HAPPY NEW YEAR 2009!

As 2008 ends, once again I'm deeply grateful for everything I've learned and lived this year.

A year ago I wrote in this blog my wishes for telenovelas in 2008. Those wishes are still current because, in general, they remain unfulfilled:

-More coherence and less circus
-More archetypes and less stereotypes
-More depth and less superficiality
-More acting talent and less beauty devoid of talent
-More genuine television criticism and less gossip and speculation from the entertainment press and its followers
-More commitment to a better television and less consideration of the telenovela as an easy business deal
-More respect and less underestimation of the audience
-More originality and less repetition/"adaptation"

To those wishes, I add my request for more responsibility and respect...

... from network executives towards writers and actors

... from those who participate in message board and chatrooms (especially those who hide behind a pseudonym or nickname) 

... towards the telenovela genre's innovations, from those who purchase, sell and distribute telenovelas in the international market

... from those of us who study telenovelas, trying to understand how they're produced and received, and the reasons for their continuous success, without accusing or indicting neither television, nor telenovelas

¡HAPPY NEW YEAR 2009!

¡Health, love, learning and achievements for all!

TELENOVELAS-VISITING A LOCATION WITH THE WRITERS

I've had many experiencies while studying telenovelas. And, even though I'm equally interested in all aspects: production, consumption, regulation and the different representations we see in those daily episodes, I've learned that most people are particularly interested in production. In short, how is a telenovela produced? is the overarching question in many of the conversations I participate in, and is the most commented chapter of my book "Venezuela es una Telenovela."

Today I share with you a recent experience while studying the production of Venezuelan telenovela La Vida Entera.

The plot: In La Vida Entera, the Duque family owns a media conglomerate that includes fashion magazine Exquisita, which provides one of the main contexts for the telenovela's storylines. The male protagonist, Salvador Duque (Jorge Reyes), is part of this family, also constituted by his father, Napoleón (Gustavo Rodríguez), his stepmother, Olimpia (Beatriz Valdés) and his younger sister Carlota, "Tata" (Marisa Román). The Duque family "lives" in a beautiful house with a breathtaking view of the city of Caracas.

Following is a brief excerpt from Episode 6, where you can get a glimpse of these characters and their house.

Research experience--Visiting the location: I had the privilege of visiting the house with Leonardo Padrón and his team of writers the first time they went to this location. It was extremely interesting for me to be able to observe first hand how each of the house's rooms sparked ideas in these writers: "Here, Olimpia should...", "Maybe we could place Tata there...", "What about sitting Napoléon here and...," etc. Padrón and his writers also noticed interesting angles that the location provides for shots that will contribute to the telenovela's storytelling and its visual vocabulary. Meanwhile, two members of the production team took copious notes.

The experience was fascinating to me. I'm still figuring out its full importance to my research. For instance, I immediately started noticing the influence of the visit in the telenovela scripts. I would have never noticed this, if I hadn't been in the house with the writers.

Writing a telenovela requires much creativity and strategy. And even though telenovelas always have that mix of dream (the love story we all wish we could have) and reality, for these stories to work they must ring true. And I learned that these visits help immensely in writing a script that sounds true.

Here's a short video I prepared of our visit. Don't expect Spielberg, please. But, I think it will give you a good idea of my experience that afternoon:

WHO DOES A CHARACTER BELONG TO?

Each of the case studies I've investigated is guided by a set of research questions specific to that telenovela and its context. There are also recurrent questions that pop up in every study. As I go through each telenovela, interview, analysis and observation, I get closer to the answer, but these recurrent questions are so complex and nuanced that I never find THE final answer.

One of these questions is: Who does a character belong to?

a. To the writer who conceived it

b. To the writer who writes it day in and day out

c. To the actor who personifies it

d. To the audience

e. To all of the above

I've learned that all these options are correct at one point or another in the lifetime of a character, from its conception in a writer's mind to the appearance of The End on the television screen. At first, the character belongs exclusively to the writer. Then a co-production stage begins between the writer and the actor. At the beginning of this stage, the actor interprets the script much in the same way as a musician interprets a score. But, soon the nature of this co-production changes and the character becomes a sweater knitted in tandem by the writer and the actor, each of them holding one of the knitting needles.

