William Kentridge's poetic theater blurs boundaries of art

Home > Opinion > Meanwhile

William Kentridge's poetic theater blurs boundaries of art

Published: 13 May. 2025, 00:05

Audio report: written by reporters, read by AI

Lee Eun-joo

The author is a senior reporter on culture at the JoongAng Ilbo.

In ancient mythology, the Sibyl was a prophetess known for her powers of foresight. According to legend, she lived in a cave near Naples, where she would write her predictions on oak leaves and place them at the cave’s entrance. But when seekers reached for the leaves, the wind would scatter them — leaving people uncertain whether the words they gathered foretold their own fate or someone else’s.

This story of ambiguity and unknowable destiny forms the conceptual foundation of "Waiting for the Sibyl," a multimedia performance by South African artist and director William Kentridge. The work was staged in Seoul on May 9 and 10 at the GS Caltex Art Theater in Yeoksam-dong in Gangnam District, southern Seoul. Since premiering in Rome in 2019, the piece has toured cities including New York, London, and Sydney.

William Kentridge, Drawing for Self-Portrait as a Coffee-Pot (Lassitude), 2024, charcoal and colored pencil on paper. [HAUSER&WIRTH]

Kentridge, best known for his charcoal drawings, brings that same medium into his performances. His method — drawing, erasing and redrawing on paper — leaves visible traces of time, which are then transformed into moving images that serve as a visual narrative throughout the performance.

Blending video, live music, poetry, dance and theater, the production unfolds as a lyrical meditation rather than a linear play. In an age saturated with digital media, Kentridge manages to evoke a sense of wonder through simplicity. His work draws audiences not with spectacle, but with what feels like a hand-drawn poem, unfolding in motion. It is this rare quality that has earned him the title of “an artist’s artist” among peers across disciplines.

Following the performance on May 9, Kentridge spoke with the audience and emphasized collaboration as central to his creative process. “Two musicians from very different traditions — Kyle Shepherd and Nhlanhla Mahlangu — came together for this project,” he said. “To collaborate well, openness is essential.”

Yet, the emotional resonance of Kentridge’s work cannot be explained by collaboration alone. His analog sensibility also plays a crucial role. The visible labor in his charcoal sketches — rough textures, lingering smudges — invites both familiarity and awe. This tactile quality is absent in much of today's digital-heavy media art, which often favors sleekness over substance.

South African artist William Kentridge poses in the courtyard prior to his installation as a foreign associate member of the Academie des Beaux-Arts in Paris, February 12, 2025. [AFP/YONHAP]

Kentridge’s work returns to the GS Art Theater on May 30 with another cross-genre performance, "Shostakovich 10: If I Could Dream Another World," featuring the Seoul Philharmonic Orchestra under conductor Roderick Cox. As ever, the question remains: How far will Kentridge’s boundless imagination travel next?

Translated from the JoongAng Ilbo using generative AI and edited by Korea JoongAng Daily staff.