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O Guarani: Relações Intersemióticas Entre a Ópera De Carlos Gomes E O Texto Literário De José De Alencar

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O Guarani: Relações Intersemióticas Entre a Ópera De Carlos Gomes E O Texto Literário De José De Alencar UNIVERSIDADE FEDERAL DO ESPÍRITO SANTO PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS CENTRO DE CIÊNCIAS HUMANAS E NATURAIS MARIA CLÁUDIA BACHION CERIBELI O GUARANI: RELAÇÕES INTERSEMIÓTICAS ENTRE A ÓPERA DE CARLOS GOMES E O TEXTO LITERÁRIO DE JOSÉ DE ALENCAR VITÓRIA 2019 MARIA CLÁUDIA BACHION CERIBELI O GUARANI: RELAÇÕES INTERSEMIÓTICAS ENTRE A ÓPERA DE CARLOS GOMES E O TEXTO LITERÁRIO DE JOSÉ DE ALENCAR Dissertação apresentada ao Programa de Pós- Graduação em Letras do Centro de Ciências Humanas e Naturais da Universidade Federal do Espírito Santo, como requisito parcial para obtenção do título de Mestre em Letras, na área de concentração dos Estudos Literários. Orientadora: Prof.ª Dra. Viviana Mónica Vermes VITÓRIA 2019 Ficha catalográfica disponibilizada pelo Sistema Integrado de Bibliotecas - SIBI/UFES e elaborada pelo autor Bachion Ceribeli, Maria Cláudia, 1964- B123g O Guarani: relações intersemióticas entre a ópera de Carlos Gomes e o texto literário de José de Alencar / Maria Cláudia Bachion Ceribeli. - 2019. Bac183 f. : il. Bac Orientadora: Viviana Mónica Vermes. Ba cDissertação (Mestrado em Letras) - Universidade Federal do Espírito Santo, Centro de Ciências Humanas e Naturais. Bac 1. O Guarani. 2. José de Alencar. 3. Carlos Gomes. 4. Literatura e música. 5. Tradução. I. Vermes, Viviana Mónica. II. Universidade Federal do Espírito Santo. Centro de Ciências Humanas e Naturais. III. Título. CDU: 82 MARIA CLÁUDIA BACHION CERIBELI O GUARANI: RELAÇÕES INTERSEMIÓTICAS ENTRE A ÓPERA DE CARLOS GOMES E O TEXTO LITERÁRIO DE JOSÉ DE ALENCAR Dissertação apresentada ao Programa de Pós-Graduação em Letras do Centro de Ciências Humanas e Naturais da Universidade Federal do Espírito Santo, como requisito parcial para obtenção do Grau de Mestre em Letras. Aprovada em 25 de julho de 2019. Comissão Examinadora: ____________________________________________ Profa. Dra. Viviana Mónica Vermes (UFES) Orientadora e Presidente da Comissão Examinadora ____________________________________________ Prof. Dr. Raimundo Nonato Barbosa de Carvalho (UFES) Examinador Interno ____________________________________________ Prof. Dr. Ricardo Ramos Costa (IFES) Examinador Externo A Rogério, Harrison, Jessica e Kevin, pelo apoio e amor que me incentivam à conquista dos meus sonhos, e dão exemplos de superação, caráter e honestidade. AGRADECIMENTOS A Deus, por tudo na minha vida. À minha querida orientadora, professora Dra. Mónica Vermes, por todo o aprendizado, pela paciência, pelas contribuições durante o Mestrado na UFES, que me possibilitaram um acervo de conhecimentos e experiências inesquecível e riquíssimo. Aos professores que tive nas disciplinas cursadas no Mestrado, que enriqueceram muito meus conhecimentos para que os rumos de minha pesquisa encontrassem os melhores caminhos. Aos professores Raimundo Carvalho, da UFES e Joel Cardoso da UFPA, que, na qualificação da minha pesquisa, contribuíram com suas orientações para que a construção da dissertação avançasse. Suas considerações foram muito importantes! Ao Centro de Ciências, Letras e Artes da Unicamp, em Campinas, São Paulo, por me abrir as portas do Museu Carlos Gomes, permitindo que eu tivesse acesso a vários documentos e objetos pessoais do maestro Carlos Gomes para construir minha pesquisa. Ao PPGL da UFES, pela excelente qualidade do Mestrado em Letras. À Secretaria do PPGL da UFES, pelos serviços eficientemente prestados. À Coordenação do PPGL da UFES, pelo suporte e atenção aos discentes. Aos meus pais, Iolanda e José Maria (in memoriam), pelo exemplo de dedicação e esforço para superar todas as dificuldades com muita honestidade e caráter. Ao meu esposo, Rogério, pela compreensão e pelo apoio para que eu pudesse cumprir meus compromissos e responsabilidades no Ifes e na UFES. Aos meus filhos, Harrison, Jessica e Kevin, pelo incentivo, pelas dicas e contribuições durante a realização do Mestrado. Aos meus amigos queridos João Ricardo Meireles e Denise Santiago, doutorandos em Letras na UFES, pelo incentivo e pelas dicas. Aos meus colegas de trabalho, pelas contribuições e experiências compartilhadas. Ao IFES, pelo incentivo ao constante aperfeiçoamento dos seus docentes. “Uma concepção positivista da história como descrição ‘objetiva’ de uma sequência de acontecimentos num passado já morto falha tanto no que se refere ao caráter artístico da literatura, quanto no que respeita à sua historicidade específica. A obra literária não é um objeto que exista por si só, oferecendo a cada observador em cada época um mesmo aspecto. Não se trata de um monumento a revelar monologicamente seu Ser atemporal. Ela é, antes, como uma partitura voltada para a ressonância sempre renovada da leitura, libertando