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Flores Raras (E Banalíssimas): Entre O Documental E O Ficcional

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Flores Raras (E Banalíssimas): Entre O Documental E O Ficcional Flores raras (e banalíssimas): entre o documental e o ficcional Reaching for the moon: between the documental and the fictional Bianca Deon Rossato1 Elaine Indrusiak2 Escreve-se para contar, não para provar. Tito Lívio, Flores Raras e Banalíssimas (1995) Abstract: This paper aims at analyzing the relationship between the book Rare and commomplace flowers (1995) by Carmem L. Oliveira and the feature film Reaching for the moom (2013), directed by Bruno Barreto. As Oliveira (re)tells the love story between Elizabeth Bishop and Lota de Macedo Soares during the 1950s and 1960s in Brazil, her text presents itself as both documental and fictional. The writer bases her production on personal archives and documents, historical sources, as well as in personal accounts by Lota’s and Bishop’s acquaintances. The film, on its turn, is based on Oliveira’s text. Considering that such works approach historical characters framed within a given time and space, both raise questions when it comes to conceptions such as historical past, relations between authors and characters, as well as those between reality and fiction, in addition to questions of appropriation and adaptation as they are understood by Adaptation Studies. In this sense, discussions on historiographic metafiction by Linda Hutcheon (1991), adaptation by Thomas Leitch (2007) and Hutcheon (2013), and biopics by George Custen (1992) contribute to the understaning of both works in their individuality, and the relationships that rise through the adaptation process. So far, the analysis reveals that although Oliveira bases her writing on document and approaches historical characters, her style and the use of literary techniques render the text a novel-like aspect. The book portrays a romantic triangle of sorts between Bishop, Lota and Flamengo Park, a project idealized by the Brazilian.The filmic production, however, replaces the park with Mary Morse, Lota’s life partner prior to Bishop’s arrival in Brazil, stressing the homoerotic and sentimental nature of the relationships of those women, a feature implied but only subtly tackled by Oliveira’s work. Keywords: historiographic metafiction, biopic, adaptation, Elizabeth Bishop, Lota de Macedo Soares. Resumo: Este trabalho tem como objetivo analisar a relação entre a obra Flores Raras e banalíssimas (1995), de Carmem L. Oliveira, e o filme Flores Raras (2013), dirigido por Bruno Barreto. Ao (re)contar a história de amor entre Elizabeth Bishop e Lota de Macedo Soares, tendo como pano de fundo o Brasil dos anos 50 e 60, o texto de Oliveira pretende-se a um tempo documental e ficcional. A escritora fundamenta sua produção em documentos e arquivos pessoais, fontes históricas e relatos de pessoas do círculo de convivência de Lota e Bishop. A produção fílmica, a seu turno, é baseada no texto de Oliveira. Uma vez que as obras tratam de figuras históricas localizadas em determinado tempo e espaço, ambas suscitam questionamentos no que diz respeito a conceitos como o de passado histórico, de relações autor-personagem, de relações entre o real e o ficcional e a própria questão da apropriação e adaptação, conforme esses termos são entendidos nos Estudos de Adaptação. Nesse sentido, as discussões sobre metaficção historiográfica de Linda Hutcheon (1991), adaptação de Thomas Leitch (2007) e de Hutcheon (2013), e biopic ¬ - ou cinebiografia – de George Custen (1992) contribuem para a compreensão tanto de cada obra em seu caráter individual, como das relações existentes no processo adaptativo. O que se pode depreender desta análise, ainda em caráter parcial, é que embora trate de duas figuras históricas e se embase amplamente em documentos reais, a construção do texto de Oliveira, que se alimenta de elementos de uma narrativa literária, lhe confere um caráter de romance. Existe neste texto uma espécie de triângulo amoroso entre Bishop, Lota e o Aterro do Flamengo, obra idealizada pela brasileira. Já a adaptação fílmica substitui o parque por Mary Morse, companheira Lota antes da chegada de Bishop ao Brasil, enfatizando a natureza homoerótica e afetiva das relações entre tais mulheres, um traço implícito, mas apenas sutilmente abordado por Oliveira. Palavras-Chave: metaficção historiográfica, cinebiografia, adaptação, Elizabeth Bishop, Lota de Macedo Soares. 1 Doutoranda em Letras pela UFRGS. Professora EBTT no Instituto Federal Sul-rio-grandense – Câmpus Passo Fundo. E-mail: <[email protected]>. 2 Doutora em Literatura Comparada, Professora do Departamento de Línguas Modernas e do Programa de Pós- Graduação em Letras da UFRGS. E-mail: <[email protected]>. 