Gerald Thomas | |
---|---|
Born | Gerald Thomas Sievers July 1, 1954 New York City, U.S. |
Occupation(s) | Playwright, Opera and Theater Director |
Gerald Thomas Sievers, best known as simply Gerald Thomas (born July 1, 1954, New York City) is a theatre and opera director and playwright who has spent his life in the United States, England, Brazil and Germany. [1] After graduating as a reader of philosophy at the British Museum Reading Room, Thomas began his life in the theater at Ellen Stewart's La MaMa E.T.C. in New York City. During this period Thomas became an illustrator for the Op-Ed page of the New York Times while conducting workshops at La MaMa E.T.C. where he adapted and directed world premieres of Samuel Beckett's prose and dramatic pieces.
In the early 80s, Thomas began working with Beckett himself in Paris (after a lot of correspondence between them for almost two years), adapting new fiction by the author. Of these, the more notorious were All Strange Away and That Time starring the Living Theatre founder, Julian Beck in his only stage acting role outside of his own company.
In the mid-80s, Thomas became involved with German author Heiner Müller, directing his works in the US and Brazil, and began a long-term partnership with American composer Philip Glass.
In 1985 Thomas formed and established his Dry Opera Company, in São Paulo. It performed in 15 countries up until 2008 (see list of works below).
In 2009 he wrote a manifesto declaring his "goodbye-to-theater" yet, in 2010, Thomas announced to Stage News that he was to set up his Dry Opera Company in London. Its first production, "Throats," written and directed by Thomas, began performances at the Pleasance Theater in Islington on Feb. 18, 2011.
In 2016, Thomas's autobiography "Between Two Lines" or "Entre Duas Fileiras", was released by Grupo Editorial Record. The blurb on the back cover was by Oscar Nominee and Golden Globe winner Fernanda Montenegro (and protagonist of Thomas's "The Flash and Crash Days") writes : "Gerald Thomas exists by virtue of his devastating quality, his inconstancy, 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 somehow 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 and nonconformist Art is monstrously creative. His Art is unique upon our stages and in our lives. If you have seen or experienced it, it will remain unforgotten."
On November 11, 2017, Thomas opened his new production “Diluvio” at SESC Anchieta- Consolação, in São Paulo, Brazil, after a three-year absence from the theater. Cast: Maria de Lima, Lisa Giobbi, Julia Wilkins, Ana Gabi, Beatrice Sayd, Isabella Lemos, André Bortolanza, Ronaldo Zero, Wagner Pinto and Dora Leão.
In August 2003, Thomas directed a performance of Tristan und Isolde at the Teatro Municipal do Rio de Janeiro, the city's main opera house. It was a nontraditional production in that the action was set in the office of Sigmund Freud—himself a character on stage, tossing cocaine in the air at one point—and made references to drug trafficking and violence in Rio. [2] During the curtain calls following one performance, the audience spared the cast but jeered at Thomas. In response, he turned his back to them and lowered his pants and underwear, mooning the audience [3] and simulating the act of masturbation. [4]
The Rio de Janeiro chief of police, who was in the audience that evening, filed a report against Thomas under Article 233 of the Brazilian Penal Code, which criminalizes "carrying out an obscene act in a public place, or in a place open or exposed to the public" and prescribes a sentence of three months to one year of imprisonment. After Thomas refused an attempt by the Rio de Janeiro state prosecutors to settle the case out of court by paying a fine, his formal indictment was approved by the Rio de Janeiro Court of Justice. [5]
The following year, the Supreme Federal Court accepted and ruled on a petition for habeas corpus in favor of Thomas, granting it on 17 August 2004 and ordering the dismissal of the criminal case against him. The petition was decided by a five-member panel of the court. Justice Joaquim Barbosa recused himself on the grounds that he had not attended the session during which the case was presented. Justices Carlos Velloso and Ellen Gracie voted to deny the request; justices Gilmar Mendes and Celso de Mello voted to grant it. As the vote was 2–2, Mello, the panel's chair, applied Article 150, paragraph 3 of the Supreme Federal Court's internal rules, which state that in the event of a tie in a habeas corpus decision, the ruling should favor the beneficiary. [4] [6]
In his vote in favor of the petition, Justice Mendes argued that the context of the act should be considered—a reaction to a dissatisfied audience after a theatrical performance—and thus unlikely to have offended the public's sense of decency. "An objective analysis of the dispute," he wrote in his vote, "must indicate that the matter is entirely within the scope of freedom of expression, even if inappropriate or ill-mannered." He also noted that modern society possesses mechanisms to address such situations, rendering criminal prosecution unnecessary. [4]
Justice Mello, also voting in favor, argued that the established legal interpretation of Article 233 of the Penal Code required that the alleged lewd act should be sexual in nature. Noting that the concept of lewdness varies with time and location, and that he would "tend to recognize it as more a manifestation, albeit rude, of [Thomas's] freedom of expression in reaction to the jeers". [4]
In her vote against, Justice Gracie cited the example of Victor Hugo, who "adopted an attitude of humility in face of those who, at the time, failed to comprehend the innovations brought on by his creations". [4]
Sexually assaulted a reporter, Nicole Bahls, at a book signing in Leblon, south of Rio. [26]
The above pieces comprise a tetralogy, produced by SESC - São Paulo with a sponsorship from Eletrobras
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