Era uma vez: um estudo comparativo entre a Bela Adormecida, de Perrault e a adaptação Adormecida: cem anos para sempre, de Mastroberti.

Abstract

Narratives are part of human history, as is retelling, and also the adaptation. We understand that narrative languages, as fairy tales and comics, share a common structure, presented in different forms, in one we have the predominance of the written text and the other we have the images, respectively. Our interest in the marvelous narratives is mainly based on the understanding that these are stories that brings together universal human feelings and questions, as well as cultural and social aspects, since they are born from oral myths, with Greco-Roman and Celtic-Breton influences. Throughout the journey of these narratives to the present day, they have been and continue to be modified, adapted from different social perspectives, bringing readers a gamma of reading possibilities. And, as one of these perspectives, is located the comic work of Brazilian artist Paula Mastroberti, (2012). Among the possible studies, we did a comparative study between the mentioned comic book, and the tale written by Charles Perrault, Sleeping Beauty (2015), aiming to analyze, based on the structural narrative components, the plot, and the characters, element directly linked to the action, facts and events of the narrative sequence. Therefore, we gather in the studies of Coelho (2012), in some notes made by Propp (2006), Brito (2010) and Charaudeau (2009), Todorov (1992), regarding the origin and how the fairy tales are structured, in order to delineate the historical-social context that shapes Perrault's narrative. We perceive the adaptations as a result of the possibility of retelling, which go through a process of creation, as proposed by Linda Hutcheon (2013), without emphasis on the criteria of fidelity, but on, the narrative point of view addressed in each one, and also, by comparing them, we consider the particularities of the four-dimensional works, according to the research by Cagnin (2014), Eisner (1999), McCloud (2005), Chinen, Vergueiro & Ramos (2014). Thinking about the dialogue between the works, we sought to show the differences and what they mean in terms of narratives and meanings for the reader. We identified then that the characters of the princess and the prince remain virtually unchanged in their main characteristics, unlike the witch which for the reader may be the new element, with greater complexity, symbolizing in general terms, the break of the Manichean vision and of female romantic idealism linked to sexuality.