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Luz enquanto visualidade: design na representação de sentimentos

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(1)Universidade de Aveiro Departamento de Comunicação e Arte Ano 2012. RITA SOARES IVO GOMES. LUZ ENQUANTO VISUALIDADE. DESIGN NA REPRESENTAÇÃO DE SENTIMENTOS.

(2) Universidade de Aveiro Departamento de Comunicação e Arte Ano 2012. RITA SOARES IVO GOMES. LUZ ENQUANTO VISUALIDADE. DESIGN NA REPRESENTAÇÃO DE SENTIMENTOS. Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Design, realizada sob a orientação científica Doutor Luís Nuno Coelho Dias, Professor professor auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro!. !.

(3) o júri arguente. Prof. Doutora Rosa Alice Branco professora adjunta da Escola Superior de Arte e Design – Esad Matosinhos.

(4) agradecimentos. Agradeço a todos os que para esta tese contribuíram. Família, amigos e professores..

(5) palavras-chave. design, luz, espaço, representação, sentidos, experiência. resumo. O acto de iluminar, abarca muito mais do que a simples acção de acender uma luz. Podemos falar, neste contexto, de uma atitude estética, uma expressão narrativa, sentimental e emocional. Procura-se assim nesta dissertação, referenciar os valores da luz e os actos de iluminar, para reconhecer que se podem manifestar e participar a diferentes escalas e circunstâncias. Pelo estudo teórico do valor da luz natural e artificial, pelo seu reconhecimento e uso nas várias expressões artísticas e pela diferente valorização consoante culturas e épocas, pretendemos demonstrar e constatar que é longo e versátil o reconhecimento e uso feito da luz. Falamos essencialmente da importância estética, das atmosferas próprias e do potencial imagético que a luz e o design podem potencial. O estudo teórico dá lugar e fundamenta um estudo projectual, onde se reconsidera o tratamento simbólico e expressivo da luz nos espaços que vivenciamos/habitamos. Propõe-se assim, pensar a luz como potenciadora de espaços identitários, que adaptamos ao nosso sentir e estar diário, através do uso e valorização da luz enquanto fim e não enquanto meio, para dar lugar à exploração livre de diferentes ambientes de luz, formas, cores e intensidade, em ambientes públicos e domésticos. Pretende-se a utilização modular e adaptável a diferentes contextos emocionais e estéticos que podem ser manipulados pelo indivíduo..

(6) keywords. design, light, space, representation, senses, experience. abstract. The act of lighting covers much more than the simple action of turning on a light. We consider in this context an aesthetic attitude, an expression, sentimental and emotional narrative. We intend on this study to reference values and acts of lighting, to recognize that may be present and participate at different scales and circumstances. We intend to evidence and observe that is long and versatile the recognition and use of light, by demonstrating the theoretical study of the value of natural and artificial light, its recognition and use in various artistic ways and the different valuation according to cultures. We speak mainly of the importance of aesthetics and particular atmospheres that light and design can boost. The practical project rethinks the symbolic and expressive treatment of light in the spaces we inhabit. It is proposed to think light as spaces identity generator, which we adapt to our feeling and daily living by the use and appreciation of light. Free exploration of different light environments, shapes, colors and intensity, in domestic and public environments. Through the use of modular panels, adaptable to different emotional and aesthetic contexts that can be handled by the individual..

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(37) ‰”‡Œƒ ‘—‹•†‘•  ”ƒ ‡•‡•ǡ‘ƒ.

