This essay explores the difficulties that Suzana Amaral had to face in her adaptation of Clarice Lispector’s novel A hora da estrela for the screen. The writer’s attempt at staging a real “drama of language” in order to convey the voice of the marginalized leads her to construct a complex work, sus- pended between silence and speech (“This book is silence. This book is a question”). In order to escape this testimo- nial aporia, Clarice becomes a “third” narrator who, in turn, tries to account for deprivation and marginality through non-linguistic expressions: that of music and that of the body. The director, however, is unable to avoid a homodiegetic narration that obliterates, at least in part, the complexity of the literary text.
"Você sabia?" O que resta (e que sobra) de Clarice em A hora da estrela de Suzana Amaral / FINAZZI AGRO', Ettore. - In: LETTERATURE D'AMERICA. - ISSN 1125-1743. - 171-172:XXXI(2018), pp. 5-19.
"Você sabia?" O que resta (e que sobra) de Clarice em A hora da estrela de Suzana Amaral
Ettore Finazzi-Agrò
Primo
2018
Abstract
This essay explores the difficulties that Suzana Amaral had to face in her adaptation of Clarice Lispector’s novel A hora da estrela for the screen. The writer’s attempt at staging a real “drama of language” in order to convey the voice of the marginalized leads her to construct a complex work, sus- pended between silence and speech (“This book is silence. This book is a question”). In order to escape this testimo- nial aporia, Clarice becomes a “third” narrator who, in turn, tries to account for deprivation and marginality through non-linguistic expressions: that of music and that of the body. The director, however, is unable to avoid a homodiegetic narration that obliterates, at least in part, the complexity of the literary text.File | Dimensione | Formato | |
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