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Cristiane Oliveira Cunha De Paiva Rocha CRISTIANE OLIVEIRA CUNHA DE PAIVA ROCHA DO MONTE OLIMPO AO UNIVERSO DOS MORROS CARIOCAS: A RENOVAÇÃO DO MITO DE ORFEU EM TRÊS TEMPOS CURITIBA 2013 CRISTIANE OLIVEIRA CUNHA DE PAIVA ROCHA DO MONTE OLIMPO AO UNIVERSO DOS MORROS CARIOCAS: A RENOVAÇÃO DO MITO DE ORFEU EM TRÊS TEMPOS Dissertação apresentada como requisito para a obtenção do Grau de Mestre ao Curso de Mestrado em Teoria Literária do Centro Universitário Campos de Andrade – UNIANDRADE. Orientadora: Profª Drª Anna Stegh Camati CURITIBA 2013 AGRADECIMENTOS A Deus, em primeiro lugar, por estar presente em minha vida e me permitir senti-lo na alegria e nos momentos difíceis, me sustentando e fortalecendo. “Deus é o que me cinge de força e aperfeiçoa o meu caminho” – Salmos 18:32. Aos meus filhos, Ramonn e Rafaela, parceiros de vida, razão e inspiração do meu viver, do meu lutar, por valorizarem minhas escolhas sempre acreditando em mim e por entenderem tão bem as minhas ausências. A constante presença de vocês me incentivou a continuar fazendo valer a pena. Por imenso amor a vocês, iniciei o caminho e cheguei até aqui. Vamos em frente! – “Amor verdadeiro, amor eterno!” Ao meu marido, José Delcides de Oliveira, incentivador e estimulador do meu crescimento pessoal e profissional. Você sempre acreditou em mim e na minha capacidade, e isso foi fundamental. Suas dicas e pesquisas espontâneas, além de seu olhar dedicado ao que compartilhei fizeram o difícil parecer mais fácil. Apesar de requisitar minha companhia e atenção mais do que eu podia dar, senti aí o seu amor, sua parceria e dedicação, dignos de merecida retribuição. À minha querida mãe, D. Conceição Oliveira da Cunha, por seu amor incondicional que a fez deixar por alguns momentos seu cotidiano para participar ativamente do meu e me apoiar com o que podia. Sua capacidade de sempre lutar pela vida e pelos seus, com amor incessante, sem medir esforços, formou o aprendizado que trago e repasso hoje, e é o que de maior levo comigo. Te amo, mãe! À minha querida, muito querida, Profª Drª Anna Stegh Camati, exímia orientadora, meu agradecimento especial por ter acreditado em mim e no meu trabalho, quando este ainda era um simples embrião, e pela compreensão nos momentos em que a saúde me abandonou. Sua dedicação ressignificou o termo “orientadora”, extrapolando seu sentido ao demostrar constantemente entusiasmo com as nossas descobertas, sendo a amiga e companheira de pesquisa com quem sempre pude contar. Sua apreciação pelo meu trabalho e pela minha pessoa é motivo de satisfação pessoal. Sua contribuição e parceria foram essenciais e ampliaram meu ponto de vista conceitual e profissional. À Profª Drª Verônica Kobs, que, em suas aulas, me fez voltar os olhos para a cidade do meu coração, meu Rio de Janeiro. Tais aulas adentraram no presente trabalho enriquecendo uma das partes mais satisfatórias e aguçaram em mim a vontade de abordar a cultura da minha terra e da minha gente, valores caros para mim. Professora, sua atenção e receptividade constantes foram aliadas de suma importância. À Profª Drª Maria Cristina de Souza, por aceitar fazer parte dessa fase tão importante em minha vida, colaborando com suas apreciações e dicas tão valiosas. Sua incondicional compreensão e paciência com as mudanças de rumo e de prazos foram fundamentais. Professora, suas palavras de tranquilidade e seu marcante incentivo trouxeram motivação, leveza e paz à fase final. A todos os meus queridos amigos, incluindo os companheiros de trabalho da Seção de Ensino 8, do Colégio Militar de Curitiba, que, direta ou indiretamente, contribuíram para que eu pudesse chegar até aqui. Por todos os incentivos, quais sejam, o empréstimo de um livro, sugestões, um café, uma oração, ou quando atentamente me ouviram quando eu precisava desabafar e me deram palavras de ânimo. Sintam- se abraçados! SUMÁRIO LISTA DE ILUSTRAÇÕES ..................................................................................................... v RESUMO ............................................................................................................................... vi ABSTRACT .......................................................................................................................... vii INTRODUÇÃO ...................................................................................................................... 1 1 ORFEU E EURÍDICE: DA ORIGEM ÀS VARIANTES DO MITO ........................................ 9 1.1 OS CULTOS SOLARES E LUNARES NA GRÉCIA ANTIGA: O JOVEM ORFEU ............ 9 1.2 NASCE O MITO: A MORTE DE EURÍDICE E A DESCIDA AO HADES ........................ 17 1.3 A REPRESENTAÇÃO DA VIDA E MORTE DE ORFEU EM DIFERENTES VERSÕES LITERÁRIAS ........................................................................................................................ 