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(39) C_!!!!:DE!'#JDF#GK!Q%RDFI%$F$'!p!$'R%c#!$F!H'MH'R'#GFNOK!$'!R'#G%L'#GKR. ‹‰ǤͿ! Dz—œ‡ ‘”ǦƒŠ †‡’‘‹•†‘†‹Žï˜‹‘dz’‘”‹ŽŽ‹ƒ—”‡”ȁͷ;ͺ͹ǡVŽ‡‘•‘„”‡–‡Žƒȁͽ;Ǥͻšͽ;Ǥͻ ȁƒ–‡. ƒŽŽ‡”›ǡ‘†”‡•. 5%#$F!#DLF!M'HRM'&G%QF!$'!IDE!'e'%GK?!$K!GHFGFL'#GK!$'!IDE!&KL!&FHcF!R%L]mI%&F!'!'SMH'RR%QF! MFRRFLKR!MFHF!F!H'MH'R'#GFNOK!$F!IDE!'#JDF#GK!JDFI%$F$'!mMG%&FB!1LF!H'IFNOK!LF%R!MHmS%LF!&KL!F! %#G'He'Hg#&%F!mMG%&F!$F!IDE!#FGDHFI!#K!'RMFNKB!5!M%#GDHF!+LMH'RR%K#%RGF!sRb&B!{+{t!G%Q'HF!&KLK!eK&K!F! K]R'HQFNOK!$F!IDE!MFHF!F!H'MH'R'#GFH!#FR!RDFR!K]HFR?!F!IDE!&KLK!'I'L'#GK!&'#GHFI?!&FG%QF#G'!$K!KI\FH!'! &K#G'LMIFNOK!$F!MF%RFc'LB! ϐ‹”ƒ ‡”‹“—‡—‰ƒ ‘‘ ƒ”ƒ –‡”À•–‹ ƒ†‡†‡•–ƒ“—‡‡•–ƒ ‘””‡–‡‡‹†‘ƒ‘‡ ‘–”‘†‘ eF&GKH!LDGFNOK!$F!IDE!JD'!Q%LKR!#K!RD]&FMTGDIK!$F!!"#$0&)"(&1$-,4,$3*4&?!JD'!eKHF!%LMKHGF#G'!#K! +LMH'RR%K#%RLK!K!H'&K#\'&%L'#GK!JD'?!F!!uLDGFNOK!$F!IDE!LD$F!K!FRM'&GK!$'!&F$F!Q'H$F$'Bv!sPDcF?!! C__^?!MBXt!0!+LMH'RR%K#%RLK!eK%!$FR!&KHH'#G'R!FJD%!H'e'H%$FR!F!JD'!LF%R!&K#R%$'HKD!F!IDE!&KLK!'Sf MH'RROK!eKHLFI!$K!LKL'#GK!F!GHF#Re'H%H!MFHF!F!K]HFB!@%#GKH'R!MHK&DHFQFL?!F!MFHG%H!$F!K]R'HQFNOK! $%H'&GF!$K!'e'%GK!$F!IDE!RKIFH!#KR!K]Y'&GKR?!H'c%RGFH!FR!&K#RGF#G'R!FIG'HFNj'R!JD'!'RGF!MHKQK&F!#FR!&KH'R! †ƒƒ–—”‡œƒǡ•‡†‘“—‡ ‘Šƒ˜‹ƒ“—ƒŽ“—‡”–‡‘”‹ƒ“—‡‘”‹‡–ƒ••‡ƒ•—ƒ ”‹ƒ­ ‘Ǥϐ‹”ƒ‘ —”ƒ†‘” ”ƒf NK%R!PFG\'Ä!RK]H'!H'F&NOK!#F!bMK&F!FKR!M%#GKH'R!%LMH'RR%K#%RGFR!JD'?!usBBBt!KR!M%#GKH'R!#KQKR!'RGFQFL! ‡„”‹ƒ‰ƒ†‘•Ǥ•–ƒ˜ƒǦ‘ǡ ‘‡ˆ‡‹–‘ǡƒ•†ƒŽ—œ”‡‡ ‘–”ƒ†ƒǤϐ‹”ƒ†‘‘’”‹ƒ†‘†ƒŽ—œǡ H'#KQFHFL!F!eD#NOK!$F!eKHLF!M%&GmH%&F?!'IF!MHmMH%F!&K#$%&%K#F$F!M'IF!&KHBv!sPFG\'Ä?!(a`C?!MB^t l!%LMKHGF#G'!H'c%RGFHLKR!$'RGFR!M%#GDHFR?!'!&KLK!Yh!F#G'H%KHL'#G'!H'e'H%LKR?!FR!GK#FI%$F$'R! “—‡‘•‘„Œ‡ –‘•ƒ†“—‹”‡ƒ‘”‡ϐŽ‡ –‹”ƒŽ—œ•‘Žƒ”—†‡–‡”‹ƒ†‘‘‡–‘ǡ”‡ƒŽ­ƒ†‘ƒ• ‘”‡• †ƒƒ–—”‡œƒ“—‡•‡‘†‹ϐ‹ ƒ ‘•–ƒ–‡‡–‡†‡’‡†‡†‘†ƒ‹ ‹†² ‹ƒ†ƒŽ—œ†‘•‘ŽǤ••‘„”ƒ• ROK!IDL%#KRFR!'!&KIKH%$FR?!GFI!&KLK!%LMH'RROK!Q%RDFI!JD'!#KR!&FDRFL?!'!#OK!FM'#FR!'R&DHFR!&KLK! R'!H'MH'R'#GFQFL!F#G'H%KHL'#G'B!0!$'MDHFL'#GK!mMG%&K!b!K!MH%#&%MFI!QFIKH!F!H'G'H?!FK!JDFI!F&H'R&'! F!QFIKH%EFNOK!'!R'#R%]%I%$F$'!$K!KI\FH?!KI\FH!$'!'#G'#$%L'#GK!&KL!F!#FGDH'EF!$F!IDEB!.