There are other elements that contribute to the construction of the character: direction, wardrobe, makeup and music, among others. When the telenovela is finally broadcast, the audience's reading often modifies both the writing and acting involved in the character. In the end, if the character works correctly, it belongs to all. At the same time, we can also say that it belongs to no one because it has acquired a life of its own.

What do you think? Who does a character belong to?

TO OVERCOME AND LIVE

Studying telenovelas has allowed me not only to study how these melodramas are produced, but also to get to know well those who work "making" them. I've received a lot from everyone who works behind and in front of the cameras. They have opened their homes, dressing rooms, TV studios and offices to me, so that I could understand how a telenovela is made, a character is constructed, and the way these serials take over the lives of those who work in them. 

Behind the glitter that covers everything on the television screen are real human beings who work their magic so that we believe the stories and characters they're telling us. But, there are occasions in which their real lives teach us important lessons. 

Early in 2007, actor Daniela Bascopé was diagnosed with non-Hodgkins lymphoma at the age of 24. After months of treatment, Daniela recovered and is back on television as Natalia in telenovela La Vida Entera. And this week, Daniela presented her book Vencer y Vivir (To Overcome and Live), in which she shares her experience with her illness. 

In La Vida Entera we can also see Lourdes Valera, who has taped her character Rosa Coronel as she underwent treatment for cancer.

Here's a video of the morning show Portadas in which telenovela La Vida Entera was promoted. In addition to being an example of how a telenovela is promoted in Venezuela, you will be able to watch Daniela and Lourdes as they explain the characters they play and give us their message of courage. (The video is sort of stretched, I don't know why. At the end of the Portadas' sequence, there is an example of a promotional of La Vida Entera).

A TELENOVELA PREMIERES TO THE PRESS

Last week I attended the premiere for the press of my new object of study: telenovela LA VIDA ENTERA. This isn't my first time in these events that, along with the promotional spots, constitute the publicity engine for the new telenovela. 

To be sure, this is a public relations event. The centerpiece is watching the first episode before it airs. In the event, information about the new telenovela is disseminated via a press kit. LA VIDA ENTERA's press kit consisted of a glossy brochure in magazine format and a CD-ROM with photos and interviews with cast members. Additionally, the premiere allows reporters to interview writers and actors. The main outcome of this event is media coverage of the telenovela which creates expectation in the audience.

 

For a scholar, this is a fascinating event to observe. I enjoy watching the telenovela's first episode before it actually airs. Most importantly, I'm able to observe first hand the reactions of the entertainment press and actors. Later, it's truly interesting to read news stories and gossip columns about the premiere. These media stories vary immensely in quality and accuracy. (For instance, the next day a television  gossip show commented how beautiful was the "fuchsia" evening gown that actor Marlene De Andrade was wearing...when she actually wore a black dress!). 

Here's a video I prepared with images from the event. The quality is low. It was hard for me to record from where I was sitting and the resolution isn't too good. But, it will give you a taste of the event and the characters of  LA VIDA ENTERA.

DISTANCE: AN IMPORTANT WORD IN TELENOVELAS

There are some words that continuously pop up in my research about telenovelas. One is PARADOX, and I've written about it before and should probably write a whole lot more about. The other is DISTANCE.

After all these years studying telenovelas, I'm still amazed about the enormous distance that I find between the audience's perceptions of what happens behind the cameras, and what actually happens there. This distance, of course, is influenced by another distance that exists too often: the one between press reports and what is happening. 

There is also an important distance between the audience's perception of the relative importance of a particular telenovela character and what the actor believes about her/his character. I've talked with many actors who adored particular characters and considered them key in their careers, only to read later in Internet message boards how some audience members believe that those characters were unimportant and that the actor's talent was "wasted."

Another distance I must mention is the one between what the public knows/believes about the telenovela writing process and what really happens in a writer's mind and soul as she/he develops characters and plots. 

There is always a distance between the script and the mise-en-scene we see on our TV screens. 

