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Adaptacao Intercultu Capa_AdaptacaoIntercultural_curvas.indd 1 5/28/13 4:44 PM Adaptação intercultural o caso de Shakespeare no cinema brasileiro adaptacao_intercultural.indd 1 5/28/13 5:43 PM UNIVERSIDADE FEDERAL DA BAHIA Reitora Dora Leal Rosa Vice-reitor Luiz Rogério Bastos Leal EDITORA DA UNIVERSIDADE FEDERAL DA BAHIA Diretora Flávia Goulart Mota Garcia Rosa Conselho Editorial Alberto Brum Novaes Angelo Szaniecki Perret Serpa Caiuby Alves da Costa Charbel Ninõ El-Hani Cleise Furtado Mendes Dante Eustachio Lucchesi Ramacciotti Evelina de Carvalho Sá Hoisel José Teixeira Cavalcante Filho Maria Vidal de Negreiros Camargo COMPÓS - ASSOCIAÇÃO NACIONAL DOS PROGRAMAS DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO Presidente Julio Pinto Vice-Presidente Itania Maria Mota Gomes Secretária Geral Inês Sílvia Vitorino Sampaio adaptacao_intercultural.indd 2 5/28/13 5:43 PM marcel vieira barreto silva Adaptação intercultural o caso de Shakespeare no cinema brasileiro salvador - brasília | edufba - Compós | 2013 adaptacao_intercultural.indd 3 5/28/13 5:43 PM 2013, Marcel Vieira Barreto Silva. Direitos para esta edição cedidos à Edufba. Feito o Depósito Legal. Grafia atualizada conforme o Acordo Ortográfico da Língua Portuguesa de 1990, em vigor no Brasil desde 2009. Projeto Gráfico, Editoração e Arte Final Gabriela Nascimento Capa Amanda Lauton Carrilho Revisão e Normalização Carla Honorato Luise Liane de Santana Santos Sistema de Bibliotecas – UFBA Silva, Marcel Vieira Barreto. Adaptação intercultural : o caso de Shakespeare no cinema brasileiro / Marcel Vieira Barreto Silva. - Salvador : EDUFBA ; Brasília : Compós, 2013. 369 p. Originalmente apresentada como tese do autor (doutorado) - Universidade Federal Fluminense, 2011. ISBN 978-85-232-1062-5 1. Shakespeare, William, 1564-1616 - Adaptações para cinema e vídeo. 2. Adaptações para o cinema. 3. Cinema e literatura. 4. Cinema brasileiro. I. Título. CDD - 791.436 Editora filiada à Editora da UFBA Rua Barão de Jeremoabo s/n - Campus de Ondina 40170-115 - Salvador - Bahia Tel.: +55 71 3283-6164 Fax: +55 71 3283-6160 www.edufba.ufba.br [email protected] adaptacao_intercultural.indd 4 5/28/13 5:43 PM Shakespeare teatralizou a Hyztorya de Troya a Londres e resumiu o máximo de consciência a ponto de materializar a dialética Eztetyka do poder que gera o câncer na cama de ouro. Glauber Rocha, 2004, p. 279. adaptacao_intercultural.indd 5 5/28/13 5:43 PM adaptacao_intercultural.indd 6 5/28/13 5:43 PM AGRADECIMENTOS A meus pais – Marcelo e Fátima –, que apoiaram de todas as formas pos- síveis a realização deste livro. Estendo esse agradecimento a toda a minha família, irmãos, tios, primos e agregados, que me receberam no Rio de Ja- neiro e participaram em algum momento do longo e tortuoso processo deste trabalho. De coração, meus sinceros agradecimentos. A meu orientador, João Luiz Vieira, que acompanhou com atenção e carinho a minha formação acadêmica nos últimos anos. Ao professor Robert Stam, leitura sempre constante no desenvolvimen- to desta pesquisa, e que esteve na minha qualificação, com comentários muito perspicazes que ajudaram em várias de minhas questões teóricas. Às professoras Mariana Baltar e Fernanda Medeiros, amigas que tam- bém estiveram na qualificação e cuja leitura do meu trabalho foi de valor inestimável. Agradeço ainda ao professor Luiz Antonio Mousinho, que des- de as minhas primeiras leituras na