Bibliography

 

 

 

Um Circo de Rins e Fígados (A Circus of Kidneys and Livers)

The Theater was Always the Best Place for Death, by Flora Süsskind
Note on the (counter) dramaturgical method of Gerald Thomas

 

O teatro foi sempre o melhor lugar para a morte, Flora Süsskind
Nota sobre o método (contra) dramatúrgico de Gerald Thomas

 

 

 

Dilúvio (Flood) - Gerald Thomas


Jardel Dias Cavalcanti

FACEBOOK versículo 7: 1-23 Depois disse o GOOGLE a GERALD THOMAS:

Enter you and all your house into the ark, for I have seen that you are righteous before Me in this generation. In that same day all the fountains of the great deep were broken up, and the windows of heaven were opened. And there was a shower of FAKE NEWS on the earth forty days and forty nights. And all flesh that moved upon the earth expired, both birds, and cattle, and beasts, and every creeping thing that creepeth upon the earth, and every man. Everything that had the breath of the spirit of life in its nostrils, everything that was on dry land, died. Under torrential rain, all umbrellas were broken, and men were left without any protection. And every living thing that was on the face of the earth was destroyed, from man to beast and to creeping thing and to the fowl of the air; and they were destroyed from the earth...

 

 

 

Desenhos para amanhã e depois  (Drawings for Tomorrow and the Day After)


Apresentação: Ronald Polito Posfácio: Jardel Dias Cavalcanti

AMANHÃ E DEPOIS

Perhaps what is most disturbing about this little display of drawings by Gerald Thomas is not that they are absolutely current, because that would be obvious. But the perception that they are presentations of the future. These drawings are for tomorrow and beyond while the varied agglomerations of terror of the present are still expanding, threatening every form of common sense, every reasonable possibility of human life. They are, then, premonitory of a state of affairs, the domain of retrogression, of intolerance, of the extreme violence of the masters of the world. They put on the agenda that not-so-subtle remark of Joaquim Felício dos Santos from the very near year 1868: "The language of despotism has a certain strength and energy that will not be easy to imitate. In two words, they are talking about empire and imperiousness. Beaten beauty (that debauchery), the resources of resilience are smudges, scribbles, gambits, erasures, scratches, abrasions, smudges, sneezes, sputters, fluids, authoritarian genitalia, and blood, lots of blood. Never enough for the overwhelming phalanx of vampires in suits, cottons and ties all around. Pain quartered for dollars. The texts that often accompany these post-cards leave no room for doubt: "Third word - first word mouth to mouth resuscitation". Note: it is not a caption "explaining" the image, but counterpoint that makes the cynicism explicit. No mouth to mouth, but the eagerness with which the first world, this old and very modern Midas, can suck everything from its throne, including the vomit and blood of the miserable, if it is possible to turn them into figures. And it always is. To tie up Francis Bacon tightly, to carve up Beckett's umbrella, to torture sharks beyond the spectacle of Spielberg and Hirst: small practices to elucidate annihilationism. Above all, we need to clarify the darkness we have been put into without condoms, without lubricants. Angels, today, are Icarus. But beware: not the grotesque with its nihilism. Even if useful, to surrender to it would be to capitulate, which is what our executioners desire so much. It is the bizarre, the ex-centric, the weird that can guide us between cyclones and tsunamis with which the newspapers baptize our breakfast. Tomorrow's.

Ronald Polito

 

 

 

Gerald Thomas: Between Two Lines – A Memoir

Gerald Thomas exists by virtue of his devastating quality, his inconsistency, his nonconformity, his aggressiveness, his faith laden disbelief, his life affirming death cult; through his clear and powerful incongruence; by laughing and crying like an innocent and somewhow ominous child, by loving the neighbor he hates; by being an unexpectedly good, adorable boy and friend; by accepting and forswearing you in seconds; by loving you madly, by cursing you while blessing you; for his devilish, eternal, nonconformist and monstrously creative Art. His art is unique upon our stages and in our lives. If you have seen or experienced it, it will remain unforgotten. – Fernanda Montenegro (Actress)

 

 

 

Gerald Thomas: Entre Duas Fileiras – Autobiografia

Gerald Thomas existe por sua qualidade demolidora, por sua inconstância, por seu conformismo, por sua agressividade, por sua descrença cheia de fé por seu culto à morte pleno de vida, por sua clara e poderosa incongruência, por chorar e rir como criança inocente e nefasta, por amar ao próximo odiando, por ser de súbito um bom e adorável menino-amigo, por te acolher e te renegar em segundos, por te amar loucamente, por te maldizer te bendizendo, por ser um monstro de criatividade, por sua diabólica, eterna e infonformada Arte. Ate esta única nos nossos palcos e nas nossas vidas. Qeum o viu ou viveu não esquece. Fernanda Montenegro

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