»vertige – dizziness. the sensation of all objects around us being in motion. this sensation is caused either by an over-rapid change of sensory impressions or by abnormal internal processes. sensory dizziness that passes quickly requires no treatment, nor does dizziness caused by physical excitement. the head of the person affected by congestion should be raised, cold compresses should be applied and the person should be given lemonade powder or soda water.« (»the golden book for practical housewives, daughters and fiancées«, berlin, 1900)

once you’re sucked into the undertow, everything seems to elude one’s grasp, the ground under one’s feet threatens to loose itself in the whirling images: clamoring battle and empty repetition, silenced expectation or quiet irony, smoldering anxiety, persistent powerlessness and the tension piling up inside the body alternate with emotion breaking onto the surface.

»…you long for the video recorder’s rewind function, so that you can simply wind back and later watch it all again.« (frankfurter allgemeine zeitung, tilmann billing 2000)

»…limnaios proved herself to be an impressive dancer and imaginative choreographer – and as a master of spatial composition.« (westfälische zeitung, marieluise jeitschko, 2002)

cie. toula limnaios in coproduction with the theater am halleschen ufer
tours: münster, dresden, akademie der künste, dortmund, bauhaus dessau


toula limnaios


ralf r. ollertz


toula limnaios


walfriede schmitt (sprecherin)


michel delvigne


toula limnaios




dieter hartwig, cyan


»the confused waitress /// the evening lives from three levels of representation: the presence of the dancers, the acoustic stimuli and the video screen that holds centre stage. … after the social mask (of the waitress) has fallen, the blackest depths of the human soul become visible. repressed feelings break through, the character of the woman gains contours, her personality a face. the greek limnaios, who studied at the folkwangschule in essen and was a guest with pina bausch, relies on a strict canon of ever-repeating movements. she bends and twists as if in spiritual torment, shudders and shivers, flails her arms with her mouth wide open, tries to hit an imaginary enemy and finally sets into her own wax image, watched by the overpowering video eye at rest on the screen. in her introverted solo toula limnaios searches frantically for footing and for orientation. like an autistic child she clutches onto compulsive patterns and hammers on her palm with her fist. the berlin choreographer shows, as the title »vertige« (french: dizziness, frenzy) suggests, spiritual states of confusion which come close to insanity. as in hitchcock’s film classic »vertigo« the ground is in danger of being lost from under the observer’s feet. the video artist group cyan bombards the audience with a sustained burst of furious images. … «vertige« sets loose a frenzy that lets the audience eagerly absorb the dance and video images. you zap about, between the living woman’s body and the screen. … you long for the video recorder’s rewind function, so that you can simply wind back and later watch it all again.« (frankfurter allgemeine zeitung, tilmann billing, 2000)

»as if everything moved. /// in front of the video screen or to the side of it, the dancer in jerky, constantly repeating movements. in »vertige« limnaios has invented a kind of individual sign language, one which includes the whole body and which is characterised by the effort of making oneself understandable. in the course of the evening it becomes clear that »vertige« is an attempt to turn things inside out. the processes which would otherwise be played out internally are turned to the outside.«(berliner zeitung, michaela schlagenwerth, 2000)