As entrevistas (através das décadas) onde me expressei melhor: Lorena, Roda Viva e Contardo.

 

“DILUVIO” – Recado para aqueles que (não me atenderam ou entenderam na Casa do Saber) !!!

CASA DO SABER – Leitura de “ARTiculose” (texto virgem meu) com Fabiana Gulgi e Maria de Lima HOJE as 20h !

“DELUGE” – MANIFESTO (English)

DELUGE MANIFESTO

I left that meeting in such a terrible state ! Hard to even begin to describe how upset I was. No, it’s nobody’s fault but mine. My work is NOT about wars. I have NEVER stated such a thing. I have never declared war on my work by saying or stating that it consisted of (merely and simply) of a theme with a purpose! And ESPECIALLY not with a silly  purpose such as to spin around like a pawn out of control around the same theme. No, never!

Well, listen to Mozart, if you will. Take a look at Picasso but DON’T look at Duchamp’s work. Why?

The “ARTist doesn’t necessarily repeat him / herself. Rather, but WE do MULTIPLY !!!

 Warhol made that clear and so specific.

My oeuvre (theater, painting, texts in general) are – just about – “a bunch of impressions, MY PERSONAL AND VERY PERSONAL impressions gathered along the years, from my childhood up till now and seen through this awkward prism which happens to be my brain. Or, as Beckett put it (brilliantly), “moans and groans from the cradle to the grave”.

And it is this… this “VERY PERSONAL impression” which makes me unique: UNIQUE! And if you don’t like it, fuck off. Perhaps this is why, geniuses such as Samuel Beckett and Philip Glass and countless others around the world have chosen to endorse me and perhaps this is why the French newspaper Liberation decided to devote 9 pages to explain in so many words “Les Theatres Stocastiques de Gerald Thomas” (http://geraldthomas.com/images/pdf/krysinski.pdf) or maybe this is why The New York Times gave me an entire front page of its Arts & Leisure in 1988 (http://geraldthomas.com/images/pdf/8810-nytimes.pdf) when I brought my Kafka Trilogy back to my beloved NYC (I was only 34 years old then: “oh time flies!”

And maybe this is why my work has spread and has been spread around 16 countries on this planet and – after 20 operas in Europe and God knows how many plays with Heavens knows how many theater companies around this world, I still have a VOICE and this VOICE SCREAMS ! Oh yes it does. It SCREAMS!!!! Maybe more than ever now.

And it screams on a scale that many of you have not wanted to hear (or have refused to do so) for decades. I don’t care. Haroldo de Campos did embrace me and (just like him, hundred of theses around the world, from scholars or just amateurs started to sprout and blossom…)

I have not come to entertain you, fuck it !!! However many of you laugh and keep on laughing and entertaining yourselves. I know it’s a nervous laughter of the ticklish and sexual kind.

DELUGE will follow its course. Those who will empathize, great. And for those who won’t… I sincerely hope you’ll DROWN.

Gerald Thomas

São Paulo, April 22, 2017

 

 

DILUVIO – MANIFESTO !!!!

DILUVIO MANIFESTO

Fiquei perturbadíssimo depois que saí da reunião.

Não é culpa de ninguém. Talvez seja culpa minha mesmo.

Minha obra NÃO é sobre guerras. Jamais disse ou declarei que a minha obra gira em torno do mesmo tema. Existe (obviamente), uma clara repetição. Ouçam Mozart. Vejam Picasso. (mas não mirem Duchamp). O artista não necessariamente se “repete” mas…se MULTIPLICA.

Warhol deixou isso explicitamente (explicito)!

A minha obra (teatro, pintura, textos em geral)

é – nada mais nada menos – do que um “bando de impressões MINHAS, angariadas desde a infância até hoje, vista por esse prisma torto que é a minha cabeça” ou, como dizia Beckett “moans and groans, from the cradle to the grave”

E isso me torna ÚNICO. E é isso que pessoas UNICAS como o Beckett e como o Philip Glass viram e descreveram a meu respeito. E se o Liberation publicou “Os teatros estocásticos de GT “– 9 paginas e o New York Times me deu uma capa enorme no “Arts and Leisure” em 1988 (eu tinha 34 anos, sorry) e se Haroldo de Campos me abraçou e me publicou e se existem TESES a meu respeito e se sou estudado mundo afora é porque essa VOZ aqui dentro GRITA !

E GRITA aquilo que vocês não querem (muitas vezes) OUVIR.

Eu não vim aqui pra diverti-los, PORRA. Embora, muitas vezes, vocês riam. Mas riem sim. De tão nervosos que ficam.

E é isso que vamos seguir em Dilúvio.

Quem gostar e se “empatizar”, ótimo. Quem não gostar, morra!

Quem sou eu? Não sei. E Jamais descobrirei.

Eu enceno o que vem a cabeça: Daí tantos LIVROS e teses a meu respeito.

Daí o ‘ENCENADOR DE SI MESMO”. ESSE SOU EU.

LOVE

Gerald Thomas

São Paulo, April 20, 2017

 

São Paulo, April 20, 2017

 

 

 

“DILUVIO” (DELUGE) (a ARCA que NãoÉ) Vem aí. Brasil, me aguarde !

Estado De S Paulo

“A BREVE INTERRUPÇÅO DO FIM” / “A BRIEF INTERRUPTION OF THE END” (my TanzTheater piece in 1997 in collaboration with the Group 1 Ato) Happy Easter you all.

“Nowhere Man” (my play: 1996) sometimes I feel as if it has all been said!

BOOKS ! LIVROS ! (almost all here ! quase todos eles aqui)

Tomorrow she’ll be 16 !!! “time….. !!!! ” HAPPY BIRTHDAY BABY !!!!

Photo taken yesterday, April 4th 2017

Details from my Flying Dutchman 1987 Rio Opera House (Navio Fantasma)

From Duchamp’s Wheel and Claes Oldenburg’s lipstick to Rodin’s “the Thinker”… these were a few of the artworks on “exhibit” (beyond) the BERLIN WALL (two years before it came down), in my own version of Kassel’s Documenta.