Personally, the word distance defines my research since I have to "go" to it and come back periodically. I get closer and farther away from my case studies. It is in these coming and goings, in this stretching and reducing the geographic distance that I can get really close in an intellectual and academic sense. Soon I must travel and get closer to my new case study. Its first episode is about to be broadcast in Venezuela after I've been following and examining the creative process of its head writer. Meanwhile, the Internet and technology allow us to take a peek into this new telenovela I'm studying--La Vida Entera:

MODERATOR FROM FORO TVVI VISITS MY CLASS

In the past I've brought to my classroom (via phone or Skype) several people that work in the telenovela industry (Julie Restifo, Daniela Bascopé, Carlos Cruz, Edgar Ramírez, Marisa Román, Valentina Párraga and Leonardo Padrón).

This semester, on the last class of my honors seminar, I decided to invite someone from the consumption side of telenovelas. Therefore, Dragoons, who moderates the message board  Foro TVVI, came to our class via Skype.  

It was a fascinating conversation that allowed us to learn about the satisfactions, difficulties and dedication involved in the moderation of a message board that elicits a lot of  passion because it deals with television, in general, and telenovelas, in particular. 

Following is a brief video with an excerpt from our conversation:

We thank  Dragoons for his time and insights.

To end this post, here's a picture from our small end-of-the-seminar celebration. I cooked one of Venezuela's most typical desserts: a quesillo. Food is an important part of culture, and in this seminar we study how telenovelas are more than melodramatic love stories, they're a key place to examine the links between media, culture and society.

FIRST SET OF PROMOTIONALS OF MY NEW OBJECT OF STUDY: LA VIDA ENTERA

Venezuelan network Venevisión uses 14 of its best known faces and talent in a set of teasers about upcoming telenovela La Vida Entera, my new case study.

Belos the demo for La Vida Entera:

VALENTINA PARRAGA IN MY TELENOVELA CLASS

Last week writer Valentina Párraga visited my telenovelas seminar. She is an intelligent and charming guest who shared with us her experience writing telenovelas in Venezuela  (Viva la Pepa and Trapos Intimos, just to name the two most recent ones) and now in Telemundo (Anita no te rajes and Doña Bárbara). These two groups of telenovelas represent a contrast in style that is determined by the undeniable differences between the Venezuelan and the U.S. audience. 

It's always interesting for me to confirm once again that there is an immense distance between the public's perception (as expressed in message boards and gathered in my research) and the tough reality of writing a telenovela. This distance is encouraged by the entertainment press' trivialization of the telenovela writing job and its emphasis on gossip and rumors. 

From a teaching perspective, I believe that it's important for my students to understand the difficulties and stress involved in the everyday life of telenovela writing, a job that takes over the lives of its makers. They spend many hours at their computer keyboards at a time in their lives that is dominated by their telenovela characters and plots, while they try to win the ratings war. 

Following is a brief video where you can hear Valentina Párraga describing her daily routine as she writes Doña Bárbara:

We thank Valentina for her time, warmth and honesty.

TELENOVELA CONVERSATIONS IN MY SEMINAR

A key ingredient of my teaching philosophy is to provide students with opportunities to link what we learn inside the classroom with the "real world" that exists beyond the university's walls. This is the reason why in my telenovela class and seminars I've always included phone conferences with people who work in the telenovela industry. (In previous years, I've had as guests Julie Restifo, Daniela Bascopé, Carlos Cruz, Edgar Ramírez, Marisa Román and Leonardo Padrón).

This week we had two guests that visit my class every time I teach it because they're very generous with their time and insights. And because both of them have taught me a lot as I continue my intellectual journey through the beguiling landscape of telenovela research: Marisa Román and Leonardo Padrón. This time we benefitted from technology since we used video conference thanks to the facilities provided in the Faherty Lab here at the Grady College of Journalism and Mass Communication. We enjoyed the experience even more than in previous opportunities because we could see our guests and they could see us. 

Thanks to these conversations, my students were able to hear Leonardo Padrón explain the details of his creative process, describe the everyday life of a telenovela writer, list his major concerns and satisfactions as he tackles the difficult, absorbing and exhausting process of writing a telenovela, which is a product of industrial dimensions. 

The students were also able to ask Marisa Román about the construction of a character, and which have been the most difficult and most satisfying characters she has interpreted. Román explained the differences in the actors craft when she/he faces television, theater and film. 



It was a truly special class in which all involved learned a great deal thanks to a couple of conversations that were enjoyable, sincere and gratifying.

ENDS AND BEGINNINGS: TORRENTE AND ¿VIEJA YO?

