Brazilian soap operas are inextricably connected to the Portuguese daily. Are the mirror of the habits and customs of a country, Brazil, which still fascinates audiences.
Brazilian soap operas are without a doubt the biggest visit card of Brazil in Portugal. Over more than twenty years, which had its debut with the adaptation of Jorge Amado's novel for television, Gabriela, Clove and Cinnamon, with the sensual Sonia Braga, "telenovelas" were the first major phenomenon of audiences in our country. One fact that much is due to the daily broadsheet feature of a emerging society that created loyalty hearings over several chapters of half an hour.
Who does not remember having watched almost religiously the lives of some of the most striking and fun characters of this television genre? The war of the sexes, the most awarded Brazilian actresses, Fernanda Montenegro, the famous Charlie and the late actor Paulo Autran, the bimbo. Roque Santeiro with the unforgettable Sinozinho Malta that rattled the bracelets to make a statement, starring Lima Duarte and the cries of the widow Porcina, with the no less wonderful, Regina Duarte. The Tieta of the rough! Remember Perpetua, one of the funniest villains of Brazilian soap operas, a bitter and emasculating sister in the village of Santana do Agreste, a character made up by a superb actress Joan Fomm and primed Osnar played by Jose Mayer? Oh, people! Without forgetting the goat, Betty Faria, the Tieta. These examples serve to illustrate the impact of soap operas in everyday life and even the vocabulary in our country, a fact which was already the target of study, a book entitled "The telenovelas in Portugal-the history and theory of gender", Daniela Albuquerque and Andreia Vieira, said about this format that are "brilliant experiences of caricature to the soap opera it selve, in which laughter subvert the traditional formulation of burlesque narrative that sought the truth effect."
Another aspect we have soap operas that "merges with the dramaturgy twine, may allude to certain social microcosms,
Myths of oral culture, or urban areas, but usually goes no further than the actual deformed popular melodrama, and the eternal return to it, in recognition of situations and experiences, all in accordance with the strategies of change of the elementary structure of narrative ". And as examples, we have the famous soap opera of Manoel Carlos which are nothing more than synonyms of great emotional charges that "live" through the characters marginalized by society. Remember Live life, his latest work, the paraplegic character Luciana, personified by actress Aline Moraes?
The famous Helenas of this author are subject to constant coveted by the greatest actresses of Brazil, due to the poignant story lines that weave around this permanent character of his drama.
The fact that can not be changed iis the influence of soap operas, with regard to television audiences, that helped to promote national production in order to compete with this phenomenon mainly produce by the Globo television. This tv content is according to Manoel Carlos," the estranged son of communication".
http://www.fcsh.unl.pt/cadeiras/httv/artigos/As%20telenovelas%20em%20Portugal.pdf