22 2 A PRÁTICA DA ADAPTAÇÃO COMO RECRIAÇÃO: NOVOS CONTEXTOS, MÍDIAS E ABORDAGENS .................................................................................................................. 35 3 EM BUSCA DE UM NOVO ESPAÇO: O RIO DE JANEIRO COMO TEXTO E PALCO ... 44 4 ORFEU DA CONCEIÇÃO (1954), DE VINICIUS DE MORAES ........................................ 58 4.1 VINICIUS COMO ARTISTA MULTIFACETADO............................................................. 58 4.2 DO MONTE OLIMPO AOS MORROS CARIOCAS: NASCE O ORFEU NEGRO ........... 63 4.3 O PROCESSO DE ABRASILEIRAMENTO DO MITO .................................................... 73 5 A DESCIDA AO INFERNO E A REVOLTA DAS BACANTES EM TRÊS TEMPOS ......... 84 5.1 O CONCEITO DE CARNAVALIZAÇÃO SEGUNDO BAKHTIN ...................................... 84 5.2 VINICIUS DE MORAES RESSIGNIFICA O HADES E O EPISÓDIO DAS BACANTES . 94 5.3 OS MOTIVOS MÍTICOS RECONFIGURADOS SOB O OLHAR ESTRANGEIRO DE CAMUS ............................................................................................................................. 113 5.4 O INFERNO DO TRÁFICO E DROGAS E AS BACANTES VINGADORAS NA VISÃO DE DIEGUES ......................................................................................................................... 126 CONSIDERAÇÕES FINAIS ............................................................................................... 145 REFERÊNCIAS ................................................................................................................. 150 ANEXO I – FICHA TÉCNICA DE ORFEU DA CONCEIÇÃO (1956) .................................. 154 ANEXO II – FICHA TÉCNICA DE ORFEU NEGRO (1959)................................................ 157 ANEXO III – FICHA TÉCNICA DE ORFEU (1999) ............................................................ 159 LISTA DE ILUSTRAÇÕES Figura 1 – A morte de Orfeu (1494) – Albrecht Dürer........................................................... 30 Figura 2 – Orfeu e as Bacantes (1710) – Gregorio Lazzarini ............................................... 32 Figura 3 – Dona Marta: favela e cartão postal ..................................................................... 55 Figura 4 – Rocinha: a favela e a elite ................................................................................... 55 Figura 5 – Orfeu desce o morro para trabalhar .................................................................... 55 Figura 6 – Orfeu, a autonomia da atualidade ....................................................................... 55 Figura 7 – O morro em Orfeu negro, de Camus ................................................................... 56 Figura 8 – O morro em Orfeu, de Diegues ........................................................................... 56 Figura 9 – Aspecto bucólico da favela ................................................................................. 56 Figura 10 – A favela modificada da atualidade..................................................................... 57 Figura 11 – O combate entre o Carnaval e a Quaresma (1559) – Pieter Bruegel, o Velho .. 93 Figura 12 – Orfeu no submundo (1594) – Jan Brueghel, o Jovem ....................................... 99 Figura 13 – Orfeu sendo consolado pelo faxineiro: a presença de Caronte ....................... 117 Figura 14 – Escadaria em espiral: a descida ao inferno ..................................................... 118 Figura 15 – Saguão avermelhado: o fogo do inferno ......................................................... 119 Figura 16 – Despacho em forma triangular ........................................................................ 119 Figura 17 – Entrada do terreiro de umbanda: as portas do inferno .................................... 120 Figura 18 – Representação de Cérbero, o guardião das portas do inferno ........................ 120 Figura 19 – Chefe do terreiro de umbanda: inferno de Orfeu ............................................. 121 Figura 20 – Orfeu trazendo Eurídice morta de volta ao morro ............................................ 124 Figura 21 – A fúria de Mira ................................................................................................ 125 Figura 22 – Mira atira uma pedra contra Orfeu .................................................................. 125 Figura 23 – Lucinho e o índio: o ambiente infernal ............................................................. 129 Figura 24 – A imagem de Eurídice confunde-se com a de Orfeu ....................................... 130 Figura 25 – Orfeu vê Eurídice viva no espelho................................................................... 131 v Figura 26 – A imagem de Eurídice viva quebra-se diante de Orfeu ..................................
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