William

Kentridge’s

ship

of

fools

Writing for Prospect, Fiammetta Rocco delves into William Kentridge's latest theatrical work, ‘The Great Yes, The Great No’, which explores themes of migration, exile and historical memory. The work draws from the story of the Capitaine Paul-Lemerle, a refugee ship during World War II, and weaves together figures such as Frantz Fanon and Joséphine Bonaparte, the first wife of Emperor Napoleon, to examine displacement and the search for refuge. Central to the work is Kentridge’s collaboration with a range of artists — musicians, choreographers and writers — emphasising improvisation and the merging of cultural traditions.

Rocco highlights how Kentridge’s unique blend of theatre, visual art and music creates a multi-layered narrative that reflects contemporary struggles around migration and identity. ‘The Great Yes, The Great No’ represents a significant development in Kentridge’s practice, bringing together historical reflection, and socio-political discourse.