From digestivocultural.com (translated from Portuguese)
By Jardel Dias Cavalcanti
It takes nerves to flower of an ulcer to know that nothing is quiet in the Kingdom of Denmark (Brazil). We must leave within a pussy, reborn as an astronaut from who knows where, have Portuguese accent or speak the language of Beckett, Joyce and Wagner, to reveal it to the Brazilians. It must be indecisive , not only with our backyard, but with all the map wars and global violence, with their religious hatreds, race and gender, with the insanity of Capital and chronic technological blunders that plague the lives (un) human in the world today.
You must report the walls, make them fall, and abandon life as a wailing wall. It takes into a coma several times, and as often as necessary, to spit on the headless shadow spurious our silent masses. You have to lose the peace (even if you eat and clamber all day) while waiting for the window of our aircraft surreality descend with their agony of bombs on the cities. Finally, you must create a theater of exposed nerves and stomachs upturned, like Gerald Thomas, to look the monster of human folly (and especially Brazilian) in the face and say what it is.
Through his teeth , his new play, surprising for several reasons. Being a complete work of art, as has always been the purpose of the playwright and director, in which music, text, actors performance and image are configured as creating streaming. Why not save the language of textual dissonance, for laughing at himself (minimum requirement of creative thinking), and for being, first of all, pessimistic about the human destiny (and especially that of our country).
The piece is also surprising in the choice of actors: Ney Latorraca, Edi Botelho and the Portuguese actress Maria de Lima. Crazed, uncertain, collapsed, halt, loudmouths, interpret in an exceptional way the insanity of the world and Brazil, either through the actions of the own body broken and ulcerated, is being is possessed by spirits of pigs that esquizofrenizam during moments of the play.
Strong play time is when the actress Maria Lima curses shamelessly on viewers Brazilians displaying our misfortune, our foolishness, our stupidity, our inability to actually have a story. Gerald speaks through this “other” (the actress) about your own anxieties before the present amorphous Brazil. Does not hide the authorship of the speech ( “This text who wrote it was not me, it was Gerald,” says the actress at the end of his speech visceral).
The message through his teeth (? Has a message here) weighs like a shitload of an Anderson Silva: our cannibalism was not worth anything, still suffer from complex mutt. Ignorant, we blind our eye on the TV. Imported canned shows like latest fashion a world first kamikaze . Everything comes from another world as import ready – made recipes, pasteurized.
Our strong shout, with the margin of all, came to nothing. We have sinned against ourselves with optimism losers (denounced by Gerald Thomas speech the actress Maria de Lima and, in another context, by historian Carlos Fico in his book The invention of optimism in Brazil ). Our story does not smell of revolutionary blood. Decapitamos not any political scoundrel today. In condemn the leech illusion to live the lives of others, in successive novels and drugs that make mindless citizens daily in the country.
We value the woes, stupidity, stupidity and lack of character. Since there butt, novels and carnival … The force that appears at the end of the piece is a measure of a suggestion: collapse is you need! (Zweig committed suicide in Petropolis in the day that Europe sank his humanism under Nazism and Brazil quietly celebrated its carnival).
The dramatic part appeal is governed mainly by the music, by autophagic text of the actors and, most of all, the lame walk the Portuguese actress, wearing only a high heel, perhaps to reveal how much is lame all discourse, its impossible before an absolutely crude and insane reality.
Gerald Thomas does a local theater, despite the barbs in Brazil (the choice of music “stars Floor” at the opening of the piece, is significant in this sense – to allegorize Brazil as the “clown of lost illusions”). His theater discusses the universal dramas, where it runs through the signs of human life (out of pussy and fall into this insane earth) and the construction of the signs of history (of the Berlin Wall to the Western Wall). It is a theater of language, the free play of preposterous associations, and disciple of Freud who always seems to be also done a destroyer of illusions. Still, does not let himself become bitter as the author and theater director: makes you laugh from everyone and everything you say. Says vehemently, but says it should say that the theater is the place of the invention of language out of the current discourse.
Its aporias, such as Beckett, resonate the desire to continue: “You need to move on, I can not go, I’ll go ahead.” Gerald does not leave the theater, why not also want to stop bothering the idiots.