Scripta 9_2_link_final.pdf - Uniandrade

‘Yea’, quoth he, ‘dost thou fall upon thy face?
Thou wilt fall backward when thou hast mor wit,
Wilt thou not, Jule?’ And by my holydame,
The pretty wretch left crying, and said ‘Ay’. […]
Lady Capulet: Enough of this, I pray thee, hold thy peace.
Nurse: Yes, madam, yet I cannot choose but laugh
To think it should leave crying, and say ‘Ay’;
And yet I warrant it had upon its brow
A bump as big as a young cockerel’s stone,
A perilous knock, and it cried bitterly.
‘Yea’, quoth my husband, ‘fall’st upon thy face?
Thou wilt fall bakward when thou comest to age,
Wilt thou not, Jule?’ It stinted, and said ‘Ay’.
Juliet: And stint thou too, I pray thee, Nurse, say I. (SHAKESPEARE,
2006a, p. 102)
The reader/spectator who is not familiar with Romeo and Juliet tends
to be surprised with the use of such language, as much as Lucia Murat’s
film will startle the audience with the use of a language filled with cursing.
Obviously, the environment to which Shakespeare’s play has been shifted
does not allow for subtleties and the obscene language reveals itself as quite
blunt. It is worth mentioning that in lieu of the romantic language found in
the lovers’ dialogues in the bard’s text, the film brings movements of dance
often to the sound of Prokofiev.
The change in perception generates a new approach to translated
literary works, leading us to understand that if a work of art is part of a
tradition, it is alive and open to transformation by means of different
interpretations and different intertextual dialogues, which expand into
multiple readings. In a paradoxical move, the translator undresses the work
of art of its sacred mantle and popularizes it, even though the removal of
such mantle results precisely from the recognition of the aura of sacralization.
Respect and recognition motivate the translation. The work of art loses
something when it is technically produced and reproduced, but it acquires,
as a consequence, the infinite places and contexts of its reproduction. And,
if it loses its cult value, it acquires another function, adopting a non-specialized
social practice […] (SANTIAGO, 2004, p. 114).
Maré, nossa história de amor keeps its theme ties with the play which
originated it, bringing traces of such precedence, even though, simultaneously,
erasing them. The shifting of the previous idea implies, necessarily, forgetting,
Scripta Uniandrade, v. 9, n. 2, jul.-dez. 2011 119