Die neue Multimedia-Performance „TIME TIME TIME“ von Jennifer Walshe und Timothy Morton ist eine musikalische und philosophische Reflexion über die multiplen Schichten von Zeit. Über zwei Jahr lang haben der Philosoph und die Komponistin stundenlang zu diesem Thema gesprochen und schließlich einen tiefgründig-assoziativen und zugleich poetischen Text entwickelt, der nun dem 80-minütigen Werk zugrunde liegt. Insgesamt neun Performer*innen unterschiedlichster künstlerischer Hintergründe kommen in dieser Produktion zusammen, die am 24. März um 20:00 Uhr im Haus der Berliner Festspiele seine Deutschlandpremiere feiert.

In einem extra für die Berliner Festspiele verfassten Text versucht Jennifer Walshe die Essenz von „TIME TIME TIME“ zu fassen, die die Welt der Dinosaurier und den Klimawandel ebenso wie den Beginn der Industrialisierung mit seinen optimierten Produktionsabläufen aufscheinen lässt. Außerdem berichtet Jennifer Walshe in einem kurzen Interview mit Patricia Hofmann über den Entstehungsprozess und weitere Hintergründe zu „TIME TIME TIME“.

Dinosaur Skull @ Caroline Walshe

Dinosaur Skull @ Caroline Walshe

 

I would say I spent maybe 500 hours there over the course of a year

500 hours might seem like a lot, but it’s only 1/20th of the 10,000 hours I’m going to need to put in just looking

I would go on a Thursday or Friday morning, preferably a rainy day

Though my favourite mornings were the ones they opened early to let the autistic kids in

And I would sit, and I would look at her

I’d try to begin by mapping my feet to her feet, my knees to her knees, my hips to her hips

I’d think about the fact that these were bones that bore a lot of weight

Try to think about the heaviest backpack I’d ever worn, things like that

I would say for the first 20 to 30 minutes, you’re just trying to look past the glass, trying to understand that they’re bones, they’re bones the same as the bones inside your body

Trying to sink down past your flesh to feel your bones, to just be aware of them

And once I’d got through the flesh, and I’d got down into my bones, at least

And I’d got through the glass, and started to see her bones as bones, all the colours in the gallery would start to dissolve and change

They would shift into pinks and pale blues; fuschia and purple tropical plants would push up through the ground

Mint and pale custard yellow clouds would smear across my vision

And I’d sit there, in a sort of psychedelic Triassic haze

Looking at the dinosaur, moving my jaws and my hands ever so slightly

Trying to imagine being her