SENZORIALNI JEZIK

"V današnji poplavi tržnega mišljenja in efektivnosti, človek izgublja prostor za svojo lastno identiteto želja, motivov in vzgibov. Zaradi strahu, da bi ostal sam ali izločen, vedno bolj postaja ovca v čredi skupinskih trendov in smeri. Njegov notranji svet pa ostaja prazen, temačen in prestrašen.

Dejstvo je, da Senzorium ponuja obiskovalcem kvaliteto prvinskosti; izkušnje, za katero je v vsakdanjem življenju vedno manj časa, ki nam je vsem blizu, ki je del kolektivnega ne-zavednega in individualnega ne-zavednega in/ali telesnega spomina.
Senzorialni jezik se dotika človeka na njegov naraven, praizvoren način in ga spomne na to, kdo, kako in od kje do kje...je.

Čista poetika senzorialnega gledališkega jezika temelji na večih orodjih:
Tema, tišina, samota, govorica čutov, kolektivno nezavedno, sinhroniciteta, prazen prostor, notranje podobe, arhetipi, simboli...
1. obiskovalec je popotnik: je glavni akter in prehaja iz enega prizora v drugega
2. izvajalci zgodbe so stranski liki v njegovi zgodbi. Vsi se mu posvečajo individualno
3. senzorialni gledališki jezik je zelo zelo težko komercialna gledališka poetika. Njegova specifičnost je ravno v individualnem tretmaju obiskovalca. Za to pa si je treba vzeti čas.
S pomočjo čutnih detonatorjev spomina in domišljije, v "pure senzorium" jeziku odpiramo notranja vrata in okna obiskovalca. Rojevajo se notranje, intimne podobe, ki se po načelu sinhronicitete povezujejo v smiselne sklope in zgodbe.

senzorialni jezik je tisto staro zaprašeno otroško igrišče, tisti davno pozabljeni notranji rajski vrt..."
(BPJ)

C.G.Jung: "Ta predpostavka vključuje neko nenavadno načelo, ki sem ga poimenoval sinhroniciteta, kar je koncept, ki izoblikuje stališče, diametralno nasprotno stališču naključnosti. Ker je slednje le statistična resnica in ne absolut, je neke vrste delovna hipoteza o tem, kako dogodki nastajajo drug iz drugega, medtem ko sinhroniciteta naključju dogodkov v prostoru in času poleg same naključnosti pripisuje še nek drug pomen, in sicer posebno neodvisnost objektivnih dogodkov med sabo in prav tako tudi s subjektivnimi (duševnimi) stanji opazovalca ali opazovalcev."

SENSORIAL LANGUAGE

"In the present flood of marketing thinking and effectiveness people have been losing the place for their own identity of wishes, motives and drives. Due to the fear of being left alone or left out they have been increasingly becoming sheep in the flock of common trends and movements. But their inner world remains empty, dim and frightened.

The fact is that Senzorium offers its visitors the quality of primevalness; an experience for which there is less and less time in everyday life, that is intimate to us all, that is a part of collective unconscious and personal subconscious and/or body memory.
Sensorial language touches people in their natural, primordial way and reminds them who, how, and from where to where they are.

The pure poetics of sensorial theatrical language is based on several tools:
Darkness, silence, solitude, the language of senses, collective unconscious, synchronicity, an empty space, inner images, archetypes, symbols...
1. Visitors are travellers: they are the main actors and move from one space to another.
2. The performers of a story are secondary characters in visitors’ stories. They all dedicate themselves to visitors individually.
3. It is extremely difficult for sensorial theatrical language to correspond to commercial theatrical poetics. What is specific about it is that it treats visitors individually. Therefore, the performers have to take their time.
With the help of sensory detonators and imagination, visitors’ inner doors and windows are opened in "pure senzorium" language. Inner, intimate images are generated and they are linked in meaningful clusters and stories on the principle of synchronicity.

Sensorial language is that old dusty children’s playground, that long-forgotten inner Garden of Eden..."
(BPJ)

C.G.Jung: "This assumption involves a certain curious principle that I have termed synchronicity, a concept that formulates a point of view diametrically opposed to that of causality. Since the latter is a merely statistical truth and not absolute, it is a sort of working hypothesis of how events evolve one out of another, whereas synchronicity takes the coincidence of events in space and time as meaning something more than mere chance, namely, a peculiar interdependence of objective events among themselves as well as with the subjective (psychic) states of the observer or observers."