Kinecting is the third part of the PrepLetanje trilogy by Danijela Zajc. The trilogy is conceived as an intimate interweaving of the performer’s space with the audience, while also testing the boundaries of street theatre. Its central thread is co-existence, interconnection, and the intertwining of space, time, all living beings, and the universe. It also draws inspiration from the works and ideas of John Cage. With each new production, the trilogy moves its content, expression, sound, and movement toward a more technologically “advanced” direction.

 

In an atomized society, where the individual is emphasized and elevated over the collective, we are faced with a flood of (mis)information that further separates us from one another. We are entangled in (“smart”) technology that further deepens this atomization. In Kinecting, the author questions these elements of atomization and mechanisms of control. In contrast, the title’s wordplay—“kinecting”—points in the opposite direction. It combines “kinetic” (active movement, initiating motion, action) and “connecting,” thus calling for active mutual connection.

 

Spatially, the performance is structured around a tripod construction representing the performer’s intimate space, a so-called “my tipi,” into which she has withdrawn out of fear of pressing global issues, and which provides a false sense of security. Inside the “tipi,” performer Danijela Zajc communicates her world through speech and singing, floor movement, and the interplay of various aerial apparatuses: vertical rope, straps, aerial fabric, hair hanging, and a bungee cord. In this way, she is both isolated from the world and, through technology, has the entire world constantly at her fingertips—manipulating it, including through spatial and rotational sensors—unaware that the manipulation is actually reversed. Her “safe tipi” is in reality something fragile and easily controlled. While this comfortable life depends on the labor of many invisible people, it also further individualizes her, creating even greater problems.

 

The performance also features Tjaž Juvan, who creates the music and processes the performer’s sound, linking it with motion-spatial sensors. Petra Hrovatin operates the video camera and projections, connecting them with motion sensors manipulated by the performer. Jaka Andrej Vojevec serves as directing consultant and part of the “Fly Crew.”

 

Creative Team

Author, concept, choreography, movement, music, sensor manipulation: Danijela Zajc

Directing consultant, “Fly Crew”: Jaka Andrej Vojevec

Artistic programming, connection of motion sensors with music, music: Tjaž Juvan

Video mapping, video design, connection of motion sensors with video: Petra Hrovatin 

Costume design: Katarina Zalar

Sensor programming consultant: Jurij Podgoršek

Production: Društvo Matafir, Društvo Mismo Nismo
Co-production: Cirkuška rezidencialna mreža (Cirkus Kolektiv, Cirkorama)
Co-organisation and support: KUD Mreža, Cirkulacija 2, PLAC, Stripburger