(40)          Capítulo  2  |  Luz  Arte  e  Sociedade. 21. Nas  palavras  de  Gombrich  no  livro  a  “História  da  Arte”  (2005),  ao  referir-­‐nos  o  motivo  da  ad-­‐ miração  que  os  pintores  impressionistas  tinham  por  Velázques    deparamo-­‐nos  com  a  maravilha   de  “ver  e  observar  a  natureza  com  os  olhos  sempre  novos,  descobrir  e  deleitar-­‐se  nas  harmonias   sempre  renovadas  de  cores  e  luzes  (...).  »  (Gombrich,  2005,  p.411)  Na  obra  de  Claude  Monet,  ve-­‐ ‘•“—‡ƒ‰”ƒ†‡’”‡‘ —’ƒ­ ‘• ‘ƒ•’‡•“—‹•ƒ• ‘ƒŽ—œ•‘Žƒ””‡ϐŽ‡ –‹†ƒ‘••‡”‡•Š—ƒ‘•‡ na  natureza.  O  quadro  “Mulheres  no  Jardim”  ȋϐ‹‰ǤͳͲȌƒ” ƒ‘‹À ‹‘†‡••ƒˆƒ•‡ǡƒ’ƒ”–‹”†ƒ“—ƒŽ•‡ entusiasma  pela  pintura  ao  ar  livre  que  lhe  permite  recriar  os  efeitos  da  luz  do  sol  directamente   †ƒƒ–—”‡œƒǤ‡ŽŠ‘”‡š‡’Ž‘†‡••ƒ˜‘–ƒ†‡†‡”‡‰‹•–‘’‘†‡‘„•‡”˜ƒ”Ǧ•‡ƒϐ‹‰—”ƒͳͳǡƒ•±”‹‡ †‡“—ƒ†”‘•†ƒƒ–‡†”ƒŽ†‡‘—‡Ǥƒ†ƒƒ‹•†‘“—‡ˆ‘”ƒ•‡ ‘”‡•†‡Ž—œ“—‡‘†‡Žƒ‘‡†‹ϐÀ-­‐ cio  e  nos  dão  a  percepcionar  as  formas  que  sobressaem  em  diferentes  fases  do  dia.. Fig.  10   “Mulheres  no  Jardim”  por  Claude  Monet  |  1866-­‐  1867  |  Óleo  sobre  tela,  225x205cm  |  Musée  d’Orsay. Fig.  11   “Catedral  de  Rouen”  por  Claude  Monet  |  1893-­‐1895|  Óleo  sobre  tela,  107x73.5cm  |  Musée  d’Orsay Monet  pinta  cerca  de  quarenta  obras  da  Catedral  de  Rouen  rigurosamente  com  o  mesmo  enquadramento.   Com  o  intuito  de  registar  as  variações  da  luz  no  decurso  do  mesmo  dia.  . Ž—œƒ’‹–—”ƒ

(41) ’”‡••‹‘‹•–ƒ ‘±ƒ‹•†‘“—‡‘‡–‡†‹‡–‘‡ ƒ’–ƒ­ ‘†‘•‘‡-­‐ –‘•‡ˆ±‡”‘•†‘†‹žŽ‘‰‘†ƒŽ—œ•‘Žƒ” ‘‘••‡”‡•Š—ƒ‘•“—‡‡•–ƒ†‹••‡”–ƒ­ ‘’”‘ —”ƒ‘• enfatizar.  Falamos  da  sensibilidade  no  reconhecimento  de  momentos  onde  a  luz  e  sombra  não   ’‘†‡†‡‹šƒ”†‡•‡”•‡•À˜‡‹•ƒ‘‘ŽŠƒ”Ǥ‹’‘”–Ÿ ‹ƒ†ƒ‡š’”‡••‹˜‹†ƒ†‡‡•–±–‹ ƒ‡†”ƒž–‹ ƒ que  estas  conferem  a  cada  momento.  .

