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By Catlin R. Tucker

This consultant is helping academics combine on-line with face-to-face guideline to customize studying, elevate engagement, and get ready scholars for high-stakes assessments with no sacrificing category time.

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Extra resources for Blended Learning in Grades 4-12: Leveraging the Power of Technology to Create Student-Centered Classrooms (1st Edition)

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Both protagonists, in their continual convulsions, deaths, and resurrections, remind one of the typical horror movie monster that refuses to die. ” The angels enter with birthday cakes, which they place on the stage. But this will be no child’s birthday party: the music stops, the audience hears a recorded heartbeat. The angels, in one of the most startling moments in Flash & Crash, rip Mother’s heart from her breast. The angels throw the heart to Daughter. Her bloody hands arise from behind the volcano, then her face, the heart in her mouth.

These images hark back to the European colonization of Brazil and subjugation of its native peoples. They are also images out of a Bosch painting. At the same time, they refer to a future postindustrial apocalypse. Ritual images of death and mutilation abound, often underscored with a liturgical motif composed by Philip Glass. A figure is seated in a chair—electric chair? —while another kneels before the Gerald Thomas and the Postmodernist Theater in Brazil 21 first and stabs the seated figure.

I asked above if Gerald Thomas’s performances parallel Brazilian society or reproduce sterile ritual theater practices developed in the United States and Europe. The answer, I believe, is that they fall somewhere in between because Thomas’s theater, like Antunes Filho’s, borrows from a Brazilian cultural matrix closely bound up with ritual. The curtain call in Mattogrosso, for example, features the encenador himself walking on stage playing a large samba drum—bumbo or surdo—representing Brazil’s African culture, a culture in which Thomas participates.

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