The last two weeks have been so hectic for me that I haven't been able to write in my blog(s). Meanwhile, in Venezuela  Venevisión broadcast the final episode of Torrente, which was substituted in the 9 p.m. slot by ¿Vieja Yo? These telenovelas are polar opposites in the continuum: melodrama<---->humor.

On the melodrama side is Torrente, a pretty predictable telenovela that suffered from a lack of humor (in this sense, the characters played by Gioia Arismendi and Eduardo Orozco were the exception that saved the telenovela from being unbearably dramatic). In my opinion, Torrente's best qualities were: 1) The production quality of all sequences taped (or seemingly taped) in the  beautiful and wild area of la Gran Sabana. 2) The quality of the directorial work which never tapered. 3) The presence of some cast members who were able to take their characters beyond the unidimensional and simplistic way in which they were written.

Regarding the last point, I should underscore again (I already mentioned it in a previous post) Iván Tamayo's excellent performance as  Roque/Bayardo Santa Cruz, the antagonist. His work was so good that it forced one of the few interesting and atypical elements in a story pretty typical and average: that we didn't know until the last episode whether the protagonist Ana Julia would end up with him or with Reinaldo, the official protagonist. This unresolved situation afforded the final episode very high ratings (the episode averaged a rating of 17.5 and a 62.1% share, pretty high numbers even in an environment without  RCTV). And in that final episode writers had to write/include a video clip of memory bits of the antagonist's love story with the protagonist and a short monologue by him just before the protagonists' final scenes (See the following video from 6:33 on). 

Torrente's final episode reinforced the old lesson: it's important to have a question/dramatic knot to be resolved in the last episode. On the other hand, Ana Julia's choice wasn't believable to me. Even though the script tried its best to push her back to Reinaldo, her story and chemistry with Roque/Bayardo were more intense, longer and believable. 

¿Vieja Yo? comes from the distinguished pen of Mónica Montañés. I want to preface my brief analysis with a caveat that limits my point of view: I've only been able to watch the first four episodes. 

I place this telenovela in the humor side of the continuum. It has a clear thesis: there is no due date to fulfill our dreams and most of the times we are our worst enemies. (See in the following video the first sequences in the telenovela. In particular where the protagonist is on top of the mattress. Pay attention to her words.)

I like telenovelas with a thesis. I believe a thesis gives a telenovela depth, structure and a reason (beyond television's commercial requirements). I admire the design of all the sets that make the department store where most of the action happens in ¿Vieja Yo?. Once again, Carmelina De Jacovo shows that she is a master at set design. The cast has plenty of talent and presence. There are themes that are in many telenovelas, like infidelity. But, there are also topics that need continuous examination. For instance: domestic violence. But, above all, this telenovela is centered on Margot, the over-50 protagonist conceptualized and written for actor Mimí Lazo. The antagonist, Estefanía, is well delineated in the script: ambitious, without scruples and clueless as to how to be the rival of a woman Margot's age and with her characteristics.  I don't like, however, Marjorie De Sousa's interpretation. Her Estefanía is cartoonish. This has the unfortunate consequence of making the main triangle akin to a cartoon too. Something not desirable in a telenovela. 

And even though I know well that humor is a key ingredient in Venezuelan telenovelas and functions as the enzyme that allows the important digestion of critical sociocultural issues like the ones present in this telenovela, I felt that in the first four episodes romance was sacrificed for humor's sake. And romance is a defining element of telenovelas. While I was watching the fourth episode, I asked myself: Is there anyone here IN LOVE? I'm sure there is, but it isn't evident in the first four episodes, which are characterized by layered misunderstandings, that give us a feeling similar to that of a sitcom.

I will continue watching, of course. Mónica Montañés is a writer I believe in. She's talented, smart, knowledgeable of the paradoxes, challenges and opportunities that characterize Venezuelan women, and she has something important to say. 

The audience, who always has the last word, has also something to say: where do they locate their preferences regarding telenovelas in these two axes:

melodrama<---->humor  

romance<---->humor .

DOÑA BARBARA'S EFFECT ON THIS BLOG

A few months ago I wrote a post about the effect of the final episodes of telenovela Arroz Con Leche on the Spanish version of this blog. 

