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Elen de Medeiroshttp://lattes.cnpq.br/9882448569137338Sara del Carmen Rojo de la RosaJuarez Guimaraes DiasMarcos Antonio Alexandrehttps://lattes.cnpq.br/1107802912827053Alexandre Miguel da Silva2022-12-22T22:58:06Z2022-12-22T22:58:06Z2021-06-30http://hdl.handle.net/1843/48401https://orcid.org/0000-0002-8666-3897O objetivo da pesquisa consiste em observar o procedimento de transposição textual de narrativas contemporâneas cuja tessitura é elaborada de forma rapsódica e fragmentada. Para tanto, este trabalho parte da análise crítica do romance Bonsai (2014), de Alejandro Zambra, tendo como pressuposto de leitura a sua estrutura fabular e discursiva, tendo como base conceitos propostos por Benedito Nunes (2013) e Mikhail Bakhtin (2019). A partir da compreensão formal da obra de Zambra, são apresentadas duas propostas de adaptações/transposições da narrativa ao texto dramatúrgico. A dramatização de textos narrativos, que possui uma prática comum desde os relatos gregos, nunca foi considerada como crise de criatividade ou de imaginação por parte dos dramaturgos e encenadores. Nas práticas contemporâneas dessas produções, a ideia de texto se amplia, eclodindo sua teatralidade em diferentes sistemas de significação, como iluminação, cena, sonoridade, entre outros elementos. Além disso, a dramaturgia que se apropria de um texto narrativo como um texto-fonte explicita a existência de uma familiaridade entre os gêneros narrativo e dramático. É a partir dessa familiaridade que as experimentações dramatúrgicas são apresentadas e analisadas. Para o desenvolvimento da análise, são tomadas como referências as propostas de dramaturgia fabular, elaborada por José Sanchis Sinisterra (2016), e teatro narrativo-performativo, apresentado por Juarez Guimarães Dias (2015). É observado na elaboração dos textos dramatúrgicos que processos de transposições são particulares a cada encenador-autor (DIAS, 2015), cabendo a este a decisão final do nível de precisão que a dramaturgia oferecerá em relação ao texto narrativo de origem. São tomados como diálogo teórico aspectos importantes da teoria do drama, como os de Jean-Pierre Sarrazac (2012) e Doc Comparato (2009). Conclui-se que, ao transpor/adaptar o texto-fonte narrativo, a figura do dramaturgo não é excluída ou apagada por completo diante da imagem do romancista. Por outro lado, concomitante à escrita do romancista, o dramaturgo atua como um novo autor, cuja visão de mundo, a partir de sua leitura do texto-fonte, é exposta no produto final.The purpose of this research dwells in observing the textual transposition of contemporary narratives in which weavings are built in a rhapsodic and shattered way. In order to do it, the project sets out with the critical analysis of the novel Bonsai (2014), by Alejandro Zambra, holding its fabular and discursive structure as a reading premise, based on the concepts proposed by Benedito Nunes (2013) and Mikhail Bakhtin (2019). As of the formal awareness of Zambra’s work, two narrative adaptations/transpositions to dramaturgies are presented. Novel dramatization, a common practice since greek records, has never been considered as a creativity nor an imagination crisis by playwrights or theater directors. In current productions, the idea of text is augmented, triggering theatricality through multiple systems of signification, such as lightning, scene, sonority, amongst others. Furthermore, the dramaturgy established on a narrative text exhibits a familiarity between dramatic and narrative genres. The dramatizations are presented and analyzed upon this familiarity. For the analysis development, the propositions of fable dramaturgy, by José Sanchis Sinisterra (2016), and narrative-performative theatre, by Juarez Guimarães Dias (2015), are used as references. In the dramaturgy development, it is possible to observe a particular transposition process to each director-author (DIAS, 2015), being theirs the final decision about the precision offered by the text when it comes to its narrative origin. Important aspects from drama theory, like the ones by Jean-Pierre Sarrazac (2012) and Doc Comparato (2009), are considered as theoretical dialogue. Bringing it to a conclusion, when adapting/transposing the original narrative, the playwright image is not excluded or completely extinguished in the face of the novelist. Whereas simultaneously to the novelist writing, the playwright acts as a new author, whose worldview, from their reading of the original narrative, is exposed in the final product.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorporUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Estudos LiteráriosUFMGBrasilFALE - FACULDADE DE LETRASPrograma Institucional de Internacionalização – CAPES - PrInthttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessZambra, Alejandro, 1975- – Bonsai – Crítica e interpretaçãoFicção chilena – História e críticaTeatro brasileiro – História e críticaLiteratura ContemporâneaDramaturgiaLiteratura ChilenaDo romance à dramaturgia, duas propostas para Bonsai, de Alejandro Zambrainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALDo romance à dramaturgia, duas propostas para Bonsai, de Alejandro Zambra .pdfDo romance à dramaturgia, duas propostas para Bonsai, de Alejandro Zambra .pdfapplication/pdf2493106https://repositorio.ufmg.br/bitstream/1843/48401/5/Do%20romance%20a%cc%80%20dramaturgia%2c%20duas%20propostas%20para%20Bonsai%2c%20de%20Alejandro%20Zambra%20.pdf73e6633b73f67b045e1c10492513bfc6MD55CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811https://repositorio.ufmg.br/bitstream/1843/48401/3/license_rdfcfd6801dba008cb6adbd9838b81582abMD53LICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/48401/6/license.txtcda590c95a0b51b4d15f60c9642ca272MD561843/484012022-12-22 