DAJ MI BESEDO
GIVE ME A WORD
REŽISER IN AVTOR PRIREDBE / DIRECTOR AND AUTHOR OF ADAPTATION: JAŠA KOCELI
ZAVOD PAVILJON, KOSOVELOV DOM SEŽANA IN OBČINA SEŽANA /
PAVILJON INSTITUTE, KOSOVEL CULTURAL CENTRE & MUNICIPALITY OF SEŽANA
2026
Besedilo predstave Daj mi besedo je sestavljeno iz fragmentov pesmi, proznih zapisov in pisem, izbranih iz več kot stotih virov. Scenografija ne sledi dobesednemu pomenskemu svetu posameznih besedil, temveč ustvarja abstrakten in asociativen prostor. Njena geometrična oziroma matematična struktura prostor organizira v sistem razmerij, ponavljanj, presečišč in premikov. Scenski elementi s svojo obliko in razporeditvijo na abstrakten način odslikavajo konstruktivistično formo nekaterih Kosovelovih pesmi, v katerih se tradicionalna zgradba razgrajuje na posamezne besede, znake, številke in fragmente. Tudi uprizoritveni prostor je zato sestavljen iz osnovnih gradnikov (svetlobni kvadrat, projekcijsko platno, mreža luči), ki jih je mogoče povezovati in preoblikovati. Scenografija ni zgolj ozadje dogajanja, temveč aktiven element predstave, ki skupaj z igralci, svetlobo in besedilom nenehno spreminja svoj pomen. Njena abstraktnost Kosovelove zapise prevaja v vizualni in prostorski jezik. Tako nastaja sodoben, odprt in večpomenski scenski prostor, ki ne rekonstruira časa, v katerem je živel Kosovel, temveč vzpostavlja prostor srečanja njegove poezije z današnjim občinstvom.
Text for The performance Daj mi besedo is composed of fragments of poems, prose writings, and letters selected from more than one hundred sources. The scenography does not illustrate the literal world of the individual texts. Instead, it creates an open and associative space. Its geometric, or more precisely mathematical, structure organizes the space through a system of relationships, repetitions, intersections, and shifts.Through their form and spatial arrangement, the scenographic elements abstractly reflect the constructivist forms found in some of Kosovel’s poems, in which traditional structures are deconstructed into individual words, signs, numbers, and fragments. The performance space is therefore likewise composed of basic elements—a luminous square, a projection screen, and a grid of lights—that can be interconnected and reconfigured.The scenography is not merely a backdrop for the action but an active element of the performance, continually transforming its meaning in interaction with the performers, light, and text. Its abstraction translates Kosovel’s writings into a visual and spatial language. In this way, a contemporary, open, and polysemous scenographic space emerges—one that does not reconstruct the historical period in which Kosovel lived, but instead creates a space in which his poetry can encounter today’s audience.
