Auto da Compadecida : análise comparativa da peça de Ariano Suassuna e o longa metragem de Guel Arraes

Abstract

This paper analyzes the play Auto da Compadecida, by Ariano Suassuna, and itsfilm adaptation released in 2000, directed by Guel Arraes (1953). In this context, we observe how the textual transposition was interpreted in the audio-visual-verbal product. Despite initial criticism of the adaptations, we can observe that the feature film highlights Guel Arraes' creative vision in its adaptive reinterpretation, enriching the narrative with new themes and resources provided by Cinema. In this way, both artistic manifestations address social problems, such as greed, inequality, adultery and, mainly, the struggle for survival. In the film adaptation, Arraes expands the themes and inserts new characters and plots, reinforcing social criticism and the search for redemption. In this way, the filmmaker preserves Ariano's text, but reinterprets and explores the possibilities provided by the new visual resource to deepen the reflection on social justice, compassion, faith and the maintenance of life, without losing the essence deposited in the literary text. As a basis, we have the scholars Reuter (2002), Reis (1998) and Nunes (1995), who approach the narrative structure with a focus on literature; Hutcheon (2013), Stam (2006), Xavier (2003), Sotta (2015) and Pellegrini (2003), who highlight the literary transposition to the audio-visual-verbal, and the relationship between the two semioses.