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Advisor(s)
Abstract(s)
N’As Aventuras de Pinóquio, Carlo Collodi conta a passagem de Pinóquio pela Terra da Brincadeira que é recriada por Paula Rego na tela Island of ligths from Pinocchio (1996), utilizando as imagens da criança e do asno e suas variações.Neste artigo comparamos as perspetivas do autor do texto verbal e da sua leitora-pintora, fazendo uma leitura mítico-simbólica das imagens obsessivas da tela, e mostramos que, pondo em evidência uma interpretação da Terra da Brincadeira como ilha das trevas, sucedâneo do próprio Inferno, Paula Rego fixa na tela a perspetiva dominante do narrador do texto verbal, isto é, a dimensão distópica do sonho infantil do folgar contínuo, enquanto expressão da natureza e não da cultura, onde o seu destino teria que passar pela escola.
In The Adventures of Pinocchio, Carlo Collodi tells the passing through of Pinocchio by the Land of Playing that is drawn by Paula Rego in the painting Island of Lights from Pinocchio (1996), using images of children and of the donkey and respective variations.In this article, the authors compare the perspectives of the verbal text author and of her reader-painter. A mythical and symbolic reading of obsessive images of the canvas is made. Paula Rego puts the stress on the interpretation of the Land of Playing understood as an island of darkness, as hell. This painter stresses on the canvas the dominant perspective of the narrator of the verbal text, i.e. the dystopian dimension of a child’s dream of a continuous rest, seen as an expression of the nature and not of the culture, in which his faith would have to include school attendance.
In The Adventures of Pinocchio, Carlo Collodi tells the passing through of Pinocchio by the Land of Playing that is drawn by Paula Rego in the painting Island of Lights from Pinocchio (1996), using images of children and of the donkey and respective variations.In this article, the authors compare the perspectives of the verbal text author and of her reader-painter. A mythical and symbolic reading of obsessive images of the canvas is made. Paula Rego puts the stress on the interpretation of the Land of Playing understood as an island of darkness, as hell. This painter stresses on the canvas the dominant perspective of the narrator of the verbal text, i.e. the dystopian dimension of a child’s dream of a continuous rest, seen as an expression of the nature and not of the culture, in which his faith would have to include school attendance.
Description
Keywords
Utopia Literatura Pintura Simbolismo Literature Painting Symbolism
Citation
Araújo, Alberto Filipe, Machado, Joaquim (2015). Do livro à tela: Carlo Collodi, Paula Rego e a terra da brincadeira. Letras em Revista, 6 (1), 256-271
Publisher
Teresina