(42) CC!!!:DE!'#JDF#GK!Q%RDFI%$F$'!p!$'R%c#!$F!H'MH'R'#GFNOK!$'!R'#G%L'#GKR. ʹǤͳǤ͵ ‘–‘‰”ƒϐ‹ƒ 0!L'I\KH!&FL%#\K!MFHF!M'H&']'H!'!FMH'#$'H!KR!MKG'#&%F%R!DRKR!$F!IDE!'RGh!'L!K]R'HQFH!'! ‡•–—†ƒ”ƒ“—‡Ž‡•“—‡—•‘†‡Žƒϐ‹œ‡”ƒǤ‘” ‘•‡“—² ‹ƒ’‹–—”ƒ•—”‰‡ƒƒŽ—œƒˆ‘–‘‰”ƒϐ‹ƒ ‘ FIcD#R!#KL'R!JD'!#KR!L'H'&'L!$'RGFJD'?!M'IK!GHF]FI\K!$'!IDE?!!,FHG%'H!f9H'RRK#?!5I'SF#$'H!/K$f Š‡‘‡ ‘•‹†‡”ƒ‘•ƒ‹†ƒ”‡ˆ‡”‡ ‹ƒ” ƒ”‘‹” —‡Ǥ•‡‡ŽŠƒ­ƒ†ƒ’‹–—”ƒǡˆ‘”ƒƒˆ‘–‘‰”ƒϐ‹ƒ DL!L'%K!$'!GHF]FI\FH!MIFRG%&FL'#G'!F!IDE?!DLF!LF#'%HF!I%QH'!$'!YKcFH!&KL!&K#GHFRG'R!'!GHF]FI\FH! FGLKRe'HFR!#DLF!%LFc'LB!4'!G'LKR!Q%#$K!F!F#FI%RFH!F!H'IFNOK!&KL!F!IDE!'!MKRRTQ'%R!H'MH'R'#GFNj'R! ‘‡•–ƒǡ•‡”‹ƒˆ—Ž ”ƒŽ—ƒ„”‡˜‡”‡ˆ‡”² ‹ƒˆ‘–‘‰”ƒϐ‹ƒǡ“—‡†ƒŽ—œ†‡’‡†‡’ƒ”ƒƒ•—ƒ‡š‹•–² ‹ƒǡ ‹–‡”‡••ƒ†‘Ǧ‘•ƒ“—‹—ƒƒ„‘”†ƒ‰‡Ž—œ“—‡”‡•—Ž–ƒ—ƒ‹ƒ‰‡ˆ‘–‘‰”žϐ‹ ƒǡ„‡ ‘‘ƒ %LMKHGW#&%F!$K!LKL'#GK!#FHHF$K!M'IF!IDEB!+RGK!b?!%#RGF#G'!JD'?!M'IF!IDE!LKL'#GW#'F?!F$JD%H'! &FH%RLFǤ ‘–‘‰”ƒϐ‹ƒ ‘•–”׋Ǧ•‡’‘”Ž—œ‡•‡†ï˜‹†ƒƒ” ƒ”ƒ‘‘†‘ ‘‘‘ŽŠƒ‘•‘—†‘‡ —•ƒ‘•ƒŽ—œǡ˜‹‡”ƒ’‡”‹–‹”—ƒƒ„‘”†ƒ‰‡”‡‘˜ƒ†ƒ†ƒŽ—‹‘•‹†ƒ†‡Ǥϐ‹”ƒƒ‡• ”‹–‘”ƒ—•ƒ 4K#GFc!JD'!F!Ǽˆ‘–‘‰”ƒϐ‹ƒ†‡——‡‘”‡‹’—Ž•‘•’”‡–‡•Ù‡• ‘‰‹–‹˜ƒ•†ƒ˜‹•–ƒȋǤǤǤȌǤǽ!s4K#GFc?! (a^V?!MB(_Vt!R'L!$yQ%$F!c'HKD!DLF!H'IFNOK!LF%R!MHmS%LF!&KL!F!'RRg#&%F!$F!IDE!#FGDHFIB!@KH!DL! IF$K!R'#R%]%I%EKD!K!DG%I%EF$KH!MFHF!K!'#G'#$%L'#GK!$F!IDE!'#JDF#GK!'I'L'#GK!eD#$FL'#GFI!i!&FMf GFNOK!$'!DLF!%LFc'L!'!MKH!KDGHK?!RDR&%GKD!F!QFIKH%EFNOK!M'IK!LKL'#GKB!PKL'#GKR!'ebL'HKR!$FR! ƒ‹ˆ‡•–ƒ­Ù‡•†‡Ž—œǤ2ƒˆ‘–‘‰”ƒϐ‹ƒ—‘ŽŠƒ”‹†‹˜‹†—ƒŽǡ—•‡–‹”’‡••‘ƒŽ‡—ƒ”‡’”‡•‡–ƒ­ ‘ JD'!$FJD%!RDHc'B ‘‰‡†‘•‘‡•“—‡ƒ–±†ƒ–ƒƒ” ƒ”ƒƒˆ‘–‘‰”ƒϐ‹ƒǡƒ’”‡•‡–ƒ‘•ƒ ƒ–‹˜ƒ–‡ˆ‘–‘‰”ƒϐ‹ƒ $K!YKQ'L!H'FI%EF$KH!5$H%F#K!4K$Hb!JD'!LD%GK!]'L!#KR!%#GHK$DE!FK!G'LF!'!JD'!eKHF!DL!$KR!MH%L'%f HKR!&FRKR!F!LKG%QFH!MFHF!'RG'!'#RF%KB!l!'RGF!%LFc'L!#KGmH%F!$K!GHF]FI\K!$'!IDE?!#F!&KLMKR%NOK!'! #FHHFG%QF!$F!%LFc'L!M'IK!$%hIKcK!&b#%&K!'#GH'!M'HRK#Fc'L!'!RDF!RKL]HF!MHKY'&GF$F!#F!MFH'$'B!!5! RKL]HF!F$JD%H'!MFM'I!$'!DLF!M'HRK#Fc'L?!MFRRF#$K!F!R'H!LD%GK!LF%R!$K!JD'!DLF!LF#&\F!'R&DHFB! ‘–‘‰”ƒϐ‹ƒ“—‡˜ƒŽ‘”‹œ‘—‘‘‡–‘†‡†‹žŽ‘‰‘‡–”‡•‘„”ƒǡŽ—œ‡’‡••‘ƒƒƒ ­ ‘Ǥ. ‹‰Ǥͷ͸! Dz‘‹• —”•‘‘”‘•‘dzȁ ‘–‘‰”ƒϔ‹ƒ͗͸’‘”†”‹ƒ‘‘†”±ȁ͸Ͷͷ͸.