Today I write on the effect that telenovela Doña Bárbara (Telemundo) is having on this blog in English. The blog in Spanish is not being affected in the same way. This indicates the existence of a significant public whose primary language is English who is particularly interested in Doña Bárbara. We might see in the future a similar effect in the blog in Spanish, once the telenovela airs in Spanish-speaking countries. For the moment, Doña Bárbara seems to be responsible for a "first" in my blogs: Currently, the blog in English is more read than the blog in Spanish.

Below are numbers and charts for both blogs organized in two time periods (click on the graphics to enlarge them):

• July 4-August 3, 2008: The month before Doña Bárbara's premiere
  
• August 4-September 4, 2008: Doña Bárbara's first month on the air in Telemundo
  

For every comparison, I place first the graphs for the blog in Spanish, followed by the equivalent graphics for the blog in English. 

BLOG IN SPANISH-NUMBER OF VISITS-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR:





BLOG IN  ENGLISH-NUMBER OF VISITS-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR




A continuación información de los posts más visitados del blog en ambos períodos.

BLOG IN SPANISH-MOST VISITED ENTRIES-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR




BLOG IN ENGLISH-MOST VISITED ENTRIES-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR




BLOG IN SPANISH-MOST USED KEYWORDS-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR




BLOG IN ENGLISH-MOST USED KEYWORDS-BEFORE AND DURING DOÑA BARBARA'S FIRST MONTH ON THE AIR

HUGO CHAVEZ AND TELENOVELAS

Todotnv is one of my favorite telenovela blogs. Today there's a  post about how easy it is to blame telenovelas for all sorts of things. This post, of course, brings about the eternal controversy of whether media reflect reality, or reality is influenced by media content.

In Latin America, where telenovelas were born, we also blame telenovelas in a variety of ways...even if we watch them religiously. But, last week President Hugo Chávez attacked telenovelas in his weekly speech to the nation (he also attacked the Internet):

"Be careful with those capitalist telenovelas: they poison (...) They have an ideological intention: to destroy a child's potential, to induce the youth to a life that is plastic, and to induce them to violence, prostitution and a loss of values."

Here's the video:

Chavez y las Telenovelas
by noticias24

President Chávez seems to have forgotten that the origin of telenovelas can be found in the feulleton literature (Dumas, Balzac, etc.), and that the cradle of telenovelas is Cuba. He seems to have forgotten also that his own network  TVES purchases and produces telenovelas.

These and other arguments were aptly expressed by Venezuelan telenovela writers in an article in daily El Universal on August 26:

Leonardo Padrón: Telenovelas Cosita Rica and Ciudad Bendita "were entirely Venezuelan. They constitute  400 hours of television that speak of the people who habit Caricuao or La Bombilla in Petare and how fragile are their living conditions, those hours aren't about the natives of Texas or Arizona.  "In my telenovelas, I've spoken about domestic violence, teen pregnancy and irresponsible fatherhood. Tell me how is it that I'm inculcating there capitalist values!"

Pilar Romero: "A telenovela is a love story. The only one that had a different slant, but wasn't 'capitalist' at all, was POR ESTAS CALLES. The rest are love stories with a moralizing intention. Evil is punished and good is rewarded."

Martín Hahn: "I've never thought about writing a telenovela that is capitalist or socialist. I only think of writing an entertaining telenovela with a positive message. The struggle to keep families together, forgiveness, reconciliation and personal betterment are the themes I like to touch on my telenovelas."

Benilde Avila: "I don't understand why Chávez said that. He must not watch telenovelas. It's a contradiction to say that telenovelas are poison when TVEs, his social television network, produces and broadcast them."

Personally, I'm quite surprised about this attack on telenovelas by President Chávez. Up until now he has been a shrewd communicator who knows how to respect and use the Venezuelan people's popular culture tastes and consumption. At times, he has even use that knowledge to manipulate Venezuelans. To attack telenovelas with empty arguments in a country in which people consume on a daily basis the same number of telenovelas as meals is a foolish mistake. 

We can criticize many things about telenovelas. But, we can also say positive things about them regarding the health messages they can transmit, etc. And, we'll never know for sure if Hugo Chávez would be president if there hadn't been a telenovela called Por Estas Calles. 

