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português para inglês: O pré-sal do espetáculo – The pre-salt layer of the show General field: Arte/Literatura Detailed field: Arte, Artesanato e ofícios, Pintura
Texto de origem - português O pré-sal do espetáculo
Gabriel Villela nos guiou, para usar uma expressão cunhada por ele mesmo, à camada pré-sal da dramaturgia, investigando significados e simbologias que conduzissem as operações épicas e poéticas da interpretação e do invento de figurinos, adereços, cenário e trilha sonora. No encontro entre o universo do texto e o diretor, ele guarneceu o elenco de referências teatrais, plásticas, musicais, literárias, míticas e arquetípicas: a espera das três irmãs, galinhas chocadeiras de seus destinos tais quais As Três Irmãs, de Tchekhov, obstinadas como Penélope, da mitologia grega, resistentes como Yerma e Bernarda Alba, de Garcia Lorca, capazes ainda de pulsar a elegância e a fertilidade das mulheres de Toulouse-Lautrec e a beleza naïf das noivas do Vale do Jequitinhonha. Galinhas que convivem com galos e suas esporas e que enaltecem a tenacidade, a perseverança e a beleza do feminino. Que habitam um cenário de vegetação à Krajcberg e colorido à Matisse, cujas obras “Leitora em Branco e Amarelo”, “Rapariga em um Vestido Verde” e “O Alaúde” inspiram a capa do programa e o cartaz do espetáculo por referenciarem a centralidade desse pintor, precursor das vanguardas, na composição estética da montagem: o poder das cores do fauvismo e a abertura ao simbolismo que alicerça a poética de Villela. Uma explosão de cores banhada pelo barro das margens do rio São Francisco e animada por um coro de pássaros, pela exuberância de um Pavão Misterioso, pelas figuras de um Narrador com figurinos de ráfia, encarnando a tradição oral da narrativa, e de um Maestro, conduzindo a cantoria de músicas populares brasileiras.
A essa alquimia, acrescentam-se os tecidos da italiana Lisa Corti, os ninhos trazidos de Camarões, na África, os bordados vindos da cidade de Varanese, na Índia, e as redes de Carmo do Rio Claro, Minas Gerais. Tudo para compor um universo que é, ao mesmo tempo, ribeirinho e universal. Que é íntimo, nos conflitos humanos, público, no acontecimento artístico, e épico, na força da narrativa.
Tradução - inglês The pre-salt layer of the show
Gabriel Villela guided us — to use an expression coined by himself — to the "pre-salt layer of dramaturgy", where we were able to investigate the meanings and symbologies that drive the epic and poetic operations of interpretation and invention of costumes, props, scenery and soundtrack. At the meeting point between the director and the universe of the script, Gabriel provided the cast with theatrical, visual, musical, literary, mythical and archetypal references: the waiting of the three sisters, brooding chickens of their fates such as “The Three Sisters”, by Chekhov; obstinate like Penélope, from Greek mythology; resistant like Yerma and Bernarda Alba, from Garcia Lorca; capable, even so, of pulsating the elegance and fertility of the women of Toulouse-Lautrec and the naïf beauty of the brides from Vale do Jequitinhonha. Chickens that coexist with roosters and their spurs and that praise the tenacity, the perseverance and the beauty of the feminine. Women who inhabit landscapes à la Krajcberg – and colored à la Matisse, whose works “Reading Girl in White and Yellow”, “Young Girl in a Green Dress” and “The Lute” are inspirations for the cover of the show’s program and also its poster by referencing the centrality of this painter, precursor of the avant-garde, in the aesthetic composition of the play: the power of fauvist colors and the openness to symbolism that underpins Villela's poetics. An explosion of colors bathed by the clay from the banks of the river São Francisco and enlivened by a chorus of birds, by the exuberance of a Mysterious Peacock, by the figures of a Narrator in raffia costumes – embodying the oral tradition of narrative – and of a Conductor – conducting the singing of popular Brazilian songs.
To this alchemy, fabrics by the Italian Lisa Corti, nests brought from Cameroon, in Africa, embroidery from the city of Varanese, in India, and hammocks from Carmo do Rio Claro, in Minas Gerais (Brazil), are added. All to compose a world that is, at the same time, riverine and universal. A world that is intimate in its human conflicts, public due to its artistic event and epic in its narrative force.
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Formação educacional em tradução
Bachelor's degree - Carlos Gomes Conservatory
Experiência
Anos de experiência em tradução: 7 Registrado no ProZ.com: May 2023. Tornou-se associado em: May 2023
Hi there!
It's a pleasure to have you here on my profile. My name is Nina Carvalho and I'm a Brazilian-born translator very much in love with the power of words.
As a skilled translator, writer, columnist, proofreader and former english teacher, I'm passionate about languages, expression and communication. Being a gifted person, I'm oriented towards detail and excellence in work - always. When we're talking about translations, it is my goal to bring not only quality, fidelity and accuracy, but aesthetic beauty and depth to the project. What do I mean by that? I deliver texts that flow effortlessly in the target language and I am willing to revise them as much as needed. I'm happy when my clients are happy.
I authored the book "Rasgados" and co-authored the book "Poetes", a poetry collection produced by a community of gifted people from all over Brazil; I have also worked as a columnist and proofreader for a magazine (Elenco Magazine) and a digital newspaper (Cicerone), experiences for which I've received enthusiastic professional feedback. Last but not least, I am also the creator of a revolutionary approach to communication which I apply to translation and proofreading projects: Transformative Communication by Nina Carvalho.
► With fluency in English and mastery of the Portuguese language as a legitimate writer, I can guarantee results that will positively surprise your readers.
► If your translation has already been carried out with the assistance of a computer, I can work as a proofreader to ensure the fidelity and accuracy of the text.
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Thank you for your consideration.
I hope to hear from you soon,
Associado desde May '23
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