Gerald Thomas London Dry Opera
Gerald Thomas London Dry Opera
THROATS
The Director
The Actors
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THROATS
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'THROATS'
A piece constructed throughout the rehearsal process. Needless to say, there is a basic premise or scene which carries the playwrights signature and will be the red thread which conducts the audiences through bizarre associations, strange philosophical ambiguities and so on. Our historical perspective (and our amazing lack of memory), and how this all fits into how strangely we communicate is, indeed, a big part of the creation.Its worth nothing that certain scenes are deliberately silent, followed by the voice of an invisible narrator
(the voice of the eternal question, via loudspeakers), who pulls the carpet from underneath the belief of the audience and makes light of some very delicate (and why not say, deep) issues. But almost as a registered trademark.The play (also thought of as the Empire of Idiotic Strategies), will portray this era of ours, nihilistic as it is, with all the moans and groans from the cradle to the grave, but a strong message for peace and knowledge will come through at the end.'
The Director
Born in 1954,Gerald Thomas has spent his life in the United States, England, Brazil and Germany, graduating as a reader of Philosophy at the British Museum Reading Room and officially beginning his life in the theater at La MaMa Experimental Theater.Very early on his life, Thomas was blessed by two major theatrical events which were to were to leave a mark in his life forever.1969: the rehearsals of Victor Garcia's masterpiece staging of Genet's The Balcony in Sao Paulo in the seventies, in which Thomas was merely an observer and/or assistant to the production. One year later, at the Aldwych, in London, where he was able to become an intruder in Peter Brooks rehearsals of the RSC in the Midsummer Nights Dream. Back in the US, at La MaMa, Thomas became an illustrator for the Op-Ed page of the New York Times while also conducting workshops at La MaMa, where he adapted and directed quite a few world premiere pieces of Samuel Becketts prose and dramatic pieces.In the early eighties, Thomas began working with Beckett, the man himself, in Paris (after a lot of correspondence had been exchanged between them for almost two years), adapting new fiction by the author. Of these, the more notorious were All Strange Away and That Time staring the legendary Living Theater founder, Julian Beck in his only stage acting role outside of his own company, The Living Theater. Julian died during an international tour of the Beckett Trilogy.In the mid-eighties, Thomas became involved with German author Heiner Müller, directing his works in the US and in Brazil, and began a long term – and wonderful partnership with American composer Philip Glass: watch Glasss amazing introduction to Thomass work on http://www.geraldthomas.com.In 1985 Thomas formed and established his Dry Opera Company, in São Paulo,Brazil. It has, since, performed in 15 countries with yearly returns. With the Dry Opera Company, Thomas has written and directed Eletra Com Creta, The Kafka Trilogy, Carmem Com Filtro, Mattogrosso, The Flash and Crash Days, The Trilogy of the B.E.A.S.T. and M.O.R.T.E, Nowhere Man, Os Reis do Ie Ie Ie (A Hard Days Night), The Ventriloquist, Nietzsche Contra Wagner, Waiting for Beckett, UnGlauber, The Prince of Copacabana, The Empire of Half Truths, Deus Ex Machina, Terra em Transito (Earth in Trance), Ashes in the Freezer, A Cube of Ice in Flames and a Tribute to Becketts 100s anniversary, Asfaltaram o Beijo (Asphalt over a kiss), Kepler the Dog and Bait Man. Those are all authored by Thomas for his own company.The Company has performed worldwide at several prestigious venues, such as Lincoln Center in New York, Denmarks on and off off theaters, The Munich State Theater, Viennas Wiener Festwochen, The Taormina Festival, Zagreb and so many others. Most of the productions were televised by the national networks of the respective countries.OPERASIn 1987, Thomas directed his first opera, Wagners The Flying Dutchman at Rio de Janeiros Opera House. Brazil had never seen such an effervescent uproar. Public and critics alike were divided into profound love and hatred over Thomas unconventional staging. Discussions over Thomas placement of the story at the Berlin Wall occupied entire pages of newspapers and hour-long television debates for months. The last performance was televised live to Germany and later broadcast in 5 different countries.What followed was a complete turn of events in Thomas life. Soon he completed a new work with Philip Glass, Mattogrosso, and accepted invitations to work with international companies at several European Opera Houses and theater companies. In 1990, Thomas wrote and directed his own Sturmspiel for the Cuvlliés; Theater, with the Munich State Company and premiered Perseus and Andromeda, by Salvatore Sciarrino, at the Stuttgart State Opera. Also in 1991, Thomas wrote and directed The Said Eyes of Karlheinz Öhl for the Pontedera TheatreCompany,the home of Jerzy Grotowski in Italy, and re-staged Becketts Waiting for Godot (Warten auf Godot) at the Munich State Theater, shortly after Sam Becketts death. What follows is a succession of operas: Narcissus (by Beat Furrer) at Graz Oper, Dr Faust (by Busoni) at Graz Oper and, Tristan und Isolde by Wagner at the Deutsches National Theater, Weimar and Zaide (Mozart and Luciano Berio), for the Maggio Musicale and, finally Moses und Aron (Schoenberg, considered by Thomas as his best work), Raw War at Bonn, (Detlef Heusinger), Chief Butterknife, for the Danish (Dogma) company Dr. Dante Aveny, and Babylon (Detlef Heusinger), for the Deutsches National Theater Mannheim and Schwetzinger Festpiele and others of minor importance.
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The Actors
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Sketch
unofficial but functional layout
