The Great Yes, The Great No
LUMA Arles presents The Great Yes, The Great No in partnership with the Festival d'Aix-en-Provence.
March 1941: a cargo ship leaves Marseille for Martinique with, on board, several artists and intellectuals escaping from Vichy France, including André Breton, Claude Lévi-Strauss and the Cuban artist Wifredo Lam.
This real event takes a magical turn when Charon, the ferryman of the dead who has now been promoted captain, rearranges space-time and invites other celebrated figures to join this new kind of ark, an allegory of all the forced expeditions of the past and present, including the representatives of anti-colonialism Aimé Césaire, Franz Fanon and the Nardal sisters.
The wonderful visual artist William Kentridge launches the spectator on to one of his artistic, political and spiritual adventures of which he alone holds the secret: a chamber opera inspired by the avant-gardes of the time, mixing the surreal and irrational (masks, collages, projections) and engaging dancers, performers, chorus members and instrumentalists in a vast web of musical styles, especially African and Caribbean.
Spoken and sung in English, French, Isiswati, Isizulu, Isixhosa, Setswana and Xitsonga with French and English surtitles
Practical Information
Times: 9:30 p.m.
Duration: 1h20 (without interval)
Place: La Grande Halle
Full price: From €32
Youth price: From €10
A return journey (round trip) shuttle service from Aix-en-Provence to LUMA Arles will be offered at the time of your booking.
Interview with William Kentridge, about "The Great Yes, The Great No" (2024)
"How does one understand colonialism?"
Through this interview, William Kentridge talks about 'The Great Yes, The Great No', a musical theater piece inspired by the history of the ship Capitaine-Paul-Lemerle, which in 1941 transported refugees from Marseille to Martinique to escape the Vichy regime, including famous intellectuals such as André Breton and Claude Lévi-Strauss.
How does he turn this historical event into a contemporary debate? What symbolism lies behind his choice of putting the boat as the main stage of his play? Why did he use cardboard masks to represent the people on the boat?
‘The Great Yes, The Great No’ took place at LUMA Arles from Sunday, July 7 to Wednesday, July 10, 2024, in partnership with the Festival d’Aix-en-Provence.
Conversation between William Kentridge and Homi K. Bhabha
In this filmed conversation, William Kentridge and Homi K. Bhabha share their perspectives on the historical and aesthetic questions that shape the artist’s work. Their exchange highlights the circulation of ideas between European avant-gardes and twentieth-century Black thought, while revisiting the displacements, exiles, and anti-colonial struggles that marked the World War II era.
The discussion also sheds light on the making of the work itself: collages, layered compositions, and visual and narrative fragments come together to form a distinctive language shaped by multiple influences. Moving between artistic legacies and contemporary reinvention, this conversation offers a clear insight into the genesis and imaginative worlds behind Kentridge’s new operatic creation.
Creative team
Concept | Director: William Kentridge
Associate Directors: Nhlanhla Mahlangu | Phala O. Phala
Choral Composer: Nhlanhla Mahlangu
Music Director: Tlale Makhene
Dramaturg: Mwenya Kabwe
Costume Design: Greta Goiris
Set Design: Sabine Theunissen
Lighting Design: Urs Schönebaum | Elena Gui
Projection Editing | Compositing: Žana Marović | Janus Fouché | Joshua Trappler
Cinematography: Duško Marović
Video Control: Kim Gunning
Musical arrangements: Nathan Koci
Performed and created by
Performers: Xolisile Bongwana, Hamilton Dhlamini, William Harding, Tony Miyambo, Nancy Nkusi, Luc de Wit
Dancers: Thulani Chauke & Teresa Phuti Mojela
Chorus: Anathi Conjwa, Asanda Hanabe, Zandile Hlatshwayo, Khokho Madlala, Nokuthula Magubane, Mapule Moloi,Nomathamsanqa Ngoma
Musicians: Marika Hughes (Cello), Nathan Koci (Accordion | Banjo), Tlale Makhene (Percussion), Thandi Ntuli (Piano)
Produced by
THE OFFICE performing arts + film
A project of the Centre for the Less Good Idea
Lead commissioner
LUMA Foundation, Arles, France
Co-Commissioners
Adrienne Arsht Center for the Performing Arts, Miami-Dade County USA with lead sponsor support from Adrienne Arsht; CAL Performances, Berkeley USA; Centre d’Art Battat, Montreal Canada.
Foundational commissioning support for the development and creation of The Great Yes, The Great No is provided by Brown Arts Institute at Brown University.
The Great Yes, The Great No acknowledges the kind assistance of Goodman Gallery, Lia Rumma Gallery and Hauser & Wirth in this project.
Co-Producers
Les Théâtres de la Ville de Luxembourg, LU | Ruhrfestspiele Recklinghausen, GE
Toured in partnership Quaternaire
William Kentridge
William Kentridge (born Johannesburg, South Africa, 1955) is internationally acclaimed for his drawings, films, theatre and opera productions.
His method combines drawing, writing, film, performance, music, theatre, and collaborative practices to create works of art that are grounded in politics, science, literature and history, yet maintaining a space for contradiction and uncertainty.
Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA and the Norval Foundation in Cape Town and the Royal Academy of Arts in London. He has participated a number of times in dOCUMENTA in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999 and 1993). His works are also in the collections of museums around the world.
Opera productions include The Magic Flute by Mozart, The Nose by Shostakovich, and Lulu and Wozzeck by Alban Berg, and have been seen at opera houses including the Metropolitan Opera in New York, La Scala in Milan, English National Opera in London, Opéra de Lyon, Dutch National Opera in Amsterdam, the Sydney Opera House, and the Salzburg Festival.
Kentridge’s theatrical productions, performed in theatres and at festivals across the globe, include Refuse the Hour, Winterreise, Paper Music, The Head & the Load, Ursonate, and Waiting for the Sibyl, and, in collaboration with the Handspring Puppet Company, Ubu & the Truth Commission, Faustus in Africa!, Il Ritorno d’Ulisse, and Woyzeck on the Highveld.
Kentridge is the recipient of honorary doctorates from several universities, including Yale, the University of London, and Columbia University. In 2010, he received the Kyoto Prize. In 2012, he was awarded the Commandeur des Arts et des Lettres in France and presented the Charles Eliot Norton Lectures at Harvard University. In 2015, he was appointed an Honorary Academician of the Royal Academy in London. In 2017, he received the Princesa de Asturias Award for the Arts, and in 2018 the Antonio Feltrinelli International Prize. In 2019, he received the Praemium Imperiale Award in Painting in Tokyo. In 2021, he was made a Foreign Associate Member of the Académie des Beaux-Arts, Paris. In 2022, he was presented with the Honour of the Order of the Star of Italy, and in 2023 he received the Olivier Award for Outstanding Achievement in Opera for Sibyl in London.