As adaptações da Cinderela surda e o visuoleitor

Abstract

This research aims to reflect on the adaptations of the fairy tales "Cinderella" and "Deaf Cin-derella," based on discussions about translations, literary adaptations, and the concept of the visuoreader, with the goal of updating the meanings of these recreations in Brazilian Sign Lan-guage (Libras). The study seeks to compare the different strategies used in the translation of both versions of the tale, highlighting the importance of visual performance in the interpretation of the video "Deaf Cinderella" in Libras. The "Deaf Cinderella" version represents an empow-erment of Deaf identity and strengthens the visibility of Libras and Deaf culture. In the classic versions, Cinderella is a hearing character who loses one of her slippers, whereas in the Deaf adaptation, she leaves behind a glove, which is found by the Deaf prince, thus constructing a new identity reference for Deaf visuoreaders. As a methodology, a comparative analysis was conducted between the PDF book of the original story and the videos from the Chaplim YouTube channel, which presents the Libras version of "Deaf Cinderella." The research also examined the translation/interpretation of the classic "Cinderella" into Libras and discussed the visual adaptation strategies in the video of "Deaf Cinderella," with an emphasis on elements that favor visuoreader interpretation. The theoretical framework includes contributions from scholars of Deaf literature, such as Claudio Mourão, who discusses the power of the hands in constructing Deaf literature and the specificity of the visuoreader, as well as Lodenir Karnopp's pedagogical suggestions on the adaptation processes in Deaf literature education. Additionally, the study engages with debates by Linda Hutcheon and Rachel Sutton-Spence on adaptation as a performative act of creation, highlighting that each version is a dialogue between authors, readers, and visuoreaders, leaving concrete traces in the creation and adaptation of the works.