graduação, sempre me estimulou a con- tinuar na área acadêmica. Agradeço também à professora Lisa Shaw, por ter aceitado participar da minha defesa e, junto aos professores acima citados, formar uma banca que me deixa muito orgulhoso de ter tido. Aos professores da Universidade Federal Fluminense (UFF) que, de al- guma forma, contribuíram para o desenvolvimento deste trabalho: Afon- so de Albuquerque, Ana Lucia Enne, Simone de Sá e Tunico Amancio. E também deixo aqui meus agradecimentos à Silvia Campos, secretária do PPGCOM-UFF, sempre muito solícita quando eu precisei de sua ajuda. Aos colegas da Associação Brasileira de Programas de Pós-graduação em Comunicação (Compós), nas figuras do presidente Júlio Pinto, da vice- -presidente, Itânia Gomes, e a tesoureira Inês Vitorino, que concederam a esse trabalho o prêmio de melhor tese de 2012, viabilizando, com isso, a sua publicação. Aos amigos, hoje fisicamente distantes, que atravessaram a minha vida e que permanecem brilhando nas minhas lembranças corriqueiras: Carol adaptacao_intercultural.indd 7 5/28/13 5:43 PM Porto, Felipe Cavalcanti, Gustavo Pozzobon, Marcelo Átila, Renata Duarte e Tiago Germano. Aos amigos que conheci durante a vida em Niterói e em São Paulo, que nos momentos mais alegres e mais difíceis de minhas andanças, sempre par- tilharam comigo grandes experiências: Hadija Chalupe, Isac Guimarães, Pe- dro Curi, Lia Bahia, Marina Tedesco, Mônica Mourão, Andreson Carvalho, Ana Paula Nunes, André Keiji Kunigami, Giuliano Jorge, André Bomfim, Tereza Ruiz, Mateus Rios, Vivian Malusá, Marina Mancuso, Carol Stocco e Viviane Nebó. Aos alunos do curso de Cinema da UFF que, durante dois anos e meio, dividiram comigo ideias, conceitos, práticas, afetos e imagens, seja na sala de aula, ou em cantorias insones nos bares de Niterói. Aos novos amigos que o curso de Cinema e Audiovisual da Universida- de Federal do Ceará, bem como a própria cidade de Fortaleza, me propor- cionou nos últimos dois anos: Osmar Gonçalves, Marcelo Dídimo, Salomão Santana, André Magela, Helena Contente e a pequena Violeta. A todos aqueles cinéfilos internautas que, anonimamente, através do peer to peer, permitiram que eu tivesse acesso a boa parte das obras comen- tadas nesta obra. Sem essa contribuição digital, via torrent, o trabalho sem dúvida não teria alcançado a dimensão em que por fim se encontra. Finalmente, a Liza Serafim, minha esposa, que acompanhou nos últimos três anos, com paciência e amor, cada momento enfrentado no processo des- ta pesquisa e da minha vida. Por partilhar comigo, de coração aberto e alma remoçada, não apenas a casa em que habito satisfeito – com a companhia de Buster e G.O.B. sempre alegrando cada cômodo –, mas uma vida cercada de luz e amor, eu agradeço sinceramente. Tudo o que em mim existe plena- mente começa e termina em ti. adaptacao_intercultural.indd 8 5/28/13 5:43 PM SUMÁRIO 13 Prefácio 17 Introdução 1 Adaptação intercultural: conceito e categorias de análise 35 Cinema e literatura: um campo 38 Adaptação cinematográfica: conceitos e problemas 43 Essência, espírito 48 Do dialogismo às relações transtextuais 55 Por um conceito de adaptação possível 58 Adaptação intercultural: da possibilidade teórica ao estabelecimento de categorias de análise 2 Meios, estilos e culturas: sobre Shakespeare no cinema 73 Shakespeare em contato com as outras artes 81 As raízes históricas do universalismo 84 Contexto, estilo e autoria, ou: afinal, por que Shakespeare? 