12 de abril de 2007

PUZZLES OF MIND (Labirintos da Mente)

English version:

by: Márcio Mota.
THEME: Art & Faith
A regular woman receives a spiritual message.

The belief of a woman makes her a messenger of peace.
SINOPSE (Mythological Structure Stylish – Christopher Vogler).
(First Timing )
Woman finds a crucifix and a piece of message written down on a paper at the backyard of the Cathedral.

(Second Timing)

Woman finds herself into a faith challenge that she must get thru alone.

(Third Timing)

Woman understands the whole mystery involving the stones and comes back to the bridge.

The story is all about a trajectory of a woman who decided to visit a pretty religious, old city in the north part of Spain (Santiago de Compostela). And in addition to this, she finds besides amazing sceneries and historical monuments she also learns a lesson about which it will change her style of life forever.

(Third timing / Apotheoses) Everything gets started when a white flower is seen going down the river. Right after a woman’s figure comes up on the head of a stoning bridge. This woman is Amanda; a young woman whom holds a secret that it’ll be revealed a bit at a time into the story following her memories.

Curiously at that time, she still holds a white flower that is simply identical to the first one it’d seen going down the river. But then again, the flower is shown up to the audience. Amanda holds the white flower at this particular time with her left hand while the right one is holding something in such a pressure that becomes sort of difficult for the audience to realize what it is in a first glance. In fact, what Amanda is holding so strongly is a crucifix that she found a couple minutes before her appearance on the bridge. What is basically desired here is pretty much to build up a story into a non-linear, structural-drama format that aims to tell it from back to forth as well as providing to it ability to jump out of the ordinary timing toward to other timings that are connected anyhow to each other. This could be throughout a symbolic element found into the story; a white flower, a stoning bridge over the river, a bell’s sound of a church, a crucifix, or simply throughout some sort of facial expression of the actress involved. In this way, so much more could be approached in terms of expression and art itself, because the time would be broken into several pieces that, consequently the audience might lead them to several different, mixed-up connections as much as possible.

Amanda, calmly but very mysteriously holds and spins around her fingers the white flower as she remembered of something pretty important that had just happened to her before she got at the bridge. At this moment, the way she looks at the flower pushes us up to her time-line of memories that immediately opens a new path into the time of the story. According to this point of view, the flower works out as a “lexia” or link that is responsible for connecting the sequence of the story into the non-linear discourse.

(Second Timing- Special world)

All of sudden that glance at the flower transports Amanda onto the middle of Obraidoro’s square, more precisely onto a gathering spot of all the peregrines in front of the Cathedral of Santiago. Amanda looked quiet and deeply interested in contemplating the cathedral as she wanted to keep in touch with some outer power. As soon as she finally decided to approach at the cathedral in order to get further details of the statues, she was overtaken by some strange music and voices which seemed coming from the statues. Amanda gets a terrible fright, looks around for checking whether someone else had heard of what she’s just had to. Realizing that nobody else had heard that strange noise, Amanda bravely decides to continue walking for getting closer to that sound and hopefully discovering what that meant properly.

The closer Amanda was getting to the cathedral the louder and clearer was the music and voices as well. Countless thoughts came up to Amanda’s mind meantime she was walking along to the chief entrance of the cathedral. That sweet and delicate music was increasingly becoming more attractive to Amanda. The only thing she wanted was just go far to wherever the music might drive her. As a matter of fact, she was being seduced by that in such a way that nothing else existed to her but that only.

As just as she’s almost getting more involved with all that spectacle that was rejoicing her eyes and ears, suddenly she hears a petrifying screaming of sword battles, pain and crying right behind her. Amanda, of course, extremely scared couldn’t simply give one more step forward. That was a situation that most people could call it as a "scared shitless" situation. Once again, Amanda finds herself into a situation that will make her to spend some energy to get out of there meanwhile the bad sound continues to get louder and louder as well as more frightful. Although Amanda could simply walk away from there, she avoided doing this. In attempt to stop that bad sound, she raised her hands up to the ears to avoid being taken over by it. But gracefully, Amanda received the necessary signal to provoke another recall. At the same time she was about to fell in desperation she heard a bell of the church playing. That meant a great relief to her because that makes her remember when she was at that square. The church’s bell sound marks inside Amanda’s memories a particular time that is required to lead the public to which sort of motivation had taken her ‘till there. In other words, the bell means symbolically another link into the script.

At this moment Amanda is back to where firstly everything had gotten started. Now she appears behind the Cathedral around where there was a huge old clock right on the top of the church’s tower. Amanda walks lively and amazed over there. The only thing she wanted was just to enjoy her time and get some pictures of every little thing she thought it was cute and interesting just like most people in there.

However, what she didn’t expect to get was an envelope that contained a crucifix and a piece of message about which sad something sort of like: “The faith is inside of the heart of who believes in me”. Amanda without knowing why she had found that envelope, decides to keep it into her pocket, after all she’s not that kind of person who finds things easily on the street everyday.

Thus fore, as a magic the time comes back to the right moment which is shown Amanda standing on the bridge. Now we are back into the third timing where finally Amanda will show us what she’d held in her hand during all time. Nice and slow, she opens her right hand until uncovering the crucifix. Immediately as soon as this happens the time line is back again to the Second timing of the story. Amanda is there, as just the same way as she was left meanwhile the script told us different occurrences in her life. Amanda continues stopped but right after the sound of the bell plays she grabs her crucifix, and firmly walks forward toward to the cathedral.

