Dois irmãos, do romance para a minissérie televisiva: um estudo sobre o ponto de vista narrativo no processo de adaptação

Abstract

This paper aims to present a discussion about the mediatic transposition of the literary narrative into a television work, with the objective of analyzing the narrator's position on Milton Hatoum's novel Two Brothers (2000), and its adaptation to the homonymous miniseries directed by Luiz Fernando Carvalho and scripted by Maria Camargo, that premiered in 2017. In this study, the analysis of the novel's plot/syuzhet and its mediatic transposition was emphasized without focusing on the criterion of fidelity, but eliciting a perception of the adaptation process, according to Linda Hutcheon (2011), which is notable around the question of the narrative point of view of these different media by comparing the two works and considering that in the novel the text is narrated in the first person. Thus, in this study on the position of the narrator of the novel, we seek to analyze the identity issues of this narrator. On the other hand, considering that the miniseries is guided by a cinematic narrator who is able to establish a specific point of view and the audiovisual resource of voice-over, we did an analysis of the search for the "real effect" of the miniseries, emphasizing resources as a cut of documentary scenes that are inserted in the work, and the narration itself in voice-over which justifies the perception of a target around the regionalist realism present in the television narrative. After that, we set out to analyze the aesthetic issues present in the miniseries, in order to open a parallel and analyze other works by Luiz Fernando Carvalho. Thinking about the dialogue between the works, we tried to present the differences between these syuzhet's considering that the choices made in the formalization of each plot are intended to suit the potential of each media. In the end, it was concluded that these works present, among them, a dialogue relation beyond any criterion of fidelity perceptible in the options of the adaptive work in the face of the piece adapted with regard to the aesthetic and mediatic potentialities of both narratives .