(43) !,FMTGDIK!C!p!:DE!5HG'!'!4K&%'$F$'. CU. 5R!GHgR!%LFc'#R!JD'!R'!R'cD'L!ROK!$F!FDGKH%F!$KR!GHgR!eKGmcHFeKR!JD'!#OK!MK$'H%FL! †‡‹šƒ”†‡•‡” ‹–ƒ†‘•—‡•–—†‘•‘„”‡ƒŽ—œƒˆ‘–‘‰”ƒϐ‹ƒǤ‡‘•‡•–ƒ•‘–”ƒ„ƒŽŠ‘†‡Ž—œ’ƒ”ƒ ƒ ‘•–”—­ ‘†‡‹ƒ‰‡• ‘ˆ‘”–‡ƒ’‡Ž‘‰”žϐ‹ ‘ǡŒ‘‰‘•†‡•‘„”ƒ‡Ž—œ•‡’”‡’”‡•‡–‡•Ǥ‘ '#GF#GK!&F$F!DLF!F$JD%H'!DLF!FGLKRe'HF!MHmMH%F!'!DLF!'RGbG%&F!Q%RDFI!MFHG%&DIFHB!!@'IF!&FHcF! ‹ƒ‰±–‹ ƒ ‘’‘•–ƒ’‡Žƒ•†‹ˆ‡”‡–‡•–‘ƒŽ‹†ƒ†‡•ǡ„”‹ŽŠ‘•‡ ‘’‘•‹­Ù‡•Ǥϐ‹”ƒƒ”‡Ž‡•ƒf ÄF#!F!uIDE!'!&KLMKR%NOK!ROK!FR!$DFR!MH%#&%MF%R!JDFI%$F$'R!eKHLF%R!JD'!RKI%&%GFL!GFI!&K#R&%g#f ‹ƒ‡•–±–‹ ƒǤǽȋǣŽ‡•ƒ›ƒǡʹͲͳͳǡ’ǤͳȌ!*'!DLF!&KLMKR%NOK!F]RGHF&GF!F!DLF!&KLMKR%NOK!LF%R! ϐ‹‰—”ƒ–‹˜ƒǡƒŽ—œƒ’”‡•‡–ƒ•‡’”‡—’ƒ’‡Ž’”‡’‘†‡”ƒ–‡Ǥ. !"#$%&'! ‡–À–—Ž‘’‘”ƒ”–‹‡”Ǧ”‡••‘ȁͷͿͻͿȁ‘— Š‡•Ǧ †‡ǦŠ‘‡ǡ ”ƒ­ƒ. !"#$%&-! ‡–À–—Ž‘’‘” ƒ”‘‹” —‡ȁͷͿ͸ͽȁ. !"#$%&,! ‡–À–—Ž‘’‘”Ž‡šƒ†‡”‘† Š‡‘ȁ.

