Carnavais e travessias de um mito: escutas do violão e da lira de Orfeu

• Autor(a) principal: Salgueiro, Bruno Araujo
• Data de Publicação: 2023
• Outros Autores: [e-mail]
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/20426
• topic: Intermediality; Orfeu; Orfeu da Conceição; Marcel Camus; Cacá Diegues; Intermidialidade; Orfeu (Mitologia grega); Moraes, Vinicius, 1913-1980 – Crítica e interpretação; Camus, Albert, 1913-1960 - Crítica e interpretação; Diegues, Carlos, 1940- Crítica e interpretação; LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA

The thesis consists of studies about the figure of the myth of Orpheus and Eurydice in three different works: Orfeu da Conceição (1956), by Vinicius de Moraes, Orfeu Negro (1959), by Marcel Camus, Orfeu (1999), by Cacá Diegues. Each work is studied in a chapter. The central thesis is that the three Orpheus are divine manifestations that dialogue, but each one preserves the fundamental traits that these powerful ones possess: Dionysus, in the first chapter, Apollo, in the second and Jesus, in the third chapter. For the first two chapters, we use Friedrich Nietzsche's Origem da Tragédia as a theoretical foundation. In the first two works, Orpheus became the center of a philosophical conception of the world: he united in himself the beauty and artistic gift of Apollo, as well as the ambiguity or contradiction of Dionysus, the god who never ceases to die so that life prevail. However, in Vinicius de Moraes's play, the Dionysian feeling of the world constantly remains. While in the film Orfeu Negro, Orpheus would represent the apollonian view of the world, as it embodies the sun that makes the hill wakes up. In the third and last chapter, we analyze the work Orfeu (1999). There is something very particular about this film that is new, especially when it is compared to the works watched in the preceding chapters: the centrality of Christianity in the rereading of the myth. It means that, unlike Orfeu da Conceição and Orfeu Negro, which read within the perspective of Greek mythology, in Diegues' film, involving the elements of the original Greek myth were converted to biblical tales. The perspective of the relationship between Cain and Abel will be based on the studies of Christoph Türcke and the symbology of Jean Chevalier and Alain Gheerbrant. This relationship is based on the relationship between the characters Lucinho and Orpheus. We will seek to focus the reflection on the biblical provision to consistently interpret the murder of the character Lucinho. Finally, Orpheus is the lamb that will be sacrificed for peace to happen on the hill. In this sense, Orpheus assumes messianic aspects of the figure of Christ. This suffering reveals the tragedy that befalls those who live in Morro da Carioca