No doubt a reference to Einstein’s Twin Paradox constitutes a seemingly incongruous opening to an appraisal of Robert Wilson’s latest production I La Galigo, inspired by an epic poem from South Sulawesi. However, Einstein is not only the subject of one of Wilson’s most acclaimed productions, but this brief allusion to his theory encapsulates the hypnotic dilation of time intrinsic to Wilson’s theatre. Wilson is known for his ability to transform the stage into a temporal sculpture that renders the presence of time aesthetically tangible through duration and repetition. His unique spatial construction imposes a kinetic logic on objects and the human body to frame motion and open up ‘mental space’ for contemplation in the theatre medium (Wilson, 1997: 81). What ensues for the audience is an atmosphere analogous to the experience implied by the unearthly ‘blood flow’ of Einstein’s clock.