Sobre representação e ética em Reigen de Arthur Schnitzler e suas releituras por Max Ophüls e Fernando Meirelles

Abstract

Abstract:In 1903 Arthur Schnitzler published the play Reigen (La ronde), which presented ten dialogues, each one occurring before and after a sexual conquest. The play intended to present typical behavior of social statuses through the way each figure behaved in achieving the same goal. The sexual inferences in the text caused a commotion and it was criticized as being immoral. In 1950 the play was transposed to the screen in a movie directed by Max Ophüls. This work was basically faithful to the play, but gave a certain lightness to the theme, which would seem to indicate a loosening of moral standards toward sex during that period. In 2012 Fernando Meirelles directed a film inspired by Schnitzler's play: 360. Even though the present day stands out for its sexual liberation, the movie does not show Ophüls' lightness. On the contrary, the film is bleak and depicts interpersonal relationships through the prism of guilt implied by infidelity and repressed sexual desires. In this article we will discuss how the theme of lust and sexual impulses expressed by Schnitzler evolved in its different representations after more than a century, and how the ethical problem was shaped to each work and its moment in history.Keywords: drama; adaptations; cinema; sexuality; ethics Resumo: Em 1903, Arthur Schnitzler publicou a peça Reigen (port. A ronda), a qual apresentava dez diálogos, cada qual se desenvolvendo antes e depois de uma conquista sexual. A obra pretende apresentar comportamentos típicos de diferentes classes sociais através da forma como se comportavam para chegar ao mesmo objetivo. A ciranda sexual apresentada no texto causou comoção em sua época e foi criticada por sua alegada imoralidade. Em 1950, a peça foi transposta para o cinema em um filme de Max Ophüls. Sua obra buscou ser fiel ao original, mas também concedeu uma certa leveza ao tema, o que parece indicar um alargamento nos padrões morais diante o sexo. Em 2012, Fernando Meirelles filmou uma releitura da peça de Schnitzler: 360. Na atualidade, uma era marcada pela liberação sexual, o filme não mantém a leveza dada por Ophüls, mas, pelo contrário, é pesado e trata de relações interpessoais através do prisma do sentimento de culpa provocado por traições ou desejos sexuais reprimidos. Neste artigo, será discutido como a temática do desejo e dos impulsos sexuais trazida por Schnitzler se transformou com a passagem de mais de um século, e como a questão da ética foi modelada a cada obra e seu tempo.Palavras-chave: drama; adaptações; cinema; sexualidade; ética 1 Doutora em literatura alemã. Atualmente, desenvolve projeto de pós-doutorado na Universidade Federal de Minas Gerais.

LGBTQIA+ cinema and education: a literature review

“…After the analysis, considering the established criteria, 10 productions remained in the research that we consider important works to be discussed and to problematize how research involving cinema, gender, sexuality and education has been outlined. They are: Venchi (2018); Fischer (2008); Menezes (1998); Bessa (2017); Silva and Tilio (2018); Bessa (2007); Breder and Coelho (2017);Ferreira (2015); Pereira (2013); Oliveira, Oliveira and Iguma (2007).…”

“…Articulating with the themes of cinema, gender and sexuality, Pereira's (2013) work was linked to this category, with the object of study being the play by Arthur Schnitzler -1903, which later served as a reinterpretation for a film by Max Ophuls. The plot of the play caused a lot of discomfort, because it had sexual content in its dialogue, promoting a sexual ciranda at the time.…”

“…The plot of the play caused a lot of discomfort, because it had sexual content in its dialogue, promoting a sexual ciranda at the time. Pereira (2013) points out in his research that some fiction researchers understand that the presentation made of certain moral values in plots is useful to build the ethics of the receiver. The content transmitted there could be able to contribute to the enrichment of the work's character, confirming or shaking its values (PEREIRA, 2013), and that the films can be classified as "good" or "bad" according to the ethical positioning that they present (PEREIRA, 2013, p. 139).…”

“…-Ethics of film representation: it applies to the issue of representation through the image, to the messages transmitted by the image, regardless of the use of the word (PEREIRA, 2013, p. 139) In view of these categories, Pereira (2013) analyzes the work Reigen-1903 by Arthur Schnitzler, as well as their reinterpretations in the films Le ronde-1950 by Max Ophüls and 360 -2012 by Fernando Meirelles, taking into account how much this study can reveal something about the times, and their different behaviors regarding the issue of sexual impulse. About the Reigen-1903 storyline:…”

“…In his considerations about films, Pereira (2013) argues that "moral values have changed throughout this last century. Sex has come to be seen more liberally, and fidelity is, more than before, an element of great value" (PEREIRA, 2013, p. 153).…”