Capitu e a construção da ambiguidade imagética de Dom Casmurro na TV

Abstract

The present work studies the relation between Literature and Television, having as object of research the miniseries Capitu (2008), television adaptation of the book Dom Casmurro (1899), by Machado de Assis. The interest in the subject assumes that currently the Literature is constantly invited to dialogue with various media supports the contemporary, which makes it urgent to understand the impasses of transcreation and transcoding of literary works to other means. Grounded by the studies of Linda Hutcheon (2013), about the process of adaptation, we understand that in Capitu (2008) there is a method of reinterpretation and recreation. Such technique is the result of the development of internal mechanisms (content, language and form) that are consistent with its field of action. It is, therefore, an independent work. In this research was carried out a qualitative research, with a descriptive-explanatory approach, having as theoretical foundation the study of the literary and audiovisual languages. In this way the linguistic and artistic resources used by the production were identified, described and analyzed. In addition, the visual devices, the aesthetic conventions, the narrative modes and the audiovisual composition resources employed by the media were evaluated by adapting to the TV the ambiguous language present in Machado de Assis's work. National and international literary critics formed the theoretical contribution to an understanding of the concept of ambiguity, present in the essence of the writing of Dom Casmurro's narrator. Are they: José Veríssimo (1900), Alfredo Pujol (1917), Mário Matos (1939), Alcides Maya (1942), Lúcia Miguel Pereira (1955), Augusto Meyer (1956), Helen Caldwell (1960), Antonio Candido (1977), Helder Macedo (1991), Silviano Santiago (2000), Roberto Schwarz (2006) and John Gledson (2006). The texts of the researcher Salvatore D'Onofrio (2006) complement the analyzes on the studies of typology and the characteristic of the protagonist narrator, who leads both the literary narrative and the television adaptation. Finally, the work showed that the use of audiovisual techniques (plans, cuts, compositions and cinematographic movements) Capitu's camera (2008) played a provocative role. In such a way that when on the screen the abstract particularities that characterize and compose the conflicting essence of the literary and audiovisual narrators the camera was able to instigate new interpretations of the readers-viewers. In order to do so, this research used the studies of Gilles Deleuze (1985), Hélio Seixas Guimarães (1995), Eugênio Bucci (2000), Valter Bonasio (2002), Tânia Pellegrini (2003), Antonio Costa (2003), Rudolf Arnheim (2005), Jorge Monclar (2009) and Renato Luiz Pucci Júnior (2011). The reflections of these authors led the investigative path to understanding the construction of Dom Casmurro's imaging ambiguity on television.