William Kentridge

When night falls on the Landiwiese, the sun sets behind the Albis hills, the colours darken and the world is reduced to the balance between light and dark, it sets itself in motion: A convoy of people, machines, archetypical and curiously animated objects slowly moves by the spectators to the rattling, soulful sounds of a South African brass band. William Kentridge’s 40-metres long installation seems like an endless parade and reminds one of a procession, or even a protest march. Or could it be a dance of death? The surrounding landscape looks devastated, withered, abandoned. No place to rest. Yet it remains open where these people are heading, as the parade disappears into the darkness. While some trudge by tired and exhausted, others carry flags and banners with slogans.  Others progress in a measured thread, and hold above their heads, like votive tablets, the portraits of famous men and women. Farm workers shouldering heavy loads, politicians at the lectern, office workers at typewriters, dancing priests, armed freedom fighters, uniformed brass musicians and an endless row of disabled, torn and sick people on life support, attached to the drip of church, war and capitalism, slowly move towards an unknown beyond. William Kentridge has named his monumental shadow play «More Sweetly Play the Dance». He alludes to the words «play that death thing more sweetly» from Paul Celan’s famous poem on the Holocaust, «Death Fugue».

There are only a few artists of Kentridge’s standing who take such a clear political stance while using different artistic means of expression with such virtuoso skills and in a style that is uniquely his own. He has directed puppet plays and operas, is a draughtsman, sculptor, set designer, shadow player, animation film maker, author and performer. For almost 40 years, the Theater Spektakel has maintained a relationship with this unparalleled artist, rich in memorable moments. The Theater Spektakel has accompanied his creative work from his stint as director of the Handspring Puppet Company, through his draughtsman of animation films to his spoken word interpretation of Schwitter’s «Ursonate» at last year’s festival. We are more than happy to present his impressive multi-media skills with this installation − somewhat a political heritage − in this special edition of the Theater Spektakel. (esc)