Os pactários da linguagem: representações do Brasil mediadas por Grande Sertão: Veredas
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Data
2022-05-30
Autores
Cruz, Artur Ribeiro [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho se propõe a mostrar uma possível rede de sentidos que interligam literatura, televisão e sociedade. Por meio da figura do pacto diabólico, como elemento de unidade interpretativa do processo e do produto de uma adaptação, analisa-se o romance Grande Sertão: Veredas, publicado em 1956 por João Guimarães Rosa, e sua recriação em formato televisivo na minissérie homônima, com direção-geral de Walter Avancini, exibida em 1985, reprisada em 1998 e 2017, e disponível em versão digitalizada desde 2010. A perspectiva aqui adotada sugere haver uma tensão entre noções de gêneros narrativos no concurso entre a forma romanesca e as ficções seriadas audiovisuais – especificamente a minissérie –, buscando respostas, nos limites do objeto escolhido, que integrem a apreensão estética à compreensão histórico-social dessas produções culturais. Para fins de abertura analítica, foram mobilizados trabalhos de Candido, Lukács e Frye. Quanto ao texto literário, apresenta-se a hipótese de que o universo imaginário dá forma artística à consciência geracional de um grupo de intelectuais modernistas, que, no afã de trazer o povo brasileiro para o centro da ocupação política e cultural, mediante as utopias de integração nacional, desenvolvimento e coesão social, acabam pactuando com a estrutura burocrática do poder do Estado republicano. Tal compreensão se apoia conceitualmente em Goldmann e Dewey e, de modo mais específico, nos estudos de Bolle. Nesse sentido, o Grande Sertão é lido como a realização literária monumental de um projeto utópico de Brasil que acaba por revelar uma cisão entre algumas propostas modernistas e sua implementação no plano da realidade material do país por conta da mediação das estruturas degradadas de poder do Estado – a serviço dos interesses mais imediatos das camadas dominantes – com as quais esse projeto faz um pacto. Para essa instância interpretativa, propõe-se um diálogo com Viana, Holanda, Fernandes e Hirano. Quanto ao texto audiovisual, para cuja abordagem foram pertinentes os estudos midiáticos de Machado e os de adaptação de Stam e Hutcheon, a minissérie resulta de uma releitura artística que, na dialética entre o formato industrial e a ruptura com os padrões discursivos dos gêneros ficcionais da televisão brasileira, transfigura problemas que permearam a abertura política e a redemocratização do país em meados da década de 1980. Assim, o objetivo de demonstrar as questões acima teve como eixo a figura do “pacto com o diabo” em várias camadas de análise. O processo de reabertura política, em cujo contexto histórico-social estão inseridas a produção e a exibição da minissérie, pode ser compreendido como pacto demoníaco, em outras palavras, como a reiteração de um falso contrato social, pois o retorno à democracia manteve o poder nas mãos de grupos que se rearranjam para manter o Estado como extensão de sua propriedade. Desse modo, a interpretação do pacto de Riobaldo com o diabo, associada à análise da adaptação como pacto dos realizadores com o meio institucional (a emissora) e com o público heterogêneo da tevê, visa compreender a forma com que a narrativa televisiva transforma conteúdos da realidade social em elementos estéticos da minissérie.
