Leituras da ditadura civil-militar à luz da adaptação do texto teatral Milagre na cela para o filme A freira e a tortura

Abstract

The present research has as its corpus the theatrical text written by the playwright Jorge Andrade, named “Milagre na Cela” (1977), and its suiting to the seventh art, which in turn became the pellicle “A Freira e a Tortura” (1983), directed by the film-maker Ozualdo Candeias. Based on these different fictional forms, thus, textual and imagery , the mainly aim of this study was to answer to the following question , what are the reframes when we adapt the theatrical text to a new language, in this case, film language? Both plays were made during the civil-military dictatorship in Brazil. The text written by Andrade and the film directed by Candeias represent , through the nun character Joana and the police chief Daniel , the wills and the violences done by the military governor against some citizens considered subversives. In the plot from both plays, Joana´s convictions and the violence undertaken by Daniel to the religious woman are the strenghs that will conduct the unroll of actions and facts in both plots, whose elements were exploited by Candeias, when directing “A Freira e a Tortura”. The pellicle was produced by bias of a film-maker genre which, at first, would not be the ideal channel to reflect about the context of the military regime, which are the erotic comedies. To assimilate the reframes of the adaptation from the text Milagre na Cela to the movies, the studies were based on theories supported on literary studies from the theater and from the movies. To understand better the context of the military regime, the studies had some texts from the “Relatório da Comissão Nacional da Verdade”. Moreover, the aesthetic and thematic elements used by Candeias helped him to assimilate how he made a new reading concerning the theatrical text from the playright Jorge Andrade. Comparing the literature studies with others arts, we also had the aim to understand how the plot Milagre na Cela became a motivating object for the production of A Freira e a Tortura.