37 1 Introdução O gênero biografia, assim como outros relatos de caráter histórico, já não carrega a força (ou o peso) de ser uma composição que revele apenas fatos verídicos e, portanto, não ficcionais. Isso se deve a duas questões distintas. Em um primeiro momento, obras voltadas à vida de personagens fictícias, como Robinson Crusoé e Moll Flanders – precursoras do romance no século XVIII -, e mais tarde Jane Eyre, por exemplo, apropriaram-se da técnica do relato da trajetória de vida de personagens ilustres presentes nas biografias de santos e reis ingleses. Nesse sentido, a ficção apropria-se daquilo que se considerava factual3. Já a partir da segunda metade do século XX, o caminho passou a ser o inverso: biografias apropriam-se de elementos da construção narrativa ficcional, deixando em segundo plano as pretensões de objetividade e a facticidade históricas. Tal tendência seria ainda mais intensificada com o pós- modernismo, momento histórico e cultural que questiona até mesmo a noção de história, considerando-a apenas mais uma das grandes narrativas que dão sustentação às concepções e instituições da civilização (LYOTARD, 1998). Ao enfatizar a natureza narrativa da História, o pós-modernismo acarreta não apenas o reconhecimento das relações de poder intrínsecas ao relato (quem narra o que, a quem e de que ponto-de-vista), mas traz à tona, também, seu caráter textual, linguístico e inescapavelmente intertextual. Com isso, ainda que história e ficção possam divergir em motivações e objetivos, seus relatos tornam-se perturbadoramente assemelhados em forma e conteúdo. Textos biográficos, sejam verbais ou audiovisuais, têm grande impacto tanto no contato com, quanto na compreensão que as pessoas têm dos eventos históricos. Conforme Custen (1992) informa, boa parte das cinebiografias produzidas por Hollywood até por volta dos anos 1980 privilegiava a representação de figuras históricas que continham algum elemento heroico em suas trajetórias. Figuras cotidianas e de trajetórias anti-heroicas passaram a ganhar espaço na mesma medida em que se passou a desconstruir as noções das grandes narrativas. Verifica-se que é por volta desse período que se expande o uso da expressão “baseado em fato real”4, especialmente no cinema e na televisão. Thomas Leitch (2007, p. 284) observa que tal rótulo parece se fazer necessário quando as produções fílmicas se dedicam a narrar “eventos esquecidos” ou “a história privada de cidadãos”, como é o caso de Lota de Macedo Soares, que se verá a seguir. Segundo o teórico, utilizar essa expressão é sempre uma questão “estratégica”, ou seja, não depende exclusivamente de questões históricas ou existenciais, uma vez que as representações de eventos históricos conhecidos prescindem dessa reivindicação (LEITCH, 2007, p. 284). Convém discutir, ainda, o paradoxo apontado por Leitch (2007): não se pode duvidar de uma produção que se diz “baseada em uma história real” justamente pelo fato de não haver um registro particular dos eventos em questão. Isso ocorre porque não há uma única autoridade ou fonte que se possa questionar como tendenciosa ou errônea. Ao contrário, uma produção baseada em um texto histórico específico, por apresentar voz e interferência autoral e/ou editorial reconhecíveis e imputáveis, é ao mesmo tempo potencialmente mais questionável. O rótulo “baseado em uma história real” se torna, portanto, ao mesmo tempo “uma marca mais vaga e mais poderosa de autoridade transcendental” (LEITCH, 2007, p. 289). 2 O processo adaptativo e as relações entre o real e o ficcional Este artigo busca, a partir das reflexões expostas, apontar desdobramentos de certas interpretações e representações originadas no processo de adaptação do texto verbal Flores Raras e Banalíssimas (1995), de Carmen L. Oliveira para o texto audiovisual Flores 3 Para saber mais, referir-se ao tópico “biografia” no The Routledge Dictionary of Literary Terms, organizado por Peter Childs e Roger Fowler, 2006. 4 “Based on a true story”. (Todas as traduções de citações estrangeiras são das autoras.) 38 Raras (2013), dirigido por Bruno Barreto. Entende-se adaptação a partir dos pressupostos teóricos de Linda Hutcheon (2013) segundo a qual tal fenômeno pode ser definido através de três perspectivas distintas, mas inter-relacionadas: a) como a transposição de uma obra em particular de um meio a outro, de um contexto a outro ou, ainda, de um sistema ontológico a outro; b) como um processo de criação que envolve tanto (re)interpretação quanto (re)criação; c) e como um processo de recepção, já que a adaptação é uma forma de intertextualidade que traz à tona lembranças de outras obras. A adaptação pode, portanto, ser entendida tanto como uma obra individual que possui sua própria aura, como em sua relação com os textos com os quais dialoga. Assim, a análise ora proposta reconhece o relato da vida das figuras históricas envolvidas em três narrativas distintas: aquela tomada como “fatos
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