Diálogos entre o texto dramatúrgico e a mídia televisiva: o trabalho de Maria Adelaide Amaral na peça Tarsila e na minissérie Um só coração

Abstract

Tarsila is a theatrical-biography, in which the text is confined in an area of crisis of the traditional dramatic form, due to the contradiction between theme and content observed, precisely, in the impossibility of this modernist painter‟s biography to be conveyed into pure drama, pouring in dialogue, with a concentration of time, space and action, because of the actual extent of the topic. This impossibility led Maria Adelaide Amaral to use other stylistic features, common to the modern drama tradition, as defined by Peter Szondi (2001), as possible resolutions for this crisis, since they allow a new conception of structure, language and technique, abandoning the framework of the Aristotelian drama, and constituting an epic narrative form, consequently non-Aristotelian, – understood from Gerd Borheim‟s point of view (1992), referring to Bertolt Brecht‟s epic theather –, which communicates with other media. Based on this premise, this study aims to examine, within a perspective of stylistic hybridization between the televisual and theatrical language, the configuration of the process of adapting the dramaturgical text to the modernist core in the television miniseries One Heart (2004), by the same author with co-author Alcides Nogueira. It aims at verifying the passage from one medium to the other, observing the relationship between drama and television, emphasizing the dialectics between narrative modes, using a comparative analysis and interpretation, which is based not on fidelity criteria but on the dialogue built between both works, namely narration and display, understood in the light of narratology, from Linda Hutcheon (2006) and Seymour Chatmann (1978, 1980, 1993). It is, thus, observed that the hesitation between mimesis and diegesis present in the play finds, on TV, the solution for the contradiction between theme and content, still present and formalized in the theatrical text, due to the inherent possibilities to this technique and aesthetics.