Bells and Alarm Clocks: Theatre and Theatre Research at the Millenium

Space, as Einstein has taught us, has no limits, and time is relative to where you are moving and the speed of light. Our millenium, then, is only a speck in eternal space. It is, nevertheless, a point relative to which we are positioned and on which we place a limit—a date—so that our actions may be chronicled, measured, and brought to some sort of completion, thus releasing us from living forever in the present. Yet, notwithstanding our ability to construct, contain and count time, somewhere someone has made a slip, for there is a ‘glitch’ in the system that still prevents millions of computers from recognizing the year 2000, by which devilry we are sent back to less than zero, to zero twice, 00. This error may well have disastrous consequences, although it would be preferable not have any of them happen—hospital operations failing, aeroplanes losing their bearings and going down in apocalyptic spectacles that are considered appropriate for a millenial ending. is as if this error might be interpreted as a token of what Jean Baudrillard, in a different context that has nothing to do with computers, sardonically suggests may be our desire to wipe out history, even, perhaps, to start again from scratch. Baudrillard's is, of course, one of multiple theses on the ‘end of history’ and millenial nothingness that have emerged, not least via the theatre, with the approach of the twenty-first century.