(44) CX!!!!:DE!'#JDF#GK!Q%RDFI%$F$'!p!$'R%c#!$F!H'MH'R'#GFNOK!$'!R'#G%L'#GKR. —‹•–‘‡–”‡ˆ‘–‘‰”ƒϐ‹ƒ‡†‡•‡Š‘ǡ‹’‘”–ƒ”‡ˆ‡”‡ ‹ƒ”ƒ•±”‹‡ˆ‘–‘‰”žϐ‹ ƒ?O(&P8A!$'!;YK#! ‹Ž‹ȋˆ‘–׉”ƒˆ‘†ƒ”‡˜‹•–ƒ

(45) Ȍ‡†‡‹ ƒ••‘Ǥ±”‹‡“—‡”‡•—Ž–ƒ— ‘Œ—–‘†‡ˆ‘–‘‰”ƒϐ‹ƒ•†‡‹f &FRRK!F!M%#GFH!&KL!IDE?!DG%I%EF#$K!&KLK!H'&DHRK!DLF!IF#G'H#F!#DL!FL]%'#G'!'R&DHKB!.b&#%&F!JD'! ƒ‰‘”ƒ•‡˜—Ž‰ƒ”‹œ‘—ǡƒƒŽ–—”ƒ•—”‰‹”ƒ ‘‘‹‘˜ƒ­ ‘‡ˆƒ• À‹‘Ǥƒ”–‹”ƒƒ‹†‡‹ƒ†‡—ƒˆ‘–‘‰”ƒϐ‹ƒ &K#&']%$F!MKH!P%I%!F!MFG%#F$KH'R!#K!c'IK!&KL!M'JD'#FR!IDE'R!#KR!R'DR!MFG%#R?!JDF#$K!&FMGF$FR! ˆ‘–‘‰”ƒϐ‹ ƒ‡–‡”‡‰‹•–ƒ˜ƒ—”ƒ•–‘†‡‘˜‹‡–‘†‡Ž—œƒ‹ƒ‰‡Ǥ2‡•–ƒƒ‹•—ƒ•‹–—f FNOK!JD'!#KR!&KLMHKQF!K!eFR&T#%K!M'IFR!&FMF&%$F$'R!QhH%FR!$'!'SMH'RROK!$F!IDEB!@'IF!!MKbG%&F! Q%RDFI!JD'!%LFc'#R!$'!IDE!MKRRD'LB 5!&FMF&%$F$'!$'!H'MH'R'#GFNOK!Q%RDFI!GHF#RMKHGF!'L!R%!DLF!'#KHL'!&FHcF!'!MKG'#&%FI!#FHHFf –‹˜‘†‡ˆ‘”–‡‡š’”‡•• ‘Ǥ–”ƒ„ƒŽŠ‘†ƒŽ—œƒˆ‘–‘‰”ƒϐ‹ƒǡ’‡Žƒ–± ‹ ƒ“—‡Ž‡˜ƒ‡š‹•–² ‹ƒ†‡‹ƒf ‰‡•ǡ’‡Žƒƒ””ƒ–‹˜ƒ“—‡†ƒ‹ƒ‰‡ˆƒœ‡‘•ǡ±†‘•ƒ‹•„‡Ž‘•‡‹‘•’ƒ”ƒƒƒŽ‹•ƒ”‡”‡ϐŽ‡ –‹”•‘„”‡ ‘‡–‘•†‡Ž—œǤ ‘–‘‰”ƒϐ‹ƒ ‘‘‡š’”‡•• ‘†‡Ž—‹‘•‹†ƒ†‡†‡‡Ž‡˜ƒ†‘’‘–‡ ‹ƒŽ‹ƒ‰±–‹ ‘Ǥ. !"#$%&.! Dz‹ ƒ••‘ǡŽ‡’Šƒ–‹–Š‡”‘‘dzȁ ‘–‘‰”ƒϔ‹ƒ’‘” Œ‘‹Ž‹ȁͷͿͺͿ. ‹‰Ǥͷͽ! Dz‡–À–—Ž‘dzȁ ‘–‘‰”ƒϔ‹ƒ†‡ Œ‘‹Ž‹ȁͷͿͺͶ.

