THE SONG IN IL GUARANY: INTERSEMIOTIC TRANSLATION OF DE NOVEL TO THE OPERA

The article analyzes the intersemiotic translation of the novel O Guarani, by Jos?? de Alencar, into the opera by Carlos Gomes, Il Guarany, in relation to the songs, specifically the arias that come to life in the voices of Peri and Ceci, the main characters. The methodology consists of the presentation of the lyrics of the songs in the libretto, analyzing how the texts, in the song and in the novel, express the authors' ideas using different sign systems. It is observed that the text of the song, designed to be translated into rhythm, voice, drama and music, in an intersemiosis between the sign systems that are part of the opera, aims to achieve the expression of the author's ideas and provoke responses in the receiver similar to those obtained by the text of the novel, or even more intense, considering that music can increase the individual's sensitivity. It is concluded that, as a multi-signal system, the reception of the song requires the participation of multiple senses, a process that is impregnated with the subjectivity of the author/creator and the receiver, as well as conforming aspects of the environment where the work takes place. Performance is highlighted as essential in the realization of the songbook idea, since, at each performance, there will be a new song.