The screaming gives her a break and then she starts hearing the good ones once again until she gets the chief entrance of the cathedral. As soon as she trespasses the inner of the cathedral all sort of sound stops as well. Amanda feels like she’d left alone but soon she realized that was just one more piece of the puzzle she had to unscramble by herself. Nothing could give her more sense of peace than the cathedral itself that was brightened by many candles. Everything in the cathedral seemed to be aside from the ordinary world specially the sense of time that looked like being an extension of the heaven.

Amanda didn’t take too long to see the white flower on the seat of the church under a bright, sunny spot light that came from the rounded window on the top of the church. The white flower was depicted by Amanda as a token of her new mission in life at which is to lead a message of peace to as many people as possible. Thereby, Amanda gets the flower and takes a deep breath while she smells the white flower totally released for having been aware of her destiny.

After her apprenticeship, Amanda comes back to the stoning bridge into the (Third timing) where soon she’s going to take the flower away into the river for being carried by its stream as propagation of faith. Only after the flower is taken away the audience becomes aware that those very first scenes of the film are in fact either the beginning or the ending because of its non-linear structure that makes sure it’s possible. Then, when the flower touches down the river the following scenes are pretty much those ones that were first seen at the opening time of the film but; now here, we find more description regarding to where the white flower would be led by the watercourse of the river.
Symbolically, the river means the linear time which supports all its aspects: past, present, and future. Amanda is located in the present (bridge), the flower after the bridge means that something passed. One more thing must be said here that regards the future aspect, though the flower is seen in its past aspect when it’s going down the river after the bridge; what was in deed to be only past, in fact can also be the future as well, simply because of the camera’s involvement into the film. Thus fore, the camera that means the audience’s point of view works out perfectly in its timing functions, because even if the flower has passed under the bridge further from it, even so it is still seen as future into the audience’s point of view specially as the last scene shows us a beautiful sunset in horizon, depicting in this way an eternal birth and rebirth of all alive beings on the earth.

Um comentário:

Anônimo disse...

" Os grandes arquétipos:

Para o psiquiatra e psicólogo suíço Carl Gustav Jung (1875-1961), o comportamento humano (apesar de bastante variado) obedece a uma série de antigos padrões de personalidade que constituem uma espécie de herança milenar compartilhada pela raça humana, através dos tempos e das diferentes culturas. A estes tipos comuns de personalidade, Jung chamou de grandes arquétipos.

Inspirado nessa concepção junguiana, à qual misturou algumas pitadas dos estudos mitológicos de Joseph Campbell, o escritor americano Christopher Vogler criou uma galeria de personagens-arquétipos – aqueles que, segundo ele, estariam presentes na maioria esmagadora da ficção literária produzida no Ocidente. A classificação de Vogler (apresentada em seu livro A Jornada do Escritor) pode ser útil ao aprendizado da arte da ficção – em particular neste aspecto tão decisivo que é a construção dos personagens. Como Vogler é um "discípulo" de Campbell, seus arquétipos estão diretamente ligados à Jornada do Herói.

De acordo com Christopher Vogler os principais personagens da Literatura universal podem ser "reduzidos" aos seguintes arquétipos:

O Herói: Sempre disposto a sacrificar suas próprias necessidades em benefício de outros, o Herói se confunde com o personagem central ou protagonista, independentemente de seu sexo. Embora este aspecto de renúncia e sacrifício seja mais evidente nos enredos épicos ou de aventura, o conceito está presente sempre que um personagem central defende, ou põe em prática, um conjunto de valores elevados, sem nenhum egoísmo ou vaidade.
O Mentor: Na Odisséia, de Homero (até hoje um modelo de enredo épico), Mentor era o nome do personagem que guiava o jovem herói Telêmaco, filho de Ulisses, em sua jornada. Transformado em substantivo comum por Campbell e Vogler, o termo designa a figura positiva que dá conselhos e até presentes ao herói.
O Guardião do Limiar: Como se viu na "Jornada do Herói", de Campbell, o Guardião é aquele que oferece resistência e obstáculo ao herói, em sua trajetória – sem representar, necessariamente, seu principal antagonista, ou mesmo o vilão do enredo.
O Arauto: Personagem eventual, sua aparição representa um desafio ao herói e geralmente anuncia a vinda de uma mudança significativa.
O Camaleão: Por sua própria natureza, é um personagem fugidio e escorregadio, de natureza instável e mutante – pelo menos do ponto de vista do herói.
A Sombra: Este arquétipo representa a energia do lado obscuro da vida, os aspectos reprimidos ou rejeitados de alguma coisa ou de alguém. Tudo aquilo de que não gostamos constituem Sombras – e não é à toa que, na ficção, elas estão sempre encarnadas em antagonistas ou vilões.
O Pícaro: Este arquétipo incorpora as energias da vontade de pregar peças e do desejo de mudança. Mais comum nos enredos cômicos, ele nem por isso deixa de se fazer presente em textos "sérios".
Uma advertência importante do próprio Christopher Vogler (e que não custa nada repetir aqui) é a de que não se devem tomar estes modelos muito ao pé da letra, procurando encaixar aqui, à força, todos os personagens dos grandes enredos. Em compensação, os arquétipos podem ser úteis na construção de novos personagens. Conhecer os arquétipos (acrescenta Vogler) pode ajudar o escritor iniciante a se livrar dos estereótipos, dando a seus personagens maior profundidade e mais densidade psicológica."
- Borges, Antônio Fernando. Oficina Lieterária On-line. A arte da escrita.
Por: "Amiga do Brasil"