cie. toula limnaios
Concept/ Choreography: Toula Limnaios
Music*: Ralf R. Ollertz
Lighting Design: Jan Langebartels
Stage/ Costumes: Antonia Limnaios/ Toula Limnaios
Assistance: Carlos Osatinsky
* Gustav Mahler: Kindertotenlieder: "Nun Will Die Sonn' So Hell Aufgeh'n"
Dietrich Fischer-Dieskau, Berliner Philharmoniker & Rudolf Kempe
Cole Porter: "I've Got You Under My Skin" Frank Sinatra
The new piece reflects primal human characteristics. Pain and passion belong to our strongest emotions and comprise tremendous energies. They can be a driving force, as well as a trigger of tragedies and have always mirrored human desires and abysses. In „the thing I am“ they appear as tableaux of deliquescent, yet pained and passionately swaying bodies in which blase strength and fragility. Saturated with a sensibility that penetrates under the skin, they interlace the intensity of feelings into the scenes of touching vulnerability.
In contrary to a world, increasingly marked by superficial perception and dulling society, in which very few things barely move us instead of shaking us to our foundation, the new piece aspires to vehemence and truthfulness of feelings. Sensibility and revolt, plight and devotion interweave into a hybrid panorama, whilst a crushed beauty slumbers behind the more tangible affliction. “the thing I am” being an anatomy of passion, in which unusual and hidden enthrall our senses.
„The burning under the skin... Last weekend the audience celebrated eight dancers, four men and four women, as well as the production team for the tremendously intense »Daydreams in Movement«. With the vehemence of the multilayered pictorial inventions and physical presence, in the piece »wut« (2012) the ensemble had already created in dancing an energy field composed of pieces of the broken „I-selves“ conjuring a „We“ only as a fiction. „the thing I am“ further pursues this fundamental theme. The performance contours and condenses the „I“ isolated within the society with countless precisely calculated movement details, dance scenes and image sequences. Toula Limnaios seeks after life and consistently asks for the causes of unrelatedness, of failure....“
“Toula Limanios succeeds in creating ensemble scenes of associative power: the eternal odyssey of the octet of people standing and falling with bags and knapsacks on their backs: playing tennis with the wall, whilst before and behind each of them someone is breaking down. High Intensity and extreme acceleration of movement in the unison tableau of robotic functionality; human bodies deconstructed, fragmented – the hand reaches for the heart shortly. Physical violence takes place on the white mattress-wall. One becomes a witness of permanent disabilities and reciprocal paralysises. The constellations of figures are ambivalent, just like in the works of Edward Hopper. Inhee Yu rips off the imaginary skin of her face over and over again. The clothes are being changed, yet the colorfulness brings no life. While the isolated “I-selves” laughingly revolve around themselves in despair. Karolyna Wyrwal and Giacomo Corvaia wriggle in overwrought joy, with their new skin, right in the face of the audience.
»the thing I am« -»Daydreams in Movement« - a performance that truly gets under the skin“
Neues Deutschland, Berlin, Karin Schmidt-Feister
„New premiere, the secured performance venue, sold-out shows and tours worldwide – the dance company Toula Limnaios is highly successful, from the very beginning the superb dancers appear as purveyors of emotions, their duets take on increasing sharpness and their actions on radicalism. Driven by the suggestive and complex music of the composer Ralf R. Ollertz, a couple slaves away desperately throwing and lifting each other in the cushioned corner, another one, with distorted faces and earphones, appears as a caricature of modern absence of communication. With her poetically expressive and eidetic language of movement, the Greek choreographer Toula Limnaios stands completely in the tradition of the German dance theater. She is not interested in formalisms, her representations rather emphasize emotional universality and widely interpretable common comprehensibility. Thereby, she has conquered the distinct, loyal, attentive and enthusiastic audience of all ages and beyond theater circles.
Berliner Zeitung, Elisabeth Nehring
A production of cie. toula limnaios with the kind support of Berlin Senate of Culture and the Fund for Performing Arts, with federal means.
Video © Walter Bickmann, Berlin 2013 | tanzforumberlin.de
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