What is a translation that stalls comprehension? That, when read, parsed, obfuscates comprehension through any language – English, Portuguese.
It is inevitable that readers expect fidelity from translations. That language mirror with a sort of precision that enables the reader to become of another location, condition, to grasp in English in a similar vein as readers of Portuguese might from João Guimarães Rosa’s GRANDE SERTÃO: VEREDAS.
There is the expectation that translations enable mobility. That what was written in one language be accessible in another. And that a translator is to serve as a mediator, acting ultimately in service to ideas within the source text. To disperse them.
By Jeffrey Bussmann
For reasons that will be obvious to readers acquainted with the work, João Guimarães Rosa’s Grande Sertão: Veredas rightly belongs on any list of unfilmable novels. Nevertheless, it has not inhibited the production of two cinematic adaptations. The artist Rosângela Rennó (b. 1962, Belo Horizonte; lives and works in Rio de Janeiro) appropriated portions of footage from both films to make the dynamic two-channel video Febre do Sertão (2008).
The 1965 film Grande Sertão attempts the fool’s errand of shoehorning Guimarães Rosa’s sprawling story into a ninety minute cinematic format. Naturally, the epic and meandering narrative, qualities inherent to the novel, are entirely lost. Some twenty years later Rede Globo produced the miniseries Grande Sertão: Veredas starring Tony Ramos and Bruna Lombardi as Riobaldo and Diadorim, respectively. This television adaptation, benefitting from marquee actors and Globo’s production finesse, achieves a certain grandeur in its own right. Lacking from both adaptations is any effort to preserve Riobaldo’s first-person storytelling. Continue reading