Do romance à dramaturgia, duas propostas para Bonsai, de Alejandro Zambra

• Ano de defesa: 2021
• Autor(a) principal: Alexandre Miguel da Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FALE - FACULDADE DE LETRAS; Programa de Pós-Graduação em Estudos Literários; UFMG
• Palavras-chave em Português: Literatura Contemporânea; Dramaturgia; Literatura Chilena; Zambra, Alejandro, 1975- – Bonsai – Crítica e interpretação; Ficção chilena – História e crítica; Teatro brasileiro – História e crítica
• Link de acesso: http://hdl.handle.net/1843/48401; https://orcid.org/0000-0002-8666-3897

The purpose of this research dwells in observing the textual transposition of contemporary narratives in which weavings are built in a rhapsodic and shattered way. In order to do it, the project sets out with the critical analysis of the novel Bonsai (2014), by Alejandro Zambra, holding its fabular and discursive structure as a reading premise, based on the concepts proposed by Benedito Nunes (2013) and Mikhail Bakhtin (2019). As of the formal awareness of Zambra’s work, two narrative adaptations/transpositions to dramaturgies are presented. Novel dramatization, a common practice since greek records, has never been considered as a creativity nor an imagination crisis by playwrights or theater directors. In current productions, the idea of text is augmented, triggering theatricality through multiple systems of signification, such as lightning, scene, sonority, amongst others. Furthermore, the dramaturgy established on a narrative text exhibits a familiarity between dramatic and narrative genres. The dramatizations are presented and analyzed upon this familiarity. For the analysis development, the propositions of fable dramaturgy, by José Sanchis Sinisterra (2016), and narrative-performative theatre, by Juarez Guimarães Dias (2015), are used as references. In the dramaturgy development, it is possible to observe a particular transposition process to each director-author (DIAS, 2015), being theirs the final decision about the precision offered by the text when it comes to its narrative origin. Important aspects from drama theory, like the ones by Jean-Pierre Sarrazac (2012) and Doc Comparato (2009), are considered as theoretical dialogue. Bringing it to a conclusion, when adapting/transposing the original narrative, the playwright image is not excluded or completely extinguished in the face of the novelist. Whereas simultaneously to the novelist writing, the playwright acts as a new author, whose worldview, from their reading of the original narrative, is exposed in the final product.