South African artist William Kentridge is set to present his chamber opera, “The Great Yes, The Great No,” at UC Berkeley’s Cal Performances from March 14-16. Known for his unique approach to art that embraces uncertainty and creativity, Kentridge believes in the importance of being open to mistakes and unexpected ideas. “One must be open to mistakes, to things that don’t work,” he states.
Kentridge’s work often explores themes of displacement and identity through various mediums such as charcoal drawings, animated films, sculpture, plays, and opera. His nontraditional animation technique involves filming a drawing, making changes, and filming it again, leaving traces of previous figures visible.
In 2016, Kentridge co-founded the Centre for the Less Good Idea in Johannesburg to provide artists with a space for experimentation and collaboration. The center has since produced nearly 500 performances with over 800 artists.
“The Great Yes, The Great No” is part of this season’s Illuminations series titled “Fractured History,” which examines history’s dynamic nature through performances and public programs. Set on an old cargo ship from a real voyage in March 1941, the opera blends historical events with other forced migrations. It features characters like Martinican poet Aimé Césaire and entertainer Josephine Baker.
Kentridge describes the passengers’ experience as both miserable and full of life: “It’s a bit like the traditional medieval image of the ship of fools.” Despite their dire circumstances, moments of joy emerge. The opera uses surrealist imagery to explore exile and colonialism dynamics.
Mario Tèlo, a Berkeley professor working on an edited collection about Kentridge’s work, notes its “palimpsest quality” that suggests room for growth throughout history. He explains that Kentridge’s art challenges conventional views of ancient artworks as complete.
The opera does not convey a central message but rather encourages audiences to engage with its unraveling ideas. “We start with a mess of different possibilities,” says Kentridge.
Tèlo highlights how Kentridge’s anti-racist activism influences his work: “It urges us to question the very idea of the nation state.” As characters reach Martinique after surviving a stormy journey, they reflect on impermanence: “Love no country, countries soon disappear.”
Berkeley’s Center for Interdisciplinary Critical Inquiry will host a pre-performance panel titled “Surreal Histories” featuring Kentridge on opening night. A post-performance discussion will follow the closing performance.
For more information about “The Great Yes, The Great No,” including ticket details and discussions, visit Cal Performances’ website.