Mulheres Apaixonadas

Novela de: Manuel Carlos

Colaboração: Maria Carolina, Fausto Galvão e Vinícius Vianna

Direção: Ary Coslov e Marcelo Travesso

Direção Geral: Ricardo Waddington, Rogério Gomes e José Luiz Villamarim

Núcleo: Ricardo Waddington

Emissora: TV Globo

Estréia: 17 de fevereiro de 2003, às 21h

Sinopse

Nesta trama carioca, passada na ERA(Escola Ribeiro Alves), de propriedade de Lorena, as histórias de várias mulheres apaixonadas e outros casos polêmicos fizeram o sucesso da novela. Helena era a protagonista, uma mulher dividida entre ficar no casamento morno, quase frio, com o músico Téo, irmão da decidida Lorena, e se entregar de novo a uma antiga e ardente paixão, o médico César. Para todas as suas confidências, ela conta com suas irmãs e melhores amigas, Hilda e Heloísa.
Enquanto isso, outros temas polêmicos e interessantes esquentaram a história: o câncer de mama de Hilda; o ciúme doentio que Heloísa sentia pelo marido, Sérgio, o qual sofria assédio da vizinha Vidinha, moça mais jovem; o romance de Lorena com Expedito, um homem bem mais novo, que a troca pela imatura Marina, ex-nora de Lorena; os maltratos da perversa Dóris aos avós, Leopoldo e Flora.
Ainda o adultério de Sílvia, que trai o marido, Afrânio, com Caetano, namorado de sua empregada; o amor de Estela por Pedro, um padre; a violência exercida pelo mau-caráter Marcos contra a ex-namorada Raquel; a amizade das crianças Lucas e Salete, que na verdade são irmãos, filhos de Téo e Fernanda, uma ex-prostituta, vítima da violência urbana; o amor entre os primos Diogo, ex-marido de Marina, e Luciana.
E também o alcoolismo de Santana; o namoro de Edwiges e Cláudio, que é afetado por ela ser virgem e ele ser assediado por Gracinha, filha dos empregados de seus pais, Marta e Onofre; a relação homossexual entre Clara e Rafaela; o preconceito social de Paulinha, que rejeita o próprio pai, Osvaldo, por ser pobre; e muitos outros assuntos que chamaram a atenção.

Elenco

Christiane Torloni - Helena Ribeiro Alves
José Mayer - César Andrade
Tony Ramos - Téo Ribeiro Alves
Susana Vieira - Lorena Ribeiro Alves
Helena Ranaldi - Raquel Martins
Giulia Gam - Heloísa
Carolina Dieckmann - Edwiges
Rodrigo Santoro - Diogo Ribeiro Alves
Paloma Duarte - Marina Lobo
Camila Pitanga - Luciana Ribeiro Alves
Dan Stulbach - Marcos Soares Mendonça
Vanessa Gerbelli - Fernanda Machado
Carolina Kasting - Laura
Erik Marmo - Cláudio Moretti
Maria Padilha - Hilda
Lavínia Vlasak - Estela de Azevedo Franco
Regiane Alves - Dóris de Souza Duarte
Júlia Almeida - Vidinha (Vida Ribeiro Alves Nogueira)
Marcello Antony - Sérgio
Ana Roberta Gualda - Paula Arruda (Paulinha)
Paula Picarelli - Rafaela
Alinne Moraes - Clara
Vera Holtz - Santana
Natália do Valle - Sílvia
Carol Castro - Gracinha
Rafael Calomeni - Expedito
Cláudio Marzo - Rafael Nogueira
Oswaldo Louzada - Leopoldo Duarte
Carmem Silva - Flora de Souza Duarte
Nicola Siri - Padre Pedro
Leonardo Miggiorin - Rodrigo
Elisa Lucinda - Pérola
Marcos Caruso - Carlão
Martha Mellinger - Irene
Pedro Furtado - Fred
Pitty Webo - Marcinha
Regina Braga - Ana
Eduardo Lago - Leandro
Umberto Magnani - Argemiro
Giselle Policarpo - Elisa
Marly Bueno - Marta Moretti
Serafim Gonzalez - Onofre Moretti
Walderez de Barros - Alzira
Manoelita Lustosa - Inês
Paulo Figueiredo - Afrânio
Xuxa Lopes - Leila
Paulo Coronato - Caetano
Guilhermina Guinle - Rosinha
Renata Pitanga - Shirley
Daniel Zettel - Carlinhos
Roberta Rodrigues - Zilda
Luciele di Camargo - Dirce
Sônia Guedes - Matilde
Tião D'Ávila - Oswaldo Arruda
Arlete Heringer - Yvone
Lica Oliveira - Adelaide
Joana Medeiros - Eleonora
Sheila Mattos - Celeste
Caco Baresi - Orlando
Fabiana Karla - Celia
Luciana Rigueira - Odete
Maria Clara Gueiros - Cecília
Rodrigo Fauzi - Maurinho
Rogério Falabella - Dr. Alfredo
Zé Carlos Machado - Marcelo
Paulo Ascenção - Maitre
Laura Lustosa - Margareth
Tila Teixeira - Tereza
Laércio de Freitas - Ataulfo
Diego Gonçalves - Jairo
Andrea Bassit - Marly
Eduardo Estrela - Amadeu
Alessandra Colassanti - Rebeca
Chaguinha - Ivan
Priscila Dias - Sônia
Wilson Cardozo - Jeremias
Analu Silveira - Monique
Assayo Horisawa - Chica
Luca Bianchi - Alcides
Matheus Vinicius - Diego
Marcel Miranda - Washington
Marcelo Escorel - Nestor
Marise Gonçalves - Cândida
Paulo Junior - Tião
Ronaldo Reis - Robson
Sandra Hausen - Mirtes
Sylvio Meanda - Eugênio
Vera Freitas - Sandra