o texto da matéria das palavras e conferindo-lhe existência atual.” Hans Robert Jauss (1994) RESUMO O presente trabalho tem por premissa estudar e analisar a obra homônima de Carlos Gomes e José de Alencar, O Guarani - uma em formato de ópera, outra na forma literária, investigando seu surgimento, as relações com o contexto histórico em que foram produzidas, bem como os pontos relacionados ao movimento nacionalista do Romantismo. A pesquisa analisa a tradução intersemiótica, o diálogo entre a obra literária e a ópera, e as transformações decorrentes das adaptações da obra literária de Alencar para a ópera de Carlos Gomes. No processo deste tipo de tradução, observa-se que cada linguagem tem suas particularidades, os signos são outros, algumas ideias do contexto romântico nacionalista também foram alteradas, mas o percurso da tradução intersemiótica permite estas adaptações, que não questionam ou subvertem o original, e sim contribuem para sua permanência. Palavras-chave: O Guarani. Tradução intersemiótica. Ópera. Literatura e música. ABSTRACT The present research aims to study and to analyze the homonymous work of Carlos Gomes and José de Alencar, O Guarani – being one in the form of an opera, and another in the literary form, investigating its emergence, the relations with the historical context in which they were produced, as well as the points related to the nationalist movement of Romantism. The research analyzes the intersemiotic translation, the dialogue between the literary work and the opera, and the transformations brought about from the adaptations of the literary work of Alencar to the opera of Carlos Gomes. In the process of this kind of translation, it is observed that each language has its particularities, the signs are other, some ideas of the nationalist Romantic context have also been modified, but the process of intersemiotic translation allows those adaptations that do not question or subvert the original, but rather contribute to its permanence. Keywords: The Guarani. Intersemiotic translation. Opera. Literature and music. LISTA DE FIGURAS Figura 1 – Fotografia do primeiro figurino de Peri, na apresentação de Il Guarany, em 1870............................................................................................................................26 Figura 2 – Trecho de Il Guarany (1889) Gentile de Cuore..........................................49 Figura 3 – Trecho de Il Guarany (1889) Gentile de Cuore..........................................49 Figura 4 – Fotografia do piano de Carlos Gomes ......................................................52 Figura 5 - Fotografia de instrumentos musicais (harpa e violino) utilizados por Carlos Gomes........................................................................................................................53 Figura 6 – Fotografia da residência de Carlos Gomes na Itália..................................55 Figura 7 – Fotografia da capa do libreto de Il Guarany...............................................57 Figura 8 – Mapa da Itália, com os locais onde as óperas de Carlos Gomes foram apresentadas..............................................................................................................59 Figura 9 – Mapa da Europa, registrando os locais onde as óperas de Carlos Gomes foram apresentadas....................................................................................................60 Figura 10 – Mapa do Brasil, registrando onde as óperas de Carlos Gomes foram apresentadas..............................................................................................................60 Figura 11 – Cenário de Il Guarany, na apresentação de estreia................................64 Figura 12 – Fotografia de Carlos Gomes, em 1873....................................................65 Figura 13 – Partitura para canto e piano de Il Guarany.............................................106 Figura 14 – Fotografias das páginas do jornal Correio Universal, com a primeira versão em quadrinhos d’O Guarany publicada em 1937, que terá versão fac-símile do Senado Federal em 2017.......................................................................................................128 Figura 15 – Cartaz do filme O Guarani, de Fauzi Mansur, exibido em 1979.............128 Figura 16 – Fotografia da matéria sobre O Guarani como minissérie exibida pela Rede Manchete de Televisão entre 1991 e 1992, com Angélica como Ceci.....................129 Figura 17- Cartaz do filme O Guarani, de 1996, com direção de Norma Bengell.....129 Figura 18 – Cartaz anunciando a apresentação de uma versão para teatro d’O Guarani, apresentada em 1999................................................................................130 Figura 19 – Anúncio de uma das montagens da ópera de Il Guarany, apresentada em 1909..........................................................................................................................130
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