Um destino tropical: uma leitura “arquifilológica” do roteiro inacabado Nina y Hé de Manuel Puig
At the end of 1961, settled in Rome after spending 2 years working in film productions in Buenos Aires, Manuel Puig began to write what was to be his fourth script. The project received the provisional title Nina y Hé and the plot was centered on the shooting of a movie in Brazil with a Latin Americ...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Manuscrítica (Online) |
| Idioma: | español |
| OAI Identifier: | oai:revistas.usp.br:article/206443 |
| Acceso en línea: | https://revistas.usp.br/manuscritica/article/view/206443 |
| Access Level: | acceso abierto |
| Palabra clave: | Manuel Puig Archivo Crítica genética Archifilología Archive Genetic criticism Archiphilology Arquivo Arquifilologia |
| Sumario: | At the end of 1961, settled in Rome after spending 2 years working in film productions in Buenos Aires, Manuel Puig began to write what was to be his fourth script. The project received the provisional title Nina y Hé and the plot was centered on the shooting of a movie in Brazil with a Latin American crew and the stellar participation of an actress from Hollywood. After 3 months of an intense writing campaign, Manuel Puig abandoned the script, leaving it unfinished to focus on a new project about his hometown General Villegas, which would become his first novel: La traición de Rita Hayworth. Although the project Nina y Hé remained unfinished, that script continued to be written in the work of Manuel Puig and reading it can prefigure many of the motifs that would become characteristic of his literature. |
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