“Hoje é dia de Maria”: um estudo sobre tradução intersemiótica e adaptação de personagens do roteiro para a TV.

Abstract

In order to contribute to Translation Studies, the objective of this research is to analyze two specific characters – the Coconut and the Vendor -, in Hoje é dia de Maria, considering Intersemiotic Translation in the move to the audiovisual production. To achieve this aim, to the following steps are followed: i) Identifying images and verbal characteristics of the Vendor and the Coconut in the process of Intersemiotic Translation to the audiovisual production of Hoje é dia de Maria; ii) Describing the changes of the two characters and their representations from the original text into the adaptation; iii) Discussing the implications of the changes identified in the adaptation of Hoje é dia de Maria to the microseries. The characters’ construction on television is studied considering the adaptation of the playscript to television, and observing the verbal and nonverbal languages that are used to adapt the text to television. The theoretical framework is based on Translation Studies, Intersemiotic Translation, Theory of Adaptation, Multimodality and Cultural Studies, using Jakobson (2004 [1959]), Hutcheon (2013), Plaza (2013), Bassnet (2002), Kress (2010) and Hall (2016). This research is qualitative, of empirical and conceptual character (WILLIAMS, CHESTERMAN, 2001). Methodologically, this research is directed by the pure research of descriptive nature, as it seeks to observe the transposition of the screenplay to television, observing points where intersemiotic translation is evident between the script and the miniseries. For the analysis a parallel corpus composed of images and cutouts of text extracted from the microseries as well as from the script published in 2005 was built. The clippings were organized as screenshots, videos and text. Results point out that the intersemiotic translation of the script for television shows the relationship between translation and adaptation in the movement to transpose the script into the audiovisual. Through this relationship, transmutation between the semiotic systems involved uses different combinations of audiovisual elements to convey the message of the source text and, in parallel, using different cultural elements to construct characters, recreating elements of the screenplay. Results also show that the screenplay’s intersemiotic translation process to television, concerning the Coco and the Vendor, promotes the adaptation of cultural elements of indigenous origin and the Middle East through verbal and nonverbal elements to communicate the ideas associated with the characters of specific origins. The construction in the audiovisual uses the replication of types and stereotypes to produce the characters of different origins, representing them to the public.