ABSTRACT
The postmodern wave in Brazilian theater coincides with the postdictatorship period; it is the most controversial theatrical mode of this period. Its creators are the postmodernist encenadores, auteurs-in the mold of Robert Wilson-director-playwrights, director-designers, or in some cases, director-designer-authors, whose most significant figure is Gerald Thomas. In his own words, “What I do in theater is put cinema on the stage. I insist on saying this when they call me a director…Don’t confuse me, I’m not a director. I find that a facile, decorative profession. I’m an author, in the same way a filmmaker is an author. What I author I must stage. Otherwise, who else would do it?” (“Gerald, Thomas, eis a questâo”).1
