2012 a performance by Bill Aitchison political and insanely funny Theater der Zeit, Berlin 2012 is a performance that plays upon the borders of truth and fiction within the fields of art, politics, propaganda and entertainment. It is on first appearance a serious lecture, but one in which cracks start to appear, cracks which over the hour and quarter of the show widen and contain within them an absurd mirror image of the apparent lecture. 2012 presents ‘false causalities’; errors in logic prevalent in attempts to explain both global events and micro human affairs. 2012’s principal frame of reference is conspiracy theories. The intention is not to simply criticise these false causalities, but rather to use them to give shape to the experience of unknowing, to the sense that much of what we believe, may be false. Created in London and Beijing, 2012 draws upon a broad range conspiracy theories currently in circulation such as those around 9/11, the CIA, mystery viruses and psychic experiments. These are brought together in 2012 with unusual and invented conspiracies creating untypical connections such as linking Saddam Hussein’s novels to I Ching predictions to Pavlov’s dogs. The title of the piece 2012, relates the apocalyptic theories of an end to the world in 2012. Naturally, coming from London, 2012 also relates to The Olympics. This title does not belong exclusively to any single theory however, it refers also to the imminent future more generally for 2012 is about our present era and the state of mind that flourishes in it. The basic form of 2012 is a solo performance originating in the conventions of a lecture but by no means contained within them. It shifts from one idea to another describing theories and also entering into them and demonstrating them. 2012 presents sequences of ideas and events in such a way as to fracture narrative through continual interruption, associative leaps and diversions. 2012 separates the performer from the events speculated upon without denying the political nature of those events. The focus is upon the mind, upon how events are represented inside of it, where desire leads them. This imagination is however situated within a social and political reality ensuring that tension is maintained between these two dimensions of the performance: the personal and the political. 2012 is not a parody of a conspiracy theory lecture, it does not offer the audience the relaxing space from which to view the performance as a satire for while 2012 does have light, even absurd sequences, these do not set the overall tone. The performance includes many things actually believed. Production 2012 is supported by Arts Council England, Theatre In Motion Beijing and Burton Taylor Studio Oxford. It premiered at the Wunder Der Praerie Festival, Mannheim in Sep 2008 and has been seen in festivals, theatres and galleries in the UK, Israel, China, The Netherlands and Germany. 2012 is available for performance in a variety of formats throughout 2010, terms available upon request. Technical Requirements 2012 has been presented in a number of different contexts: as a street event in the style of Speaker’s Corner (Hyde Park London), as a gallery performance with limited technical requirements and as a theatrical performance making full use of sound and lights. In its theatre format, 2012 is suitable for small and medium sized venues and requires a minimum performing area of 6 x 4 meters. A technical rider is available upon request. Running time is approximately one hour and 15 minutes. Who 2012 was created by Bill Aitchison, Boris Kahnert (light) and James Dunn (sound) the same creative team that made 24/7/52. It is the second performance they have created together.

2012 a performance by Bill Aitchison

political and insanely funny Theater der Zeit, Berlin

2012 is a performance that plays upon the borders of truth and fiction within the fields of art, politics, propaganda and entertainment. It is on first appearance a serious lecture, but one in which cracks start to appear, cracks which over the hour and quarter of the show widen and contain within them an absurd mirror image of the apparent lecture. 2012 presents ‘false causalities’; errors in logic prevalent in attempts to explain both global events and micro human affairs. 2012’s principal frame of reference is conspiracy theories. The intention is not to simply criticise these false causalities, but rather to use them to give shape to the experience of unknowing, to the sense that much of what we believe, may be false.

Created in London and Beijing, 2012 draws upon a broad range conspiracy theories currently in circulation such as those around 9/11, the CIA, mystery viruses and psychic experiments. These are brought together in 2012 with unusual and invented conspiracies creating untypical connections such as linking Saddam Hussein’s novels to I Ching predictions to Pavlov’s dogs. The title of the piece 2012, relates the apocalyptic theories of an end to the world in 2012. Naturally, coming from London, 2012 also relates to The Olympics. This title does not belong exclusively to any single theory however, it refers also to the imminent future more generally for 2012 is about our present era and the state of mind that flourishes in it.

The basic form of 2012 is a solo performance originating in the conventions of a lecture but by no means contained within them. It shifts from one idea to another describing theories and also entering into them and demonstrating them. 2012 presents sequences of ideas and events in such a way as to fracture narrative through continual interruption, associative leaps and diversions. 2012 separates the performer from the events speculated upon without denying the political nature of those events. The focus is upon the mind, upon how events are represented inside of it, where desire leads them. This imagination is however situated within a social and political reality ensuring that tension is maintained between these two dimensions of the performance: the personal and the political. 2012 is not a parody of a conspiracy theory lecture, it does not offer the audience the relaxing space from which to view the performance as a satire for while 2012 does have light, even absurd sequences, these do not set the overall tone. The performance includes many things actually believed.

Production

2012 is supported by Arts Council England, Theatre In Motion Beijing and Burton Taylor Studio Oxford. It premiered at the Wunder Der Praerie Festival, Mannheim in Sep 2008 and has been seen in festivals, theatres and galleries in the UK, Israel, China, The Netherlands and Germany. 2012 is available for performance in a variety of formats throughout 2010, terms available upon request.

Technical Requirements

2012 has been presented in a number of different contexts: as a street event in the style of Speaker’s Corner (Hyde Park London), as a gallery performance with limited technical requirements and as a theatrical performance making full use of sound and lights. In its theatre format, 2012 is suitable for small and medium sized venues and requires a minimum performing area of 6 x 4 meters. A technical rider is available upon request. Running time is approximately one hour and 15 minutes.

Who

2012 was created by Bill Aitchison, Boris Kahnert (light) and James Dunn (sound) the same creative team that made 24/7/52. It is the second performance they have created together.