(46) !!!!!,FMTGDIK!(!p!:DE!5HG'!'!4K&%'$F$'. C[. 6P5P8) !>HDN@ ƒˆ‘–‘‰”ƒϐ‹ƒ’ƒ••ƒ‘•’ƒ”ƒƒ‡•–±–‹ ƒˆ‘–‘‰”žϐ‹ ƒƒ†‡“—ƒ†ƒƒ””ƒ–‹˜ƒ ‹‡ƒ–‘‰”žϐ‹ ƒǡ†ƒf $K!FRR%L!&K#G%#D%$F$'!i!IDE!#FR!Q'HG'#G'R!FHGTRG%&FR?!M'IK!&%#'LF?!DLF!Q'HG'#G'!&DYF!'SMIKHFNOK!$F! Ž—œ±•‡–‹†ƒƒ†‹ˆ‡”‡–‡•‰”ƒ—•†‡‹’‘”–Ÿ ‹ƒ‡ϐ‹ƒŽ‹†ƒ†‡Ǥ‡ ‘‘ˆ‘‹•‡†‘ˆ‡‹–ƒ†‡†‹ˆ‡”‡–‡• ƒ‡‹”ƒ• ‘•‘ƒ–‡±’‘ ƒ•ǡ ƒ’ƒ ‹†ƒ†‡•–± ‹ ƒ•ǡ‡•–‹Ž‘•‡‡“—ƒ†”ƒ‡–‘••‘ ‹ƒ‹•Ǥ‘‘ƒϐ‹”‘— K!&%#'FRGF!7H'$'H%&K!7'II%#%?!Ǽ‘ƒŽ—œ•‡‡• ”‡˜‡‘ϐ‹Ž‡ǡ•‡‡š’”‹‡‘‡•–‹Ž‘Ǥǽȋ ‡ŽŽ‹‹ǡʹͲͲͲǡ’ǤͳͺʹȌ[3]! ƒŽ—œ‡“—ƒ–‘–± ‹ ƒ’ƒ”ƒ ƒ’–ƒ­ ‘†‡‹ƒ‰‡ǡ•‡‡ŽŠƒ­ƒ†ƒˆ‘–‘‰”ƒϐ‹ƒǡ˜‡”‹ϐ‹ ƒǦ•‡ƒ—–‹Ž‹f EFNOK!$'RGF!#K!&%#'LF!GFL]bL!MFHF!F!&K#RGHDNOK!$'!FGLKRe'HFR?!%IDL%#FNOK!'SMH'RR%QF?!MKHGF$KHF! †‡•‹‰‹ϐ‹ ƒ­Ù‡•Ǥ2‡•–ƒƒ‹•—ƒ”‡ˆ‡”² ‹ƒ“—‡‘•Ž‡˜ƒƒ•—„Ž‹Šƒ”ƒ‹ƒ‰±–‹ ƒ‡†”ƒƒ–‹ ‹†ƒ†‡ $F!IDE?!&FMFE!$'!LKI$FH!'RMFNKR!'!F&KLMF#\FH!LKL'#GKRB!+IDROK!'!L'GheKHF!c'HF$KR!M'IF!IDE!'!RDF! &KHB!@FHF!7'II%#%? uƒŽ—œ±ƒ•—„•–Ÿ ‹ƒ†‘ϐ‹Ž‡‡±’‘”“—‡ƒŽ—œ±ǡ‘ ‹‡ƒǡ‹†‡‘Ž‘‰‹ƒǡ•‡–‹‡–‘ǡ ‘”ǡ. GKL?!MHKeD#$%$F$'?!FGLKRe'HF?!#FHHFG%QFB!5!IDE!b!FJD%IK!JD'!F&H'R&'#GF?!H'$DE?!'SFIGF?!GKHf #F!&HTQ'I!'!F&'%GhQ'I!K!eF#GhRG%&K?!K!RK#\K!KD?!FK!&K#GHhH%K?!GKH#F!eF#GhRG%&K!K!H'FI?!GHF#Rf eKHLF!'L!L%HFc'L!F!HKG%#F?!F&H'R&'#GF!GHF#RMFHg#&%F?!RDc'H'!G'#ROK?!Q%]HFNj'RB!5!IDE! 'RQFE%F!DL!HKRGK!KD!I\'!$h!]H%I\KBBB!5!IDE!b!K!MH%L'%HK!$KR!'e'%GKR!'RM'&%F%R?!&K#R%$'HF$KR! ‘‘–”‘ ƒ”‡ǡ ‘‘ƒ”–‹ϐÀ ‹‘ǡ ‘‘‡ ƒ–ƒ‡–‘ǡŽƒ„‘”ƒ–×”‹‘†‡ƒŽ“—‹‹ƒǡž“—‹ƒ†‘ LFHFQ%I\KRKBBBv!s7'II%#%?!C___?!MB!(^Ct![4] *'GFI\F$F!MK$'H%F!R'H!DLF!$%RR'HGFNOK!RK]H'!F!IDE!#K!&%#'LF?!b!K!&FRK!$F!?'$!"#$%,$5.%*4&A$ sC__Xt!$'!5#$Hb!/'%R!PFHG%#R!MH%#&%MFIL'#G'!Q'#$K!#FR!MFIFQHFR!$'!7H'$'H%&K!7'II%#%!K!'#&F#GK! '!QFIKH%EFNOK!