Tragédia, carnavalização e adaptação: relações intersemióticas em Tudo sobre minha mãe

Abstract

The author Paulo Gomes (2005) once said that the cinema is tributary of all languages, artistics or not. Even then, the film All about my mother (1999) from the director, scriptwriter and screenwriter Pedro Almodóvar is a model of the semiotic amalgam mentioned above since Almodóvar used many of these languages to create his emblematic work. Thereby, the focus of this paper is related to the intersemiotic relations between theatre and cinema in which are developed throughout the film All about my mother through its references to the play A Streetcar Named Desire (1947), by Tennessee Williams. For purposes of this analysis, it will also contemplate metafiction presented in the work of Almodóvar through the film All about Eve (1950) (“Tudo sobre Eva” in portuguese or as it was translated “A Malvada”) by Joseph L. Mankiewicz, through the book by Truman Capote Music for Chameleons (1980), through the play Doing Lorca (1996) by Lluís Pasqual, and finally, and in a more significant degree to the semiotic point of view, through the play A Streetcar Named Desire, as already outlined above. First, the paper will be supported by theoretical concepts studied by Aristotle in his Poetics. After, the concepts will be revisited under the light of the theory of carnavalization by Bakhtin (2010). Then, it will treat about the cinematic language and its implications of adaptation, raising a bridge with the theatrical language, and at the same time it will be weaved a semiotic web which will be structured through Iuri Lotman‟s thoughts (1978).