»shifted realities« is a double solo by choreographer toula limnaios and her long-time dancer hironori sugata. the two are about the same age and bound by a deep mutual appreciation. now both are on the stage together, each in their own unique way.

»for example, the body of the dancer stretches out beyond the room, which is at the same time an inner and outer space for him« wrote foucault in 1966. according to the philosopher, it is only the reflection of the human being that makes him understand his whole form through the idea of himself. the double solo pursues this idea of parallel displacement. we do not stand on our own, but affect each other. each one influences the life of the other and a bit the world too, with his deeds, his energy, his impact…

two dancers in their own room, parallel to each other, simultaneously and thus not isolated, not in sync, but in mutual influence. – an exceedance of space and time, which allows autonomy as well as transformation. the space in which we live is not a vacuum, but is always connected with roots, stories, and the life of another.
with the double solo she exploits further the potential of the individual, full of opposing references and indications. according to lucretius, things create their own visibility by constantly sending thin layers of their outer shell into space, leaving corresponding imprints on our retina.

premiere 28 march 2019

a cie. toula limnaios production supported by the city of berlin, department for culture and europe.


toula limnaios


ralf r. ollertz


hironori sugata, toula limnaios


felix grimm

touring cooperations

sanya tsekov

public relation

silke wiethe


antonia limnaios, toula limnaios

choreographic assistance

ute pliestermann

lighting & stage technics

domenik engemann, jan römer, leo tsirigotis



»two artists of extreme strong presence. a dance that looks like itinerancy and dislocation … feelings, memories, longings, fears. fractures pervade the bodies and the dance that seeps into your soul again, beautiful and unsettling, soft and virtuoso, cruel and hard. this is once again an unsettling and stirring evening with fascinating pictures.«
rbb kulturradio, frank schmid, 2019

»it seems that each of the two protagonists is telling its own story. in a compelling scheme, in which the two protagonists enter and leave the central space without ever meeting, these two monologues seem to become a dialogue. the show is intense and well built. the dance is beautiful, the music, signed by ralf r. ollertz, is captivating and the two performers are very good. the several minutes of applause were well deserved. a personal commendation to toula limnaios who despite her great career as a choreographer is not afraid to get involved and risk again.«
campadidanza.it, nicola campanelli

»the divided room concept is impressive. … through dancing, the small, delicate woman in this high room turns into a lonely bird that falls on its stomach with open hair. narrowness. limitation. loneliness. but the room is permeable on four sides. hironori sugata, a strong person, trapped inside himself and between four walls; he doesn’t jump out of his own skin. or does he? the fifty-minute sequence of scenes turns the inner and outer spaces…. toula limnaios and hironori sugata create a quiet dance piece of high intensity. with these auratic performers, it always resonates more than what the eye can perceive.«
neues deutschland, k. schmidt-feister

»whether performing separate choreographies entirely or responding to one another, limnaios and sugata possess an impressive synergy. their exploration of mutual influence is particularly powerful in limnaios’ striking “double solo” with herself – a sequence in which she wears a boot on one foot and a ballet shoe on the other, thus dividing her body into two different physical capabilities. … numerous episodes fragment the performance and break the spell created by limnaios’ formidable stage presence and emotional energy. … what they do best: highly emotive choreographies. and that in itself is an enviable skill.«
exberliner.com, madeleine pollard