you cannot stay here,
but you cannot go further,
and you cannot go back.
where are you?
»nowhere. i’ll be there without being there.« is a production inspired by samuel becketts’ »texts about nothing« (1955) – diary and interior dialogue of a multiple personality. five dancers follow its different facets: searching for their own traces they scrutinize interspaces between body and soul, individual and society, dream and memory, space and time. lost objects from past, possible and future destinies cross their paths. varying here and now, elsewhere and nowhere, they explore inner landscapes – mirrors of the soul – as if it were a daydream, at once concrete and confusing. (1. part of the beckett-trilogy)
»…we walked, hand in hand, silent,
lost in our worlds, each in his worlds,
with into one another forgotten hands.«
»bodies’ tender traces: (…) lucid and beautiful images (…) and wonderful dancing… .« (wz – westdeutsche zeitung, kornelia roskothen,wuppertal 2001)
»the musical timbres of ralf r. ollertz’s music range from icy to pompous, from archaic men’s choir to crackling electro clusters , while aiming at nuances, not triumph. that behooves entirely the dancers in their partly breathtaking solos …” (ballett international/ tanz aktuell, franz anton cramer, october 2001)
»this was an evening of high quality dance that was not easily accessible, but which received a lot of applause.« (waz – westdeutsche allgemeine zeitung, elisabeth höving, recklinghausen 2001)
a cie. toula limnaios production commanded by the kultursekretariat nordrhein-westfalen in coproduction with stadttheater oberhausen and theater am halleschen ufer berlin with kind support by mitteln des hauptstadtkulturfonds and fonds darstellende künste e.v. aus mitteln des bundes
tours: oberhausen, recklinghausen, berlin, wuppertal, essen
2004 »nichts…« was broadcasted under the title »atemzug« by zdf/arte.
recreation 2006 dance: nefeli skarmea, toula limnaios, hironori sugata, katja scholz, carlos osatinsky
»a piece with almost classical balance and an eminent quality of dance. Limnaios has confidently managed to orchestrate the shift, display individual dance capabilities, and then re-savor the dynamics of the group and let figurative scenes dissolve into abstract severity or touchingly intimate passages. The musical timbres of Ralf R. Ollertz’s music range from icy to pompous, from archaic men’s choir to crackling electro clusters , while aiming at nuances, not triumph. That behooves entirely the dancers in their partly breathtaking solos.« (ballett international/tanz aktuell, franz anton cramer, 2001)
»the cie. toula limnaios was very impressive at the festival »meeting neuer tanz«. there, they won one of this year’s award, presented by the kultursekretariat nordrhein-westfalen. that the decision was a good one could be seen at the world premiere of their piece at the theater oberhausen. (…) toula limnaios audaciously related imagination and reality, as well as real and fictitious images which seemed to mirror each other. the company’s artistic credo is to explore boundaries and to create magical spaces with dance, music, video and light. (…). the multiple personalities encounter each other tenderly and also at times ferociously in dance, but nevertheless remain alone in the search for themselves. this becomes very intense in the videos of cyan.« (nrz-neue ruhrzeitung, johannes k. glauber, oberhausen, 2001)
»as with samuel beckett, toula limnaios’s aim is not to reflect or comment on the different levels of a multiple personality but to elucidate their subtlest facets and to let them work on the consciousness in the same way as a freely-assembled series of images of highly emotional content. (…) the stage was covered by white sheets of gauze which projected light designer klaus dust’s play of colours and transformed figures into shadows. (…) the work is not meant to be interpreted in a concrete manner and is not easily accessible to passive consumption. the audience present at this performance grasped the concept and was captivated by the severe beauty of the performance.« (westdeutsche allgemeine zeitung, radegundis barrios , oberhausen, 2001)
»between dream and reality /// an impressive evening inspired by beckett (…) the theme of this choreography is the inner world of a multiple personality in all its not always perceptible structures. the spectator gets drawn into a surreal, only emotionally tangible stream of different moods. the stage is covered with white sheets of gauze. the five dancers enter this surreal landscape in slow motion. the sound of a male choir floats softly over the scene. the music darts through the space, pulling the strange spheres closer together. (…)the superb dancers are brilliant in synchronous scenes, but they are also convincing in poetic soli and powerful duos or trios in which the rhythm continuously changes. this was an evening of high quality dance that was not easily accessible, but which received a lot of applause.« (westdeutsche allgemeine zeitung, elisabeth höving, recklinghausen, 2001)
»bodies’ tender traces: (…) lucid and beautiful images (…) and wonderful dancing‚.« (westdeutsche allgemeine zeitung, kornelia roßkothen, wuppertal,2001)
»she does not want to tell stories. the dance of toula limnaios elicits an emotional response from the viewer to various atmospheres. emotions mirror the movements. the choreography was inspired by samuel beckett’s ‘texts about nothing’ from 1955, the interior monologue of a man isolated from the world as well as from himself. (…) the composer ralf r. ollertz has managed wonderfully to capture this using a male choir as a symbol for isolation and loneliness. more gentle, more reserved than pina bausch with whom she worked, but no less intense, limnaios depicts the hopelessness in an equally poetic and foreboding manner…« (westdeutsche allgemeine zeitung, hb, oberhausen,2001)
»the exquisiteness of the troupe and their choreographer’s style, the careful composition and the strangely subdued lyricism are heightened in »nowhere« to rare preciosity.« (tip, 2001, berlin)