Kaja Janjić
Zakaj tako jezno? Zakaj ne!? / Why so angry? Why not!?
gibalno-avdiovizualna predstava / movement audiovisual performance
PTL Prvenec/ PTL Debut
Ideja, koreografija in izvedba / Authorship, Choreographed and Performed by: KAJA JANJIĆ
Video and Video Mapping: STELLA IVŠEK
Glasba / Music: RUŽA PREIS,
Scenografija / Set Design: KAJA JANJIĆ, OLJA GRUBIĆ
Izdelava scenografije / Set Make: PETER KOTNIK
Kostumografija / Costume Design: OLJA GRUBIĆ
Kamera / Camera: ANDRAŽ ČOK SORKO
Oblikovanje svetlobe / Light Design: JANKO OVEN
Svetovanje pri gibu in dramaturgiji / Movement and Dramaturgy Advice: VITA OSOJNIK,
NATALIJA MANOJLOVIĆ, ALJA LACKOVIĆ
Producentka / Producer: KATJA SOMRAK
Produkcija / Produced by: PLESNI TEATER LJUBLJANA - PRVENEC / DEBUT PTL 2023
Posebna zahvala / Special thanks: NEJC FRANETIČ
Program Plesnega Teatra Ljubljana sofinancirata Ministrstvo za kulturo RS in Mestna občina Ljubljana, Oddelek za kulturo / The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana, Department for Culture
F: Stella Ivšek, Sunčan Stone
About the project:
Kaja Janjić in her movement audiovisual performance Why so Angry? Why not!? in a confessional tone questions the position of anger in experiencing an apathetic world. The state of apathy is omnipresent. Overload of information, new technologies and social media are leading to individual’s desensitization of the mind and paralysation of the body. Author therefore uses anger as a tool in the fight against apathy, researches the state of apathy through movement and poses a question: isn’t it better to get angry than to get apathetic?
O projektu:
Gibalno-avdiovizualna predstava Kaje Janjić Zakaj tako jezno? Zakaj ne!? kot osebnoizpovedno delo pod vprašanje postavlja pozicijo jeze znotraj apatičnega doživljanja sveta. Stanje apatije je v današnji družbi vseprisotno. Informacijsko bombardiranje, nove tehnologije in socialni mediji vodijo v desenzibilizacijo uma in ohromitev telesa posameznika. Avtorica jezo tako uporablja kot orodje v borbi proti apatiji, raziskuje stanje apatije preko giba in postavlja vprašanje, ali ni bolje biti jezen kot apatičen.
Feeling everything and nothing at once.
I’m in a state of continuous partial attention.
Never really present, never really here, never really now.
Hours are days, days are minutes.
Emptiness. Emptiness and anger.
I’m reading.
A man was lying on the ground in a puddle of blood at the station in the city center,
bypassers were just silently observing, a bus driver jumped to help.
Bypasser or driver.
Apathetic or proactive.
Angry. Only anger awakens me.
Čutim vse in nič hkrati.
Sem v stanju neprekinjene delne pozornosti.
Nikoli zares prisotna, nikoli zares tukaj, nikoli zares zdaj.
Ure so dnevi, dnevi so minute.
Praznina. Praznina in jeza.
Berem.
Moški je ležal v mlaki krvi v centru mesta na postaji,
mimoidoči so le nemo opazovali kaj se dogaja,
na pomoč priskočil voznik avtobusa.
Mimoidoča ali voznik?
Apatična ali proaktivna?
Jezna. Samo jeza me zbudi
Excerpt from press review:
» Kaja is constantly moving « ... » Her movement is labor like. She otherwise knows when to stop, even freeze and gesticulate « ... » When sudenlly there is a switch, a loud dissagrement, a jump and Kaja Janjič gives in to her dance path, to her dance solo.« Daliborka Podboj, Parada plesa
Izsek iz kritike:
»Kaja je ves čas v gibanju« ... »Njeno gibanje je delovno, sicer se zna ustaviti, tudi zamrzniti in gestikulirati« ... »Ko nenadno nastopi preskok, glasno negodovanje, skokoviti odskok in se Kaja Janjič prepusti svoji plesni tirnici, plesu avtorskega sola.« Daliborka Podboj, Parada plesa