86 Aspectos estilísticos e procedimentos estéticos 90 Shakespeare e o Grande Mecanismo 94 A modernidade desdobrada: Shakespeare e o mundo contemporâneo 100 Shakespeare e o cinema: um percurso teórico adaptacao_intercultural.indd 9 5/28/13 5:43 PM 3 Da subserviência à subversão: um painel histórico de Shakespeare no cinema 113 Shakespeare no cinema silencioso 117 Questões de recorte historiográfico 119 O primeiro cinema (1895-1907) 125 Rumo à narratividade (1908-1915/16) 128 Os casos da Vitagraph e da Thanhouser 131 O Filme de Arte Europeu 138 Fidelidade e transgressão: Shakespeare silencioso na Alemanha 140 A vingança de Hamlet 143 Um Othello em Weimar 146 A voz projetada na tela: a questão da linguagem falada 153 Shakespeare autoral 154 Nacionalismo e subjetividade nas adaptações de Laurence Olivier 160 Welles, Shakespeare e o cinema moderno 168 A era das adaptações interculturais 175 A nova investida de Hollywood 178 Shakespeare e o sistema industrial hollywoodiano 182 Shakespeare e os gêneros cinematográficos 185 Entre o experimental e o clássico 190 O espetáculo redescoberto 194 Vários sotaques nos anos 2000 4 Cinema e Literatura no Brasil 205 Formas e estilos em trânsito 206 A Bela Época do Cinema Adaptado no Brasil 212 O Romantismo no cinema brasileiro: nacionalismo e narratividade adaptacao_intercultural.indd 10 5/28/13 5:43 PM 223 Primeiras investidas industriais no cinema brasileiro 231 Carnaval, cinema e literatura: a Atlântida Cinematográfica 240 Vera Cruz: impulso industrial e adaptação cinematográfica 250 Cinema Novo e a adaptação como ato político 255 A época da Embrafilme: do filme histórico à adaptação identitária 260 Cinema e literatura no Brasil contemporâneo 5 Shakespeare no Cinema Brasileiro 271 Origens da presença de Shakespeare no Brasil 283 Nem Romeu nem Julieta: atualizações paródicas do tema shakespeariano 288 O drama histórico do cangaço ao jogo do bicho 306 Ser ou não ser (brasileiro) 316 A adaptação defasada 322 Visões brasileiras de Romeu e Julieta 357 Considerações finais 361 Referências adaptacao_intercultural.indd 11 5/28/13 5:43 PM adaptacao_intercultural.indd 12 5/28/13 5:43 PM PREFÁCIO Passados mais de 110 anos da invenção do cinematógrafo e mais de 60 de um texto seminal de André Bazin sobre a natureza híbrida do cinema, ainda se observa certa cobrança que hierarquiza relações entre cinema e literatura e, sistematicamente, compara duas formas narrativas independentes. Em re- cente artigo do suplemento dominical do The New York Times, edição de 26 de abril de 2013, o articulista Terrence Rafferty ressuscita, uma vez mais, algo que, nos meios acadêmicos dos estudos comparativos de relações entre o ci- nema e a literatura, se considerava uma questão encerrada: o conceito evasivo e historicamente datado de fidelidade. Esse “fantasma” aqui retorna no texto de Rafferty com a observação de que o cinema, com raríssimas exceções – o William Wyler de A herdeira (Washington Square, 1949) seria uma delas – sem- pre traiu o universo sombrio, impenetrável, dos sentimentos negativos e per- versos rendidos com insuperável maestria narrativa nas palavras impressas de Henry James, considerado pelo articulista como um escritor inadaptável. O que parece ainda animar debates é, talvez, o desejo de uma arte pura, essencializada na especificidade de seus suportes, sejam eles a palavra escri- ta, impressa, falada, cantada, ou a pedra, o ferro, a tinta..
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