19:58:07.41oai:repositorio.ufmg.br:1843/48401TElDRU7Dh0EgREUgRElTVFJJQlVJw4fDg08gTsODTy1FWENMVVNJVkEgRE8gUkVQT1NJVMOTUklPIElOU1RJVFVDSU9OQUwgREEgVUZNRwoKQ29tIGEgYXByZXNlbnRhw6fDo28gZGVzdGEgbGljZW7Dp2EsIHZvY8OqIChvIGF1dG9yIChlcykgb3UgbyB0aXR1bGFyIGRvcyBkaXJlaXRvcyBkZSBhdXRvcikgY29uY2VkZSBhbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIChSSS1VRk1HKSBvIGRpcmVpdG8gbsOjbyBleGNsdXNpdm8gZSBpcnJldm9nw6F2ZWwgZGUgcmVwcm9kdXppciBlL291IGRpc3RyaWJ1aXIgYSBzdWEgcHVibGljYcOnw6NvIChpbmNsdWluZG8gbyByZXN1bW8pIHBvciB0b2RvIG8gbXVuZG8gbm8gZm9ybWF0byBpbXByZXNzbyBlIGVsZXRyw7RuaWNvIGUgZW0gcXVhbHF1ZXIgbWVpbywgaW5jbHVpbmRvIG9zIGZvcm1hdG9zIMOhdWRpbyBvdSB2w61kZW8uCgpWb2PDqiBkZWNsYXJhIHF1ZSBjb25oZWNlIGEgcG9sw610aWNhIGRlIGNvcHlyaWdodCBkYSBlZGl0b3JhIGRvIHNldSBkb2N1bWVudG8gZSBxdWUgY29uaGVjZSBlIGFjZWl0YSBhcyBEaXJldHJpemVzIGRvIFJJLVVGTUcuCgpWb2PDqiBjb25jb3JkYSBxdWUgbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIHBvZGUsIHNlbSBhbHRlcmFyIG8gY29udGXDumRvLCB0cmFuc3BvciBhIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBxdWFscXVlciBtZWlvIG91IGZvcm1hdG8gcGFyYSBmaW5zIGRlIHByZXNlcnZhw6fDo28uCgpWb2PDqiB0YW1iw6ltIGNvbmNvcmRhIHF1ZSBvIFJlcG9zaXTDs3JpbyBJbnN0aXR1Y2lvbmFsIGRhIFVGTUcgcG9kZSBtYW50ZXIgbWFpcyBkZSB1bWEgY8OzcGlhIGRlIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBmaW5zIGRlIHNlZ3VyYW7Dp2EsIGJhY2stdXAgZSBwcmVzZXJ2YcOnw6NvLgoKVm9jw6ogZGVjbGFyYSBxdWUgYSBzdWEgcHVibGljYcOnw6NvIMOpIG9yaWdpbmFsIGUgcXVlIHZvY8OqIHRlbSBvIHBvZGVyIGRlIGNvbmNlZGVyIG9zIGRpcmVpdG9zIGNvbnRpZG9zIG5lc3RhIGxpY2Vuw6dhLiBWb2PDqiB0YW1iw6ltIGRlY2xhcmEgcXVlIG8gZGVww7NzaXRvIGRlIHN1YSBwdWJsaWNhw6fDo28gbsOjbywgcXVlIHNlamEgZGUgc2V1IGNvbmhlY2ltZW50bywgaW5mcmluZ2UgZGlyZWl0b3MgYXV0b3JhaXMgZGUgbmluZ3XDqW0uCgpDYXNvIGEgc3VhIHB1YmxpY2HDp8OjbyBjb250ZW5oYSBtYXRlcmlhbCBxdWUgdm9jw6ogbsOjbyBwb3NzdWkgYSB0aXR1bGFyaWRhZGUgZG9zIGRpcmVpdG9zIGF1dG9yYWlzLCB2b2PDqiBkZWNsYXJhIHF1ZSBvYnRldmUgYSBwZXJtaXNzw6NvIGlycmVzdHJpdGEgZG8gZGV0ZW50b3IgZG9zIGRpcmVpdG9zIGF1dG9yYWlzIHBhcmEgY29uY2VkZXIgYW8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBvcyBkaXJlaXRvcyBhcHJlc2VudGFkb3MgbmVzdGEgbGljZW7Dp2EsIGUgcXVlIGVzc2UgbWF0ZXJpYWwgZGUgcHJvcHJpZWRhZGUgZGUgdGVyY2Vpcm9zIGVzdMOhIGNsYXJhbWVudGUgaWRlbnRpZmljYWRvIGUgcmVjb25oZWNpZG8gbm8gdGV4dG8gb3Ugbm8gY29udGXDumRvIGRhIHB1YmxpY2HDp8OjbyBvcmEgZGVwb3NpdGFkYS4KCkNBU08gQSBQVUJMSUNBw4fDg08gT1JBIERFUE9TSVRBREEgVEVOSEEgU0lETyBSRVNVTFRBRE8gREUgVU0gUEFUUk9Dw41OSU8gT1UgQVBPSU8gREUgVU1BIEFHw4pOQ0lBIERFIEZPTUVOVE8gT1UgT1VUUk8gT1JHQU5JU01PLCBWT0PDiiBERUNMQVJBIFFVRSBSRVNQRUlUT1UgVE9ET1MgRSBRVUFJU1FVRVIgRElSRUlUT1MgREUgUkVWSVPDg08gQ09NTyBUQU1Cw4lNIEFTIERFTUFJUyBPQlJJR0HDh8OVRVMgRVhJR0lEQVMgUE9SIENPTlRSQVRPIE9VIEFDT1JETy4KCk8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBzZSBjb21wcm9tZXRlIGEgaWRlbnRpZmljYXIgY2xhcmFtZW50ZSBvIHNldSBub21lKHMpIG91IG8ocykgbm9tZXMocykgZG8ocykgZGV0ZW50b3IoZXMpIGRvcyBkaXJlaXRvcyBhdXRvcmFpcyBkYSBwdWJsaWNhw6fDo28sIGUgbsOjbyBmYXLDoSBxdWFscXVlciBhbHRlcmHDp8OjbywgYWzDqW0gZGFxdWVsYXMgY29uY2VkaWRhcyBwb3IgZXN0YSBsaWNlbsOnYS4KRepositório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2022-12-22T22:58:07Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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