$F$F!i!IDE!#'RGF!Q'HG'#G'!FHGTRG%&KB!*F$K!K!FI%#\FL'#GK!$'RGF!$%RR'HGFNOK!%LMKHGF! •—„Ž‹Šƒ”‡‡š‡’Ž‹ϐ‹ ƒ”ƒŽ—œ‘’ƒ’‡Ž ‡–”ƒŽ†‡˜‹•—ƒŽ‹†ƒ†‡“—‡ǡ†ƒ“—‡•–Ù‡•‡—•‘–± ‹ ‘ǡ•‡ MHKIK#cF!FK!DRK!'RGbG%&K!'!R%L]mI%&KB!@'IF!QFRG%$OK!$K!G'LF!&%GFH'LKR!FM'#FR!GHgR!#TQ'%R!$'!LFf ‹ˆ‡•–‘‡’”‡•‡­ƒ†ƒŽ—œ—ƒ‘„”ƒ ‹‡ƒ–‘‰”žϐ‹ ƒǤ‡†‘‘’”‹‡‹”‘ ƒ•‘‘‹‡˜‹–ž˜‡Ž’ƒ’‡Ž†ƒ IDE!'!RKL]HF!#K!&%#'LF!F!MH'GK!'!]HF#&K!#DLF!bMK&F!'SMH'RR%K#%RGF?!DLF!R'cD#$F!R%GDFNOK!Yh!$K! MFM'I!$F!IDE!'!eD#$FL'#GFIL'#G'!&KH!#F!&KLMKR%NOK!$'!DLF!#FHHFG%QF!'!MKH!yIG%LK!#OK!#DLF!$'! 'RGbG%&F!Q%RDFI!#'L!$'!#FHHFG%QF!LFR!R%LMI'RL'#G'!M'IF!FIDROK!i!MH'R'#NF!'!'e'%GK!$F!IDE!LKQ%f ‡–ƒ†ƒ—ƒ†‹˜‹• ‘‹–‡”‹‘”ƒ†‡ϐ‹‹”—ƒ ‡ƒǤ 5!'SMIKHFNOK!Q%RDFIL'#G'!'SMH'RR%QF!$F!IDE!#K!&%#'LF!RDHc%D!F%#$F!M'IK!&%#'LF!F!MH'GK! '!]HF#&K!'RGF#$K!&KLK!'S'LMIK!eD#$FL'#GFI!K!&%#'LF!'SMH'RR%K#%KRGF!FI'LOKB!PFH&F$K!M'IF! eKHG'!&H%FG%Q%$F$'!'!&FHcF!'SMH'RR%QF?!GHF#RL%G%$F!M'IKR!YKcKR!$'!&K#GHFRGF#G'!$F!IDE!JD'!%LMI%&%f GFL'#G'!'S%RG'!#F!RKL]HFB!4'L!$yQ%$F?!F!!&KHH'#G'!JD'!$'!eKHLF!LF%R!'#ehG%&F!GHF]FI\KD!F!$HFf ƒ–‹ ‹†ƒ†‡‡‡š’”‡••‹˜‹†ƒ†‡†ƒŽ—œǡ“—‡ƒ ƒ„ƒ’‘”•—”‰‹”ƒ•—ƒ‡••² ‹ƒ ‘‘ƒƒŽƒ†‘ϐ‹Ž‡Ǥ ‘‡­ƒ‘•’‘””‡ˆ‡”‡ ‹ƒ”‘‹‡˜‹–ž˜‡Žϐ‹Ž‡?0,8H*(&)">$L$<&46.(,A$s(aCCt!$'!7BÇB!PDH#FDB! -RG'!&IhRR%&K!$'RGF&FfR'!&IFHFL'#G'!M'IK!DRK!%#'RM'HF$K!$F!RKL]HF!&KLK!M'HRK#Fc'LB!5!%LFcbf G%&F!JD'!F$JD%H'!GKH#FfR'!MH%L'%HK!MIF#K!#F!F&NOK!JD'!R'!$'R'#HKIFB!*%H'LKR!R'H!F!RKL]HF!&KLK! %LFc'L!$K!$'RG%#KB!. [3] Fellini, Frederico, Fazer um Filme, p. 182 citado em Luz no Cinema [4] Fellini, Frederico, Fazer um Filme, p. 182 citado em Luz no Cinema.

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