1997, brüssel)

»magical limnaios /// there is seconds of confusion, you don’t know, is it still this year or already that year, am i this old, or already a year older? the dancer and choreographer t. limnaios has put an emphasis on this moment and has worked out a “solo for two women” wich she presents at the “tanztage at the pfefferberg: the time after”. meaning not exactly the time after something, but more the time after the time. alice behind the mirrors, a nightmare. the atmosphere of the play has definitvly got something of a magical realism.« (berliner zeitung, michaela schlagenwerth, 1998)

»aspects of the feminin /// ›the time after>, the 50 minutes Duo of the all-round talent. Limnaios from athens.
. its long lasting impression mainly to its pictures enriched with a lof of fantasy. Like Chevalier as slightly disguised Minotauros made of paper, with movements of the slowness of japanese Noh-Theater, a surreal figment of dream. Another scene Limnaios, her naked body surrounded by a ironframe, that puts an enormous distorted mirror in front of her face. Her screaming month gets forghteningly big through a lense.« (berliner morgenpost, volkmar draeger, 1998)

»atmospheres /// toula limnaios imposes her style more through the particular atmosphere and frame of mood that is developed in her pieces than through the dance – also in the interpretation of her work. in the expression of a hand, a back or a face. “the time after” swings between several worlds, like a trip ends at several shores. the strangeness of the music and the game of light contributes very much to the singularity of the atmosphere. i the middle of the nightmare, t.l also knows to appease.« (les saisons de la danse, claudine colozzi, 1998, paris)

»the complete form of a beautiful performance with so much poetry and elegance, interpretated by two excellent dancers.« (kiosque 1998, brüssel)

»opening of a gate of dreams /// it is an enormous pleasure getting to know young people soken by talent who as well know to express it, toula limnaios is one of them. the darkness of the univers of the begining may be inspired by our world, gives room to the light, to a sleeping and dreaming macrocosm full of mysterious creatures, more or less frightening, but at the end of the tale very attached to their own fragility.
the piece comes to its end with a picture as strong as the strangeness, limnaios reappears behind a magnifying glass, getting bigger, according to the disposition of the spectator in relation to the artist, no matter wich facet of his body: introspection, or in contrast, naked-without any feelings?« (danse, danse, danse, jean-marie gourreau)