The present work proposes to show a possible network of meanings that interconnect literature, television and society. Through the figure of the diabolical pact, as an element of interpretive unity of the process and of the product of an adaptation, the novel Grande Sertão: Veredas [The Devil to Pay in the Backlands], published in 1956 by João Guimarães Rosa, and its recreation in television format in the homonymous miniseries, is analyzed. with general direction by Walter Avancini, shown in 1985, rerun in 1998 and 2017, and available in a digitalized version since 2010. The perspective adopted here suggests that there is a tension between notions of narrative genres in the contest between the novelistic form and the audiovisual serial fictions – specifically the miniseries –, seeking answers, within the limits of the chosen object, that integrate the aesthetic apprehension to the historical-social understanding of these cultural productions. For purposes of analytical opening, works by Candido, Lukács and Frye were mobilized. As for the literary text, the hypothesis is presented that the imaginary universe gives artistic form to the generational consciousness of a group of modernist intellectuals, who, in their eagerness to bring the Brazilian people to the center of political and cultural occupation, through the utopias of national integration, development and social cohesion, end up agreeing with the bureaucratic structure of the power of the republican state. Such an understanding is conceptually supported by Goldmann and Dewey and, more specifically, by Bolle's research works. In this sense, the Grande Sertão constitutes the literary realization of a Utopian project of Brazil that reveals a split between some modernist proposals and their implementation in the plan of the material reality of the country due to the mediation of the degraded structures of power of the State – in the service of the interests more immediate from the dominant layers – with whom this project makes a pact. For this interpretative instance, a dialogue with Viana, Holanda, Fernandes and Hirano is proposed. As for the audiovisual text, for which Machado's media studies and Stam and Hutcheon's adaptation studies were relevant, the miniseries results from an artistic rereading that, in the dialectic between the industrial format and the rupture with the discursive patterns of the fictional genres of Brazilian television, transfigures problems that permeated the political opening and redemocratization of the country in the mid1980s. Thus, the objective of demonstrating the questions above will have as its axis the figure of the “pact with the devil” in several layers of analysis. The process of political reopening, in whose historical-social context the production and exhibition of the miniseries are inserted, can be understood as a demonic pact, in other words, as the reiteration of a false social contract, since the return to democracy maintained power. in the hands of groups that rearrange themselves to maintain the state as an extension of their property. In this way, the interpretation of Riobaldo's pact with the devil, associated with the analysis of adaptation as a pact between the filmmakers and the institutional environment (the broadcaster) and with the heterogeneous audience of TV, aims to understand the way in which the television narrative transforms contents of the social reality in aesthetic elements of the miniseries.
The present work proposes to show a possible network of meanings that interconnect literature, television and society. Through the figure of the diabolical pact, as an element of interpretive unity of the process and of the product of an adaptation, the novel Grande Sertão: Veredas [The Devil to Pay in the Backlands], published in 1956 by João Guimarães Rosa, and its recreation in television format in the homonymous miniseries, is analyzed. with general direction by Walter Avancini, shown in 1985, rerun in 1998 and 2017, and available in a digitalized version since 2010. The perspective adopted here suggests that there is a tension between notions of narrative genres in the contest between the novelistic form and the audiovisual serial fictions – specifically the miniseries –, seeking answers, within the limits of the chosen object, that integrate the aesthetic apprehension to the historical-social understanding of these cultural productions. For purposes of analytical opening, works by Candido, Lukács and Frye were mobilized. As for the literary text, the hypothesis is presented that the imaginary universe gives artistic form to the generational consciousness of a group of modernist intellectuals, who, in their eagerness to bring the Brazilian people to the center of political and cultural occupation, through the utopias of national integration, development and social cohesion, end up agreeing with the bureaucratic structure of the power of the republican state. Such an understanding is conceptually supported by Goldmann and Dewey and, more specifically, by Bolle's research works. In this sense, the Grande Sertão constitutes the literary realization of a Utopian project of Brazil that reveals a split between some modernist proposals and their implementation in the plan of the material reality of the country due to the mediation of the degraded structures of power of the State – in the service of the interests more immediate from the dominant layers – with whom this project makes a pact. For this interpretative instance, a dialogue with Viana, Holanda, Fernandes and Hirano is proposed. As for the audiovisual text, for which Machado's media studies and Stam and Hutcheon's adaptation studies were relevant, the miniseries results from an artistic rereading that, in the dialectic between the industrial format and the rupture with the discursive patterns of the fictional genres of Brazilian television, transfigures problems that permeated the political opening and redemocratization of the country in the mid1980s. Thus, the objective of demonstrating the questions above will have as its axis the figure of the “pact with the devil” in several layers of analysis. The process of political reopening, in whose historical-social context the production and exhibition of the miniseries are inserted, can be understood as a demonic pact, in other words, as the reiteration of a false social contract, since the return to democracy maintained power. in the hands of groups that rearrange themselves to maintain the state as an extension of their property. In this way, the interpretation of Riobaldo's pact with the devil, associated with the analysis of adaptation as a pact between the filmmakers and the institutional environment (the broadcaster) and with the heterogeneous audience of TV, aims to understand the way in which the television narrative transforms contents of the social reality in aesthetic elements of the miniseries.
Descrição
Palavras-chave
Grande Sertão: Veredas, João Guimarães Rosa, Adaptação, Romance, Minissérie, Modernismo Brasileiro, Gêneros ficcionais televisivos, Walter Avancini, Walter George Durst, Redemocratização, Adaptation, Novel, Miniseries, Brazilian Modernism, Television ficctional genres, Redemocratization