The adaptation of the novel A Pedra do Reino e o principe do sangue do vai-e-volta, （1971）, by Ariano Suassuna, for the minisseries A Pedra do Reino2 （2007） directed by Luiz Fernando Carvalho, in the microseries f...The adaptation of the novel A Pedra do Reino e o principe do sangue do vai-e-volta, （1971）, by Ariano Suassuna, for the minisseries A Pedra do Reino2 （2007） directed by Luiz Fernando Carvalho, in the microseries format, has caused surprise and bewilderment to reviewers and audience alike. The extensive and originally hermetic literary work, when re-created for television, became difficult to understand, resulting in poor reception by the public - though highly praised by reviewers - compared to works in the same format and time of exhibition. In this study, the author proposes a reflection, in the light of semiotic and communication theories, in order to understand the relationship between the work and the viewer. The analysis takes into account especially the options of the expression plan as well as the closeness that the audiovisual narrative maintains with the literary work. The conclusion reached is that the introduction of the elements of the enunciation - person, time and place - inherited from the novel, as well as expressive options like camera movements, light, prosody and gesture, impart an excessively accelerated rhythm, which interferes in the understanding of the work and in its consequent reception.展开更多
文摘The adaptation of the novel A Pedra do Reino e o principe do sangue do vai-e-volta, （1971）, by Ariano Suassuna, for the minisseries A Pedra do Reino2 （2007） directed by Luiz Fernando Carvalho, in the microseries format, has caused surprise and bewilderment to reviewers and audience alike. The extensive and originally hermetic literary work, when re-created for television, became difficult to understand, resulting in poor reception by the public - though highly praised by reviewers - compared to works in the same format and time of exhibition. In this study, the author proposes a reflection, in the light of semiotic and communication theories, in order to understand the relationship between the work and the viewer. The analysis takes into account especially the options of the expression plan as well as the closeness that the audiovisual narrative maintains with the literary work. The conclusion reached is that the introduction of the elements of the enunciation - person, time and place - inherited from the novel, as well as expressive options like camera movements, light, prosody and gesture, impart an excessively accelerated rhythm, which interferes in the understanding of the work and in its consequent reception.
