cie. toula limnaios/jo fabian department
»real time.compiler« is an interactive dance piece in which toula limnaios uses or further develops the system developed by jo fabian and contrasts it with her dance language. a rather abstract system created mostly for cataloguing is now used by a choreographer known for her emotionally charged language of movement.
the participating artists create modules for dance, music, video and light, all of which can be controlled by the spectators using keyboards. although all media are composed, not improvised, the result is always different, as the dramaturgy depends on the audience’s creative response.
all artists place their work at the viewer’s disposal, who then has to actively intervene and combine the pre-formulated material according to own ideas. the distance between the auditorium and the stage no longer exists because the audience controls the staging and each of their actions has a direct impact on what is actually happening.

»real time.compiler« invites you to play with the diversity of the moment: the individual modules additively form a whole.

»the collaboration between the cie. toula limnaios and the artist jo fabian is an exciting experiment. through the new combination of pre-choreographed sequences and the regulation of moods and speed, the audience contributes to the creation of what is truly a ‘unique’ work.« (deutsche bühne, frank weigand, 2007)

a cie. toula limnaios’ co-production with the jo fabian department. with the kind support of the berlin senate for science, research and culture, the fund for performing arts e.v. and the pankow cultural office.

artistic director/choreography

toula limnaios, jo fabian (konzept)


ralf r. ollertz


carlos osatinsky, ute pliestermann, katja scholz, nefeli skarmea, hironori sugata


klaus dust


antonia limnaios, toula limnaios

public relation

silke wiethe






»the audience moves dancing couples /// ›real time.compiler‹- the title is brittle, technical, hardly translatable, yet what awaits audience in this first co-production between the cie. toula limnaios and the jo fabian department, one must simply experience and co-create in real time. just in order to make the spectator the actual creator, two opposing worlds meet In this dance piece: the poetic and emotional movement language of the choreographer toula limnaios, and the jo fabian’s abstract system. with it the audience co-creates the composition by entering texts in the computer that then assigns particular interpretation patterns to the dancers.
four tables with keyboards and the signs: dance, music, video, light are placed around a green illuminated rectangle. in this magical room, four dancers perform following the instructions they receive via headphones from four active audience members pressing white (individual actions) and black (character) buttons. it sounds complicated, yet the audience’s desire to test the complex ›system‹ and become a co-director, made the fourth wall shrink already on the premiere evening.

the fabian’s concept enables, within the formulated and non-improvised choreography by toula limnaios, the programmed modules for dance, music (ralf r. ollertz), video (cyan) and light (klaus dust), activated by the audience using the keyboard. still, there are always only four audience members playing directly, while the others do not know the arrangement. primarily, the spectator at the dance-keyboard controls the encounters between two couples who, in this completely open dramaturgy, show themselves in always new constellations. a miraculously cryptic kaleidoscope of human skins.
katja scholz, carlos osatinsky, nefeli skamea and hironori sugata enter this experimental laboratory of permanent change, with a whole-body presence of suggestive effect. the experiment drives them… into an infinite number of mini-sequences of human collisions. focused on the physical relinquishing (the audience, who did not operate one of the keyboards) sat spellbound around the stage. the experiment of this transboundary co-existence joyfully sharpens the eye and the ear for complex processes on the stage. so you better go there and press the keys. every attempt can change the scene..« (neues deutschland &, dr. karin schmidt-feister, 2006)