Crianças

Victor Cugula - Lucas Ribeiro Alves
Bruna Marquezine - Salete

Participações Especiais

Reynaldo Gianecchini - Ricardo (namorado de Lorena no final)
Cris Bonna - Isabel (falecida mulher de César)
Beatriz Lyra - amiga de Marta
Juliana Mesquita - Renatinha (aluna do ERA)
Igor Cotrim - Romeu (namorado de Dóris no início)
Beta Perez - Simone
Carol Moonan - Sílvia(funcionária do hotel)
David Herman - Roberto
Edson Silva - Kleber
Juliana Didone - Luísa
Frederico Lessa - Antônio
Giovanna de Toni - Telma
Guilherme Caillaux - Reizinho
Idelcéia Santos - Maria
Isabela Lobato - Selma

Trilha sonora

Nacional
Velha Infância - Tribalistas (tema e Cláudio e Edwiges)
Sem Fantasia - Chico Buarque e Maria Bethânia (tema de Raquel e Fred)
Eu e a Brisa - Márcia (tema de Lorena)
Eu Sou Assim - Luíza Possi (tema do núcleo de estudantes)
Amor em Paz - Gal Costa (tema de Fernanda)
Luxo Pesado - Fernanda Abreu (tema de Estela)
Preciso Aprender a Ser Só - Maria Bethânia (tema de Helena)
Todo Errado - Caetano Veloso e Jorge Mautner
Você - Marília Gabriela e Reynaldo Gianecchini (tema de locação - Leblon)
Não Sei Como Foi - João Bosco e João Donato (tema de Luciana e César)
Onde Anda Você - Cauby Peixoto e Ângela Maria
Meditação - Nara Leão (tema de Heloísa)
Não Tem Solução - Nana Caymmi (tema de Sílvia)
Pela Luz dos Olhos Teus - Tom Jobim e Miúcha (tema de abertura)
Drum' N' Bossa - Insoul

Internacional
Don't Know Why - Norah Jones (tema de Raquel)
Disease - Matchbox Twenty (tema de Rodrigo)
I'm With You - Avril Lavigne (tema de Fred)
Nothing At All - Santana e Musiq (tema de Heloísa)
You Belong To Me - Jennifer Lopez (tema de Dóris/tema de Estela)
Vivir Sin Aire - Maná (tema de Clara e Rafaela)
Misunderstood - Bon Jovi (tema de Cláudio)
Sexed Up - Robbie Williams (tema de Diogo)
Imbranato - Tiziano Ferro (tema de Estela e Padre Pedro)
The Way You Look Tonight - Rod Stewart (tema de Helena e César)
Noche de Ronda - Paolo (tema de Helena e o mexicano)
Te Dejo Madrid - Shakira (tema de Gracinha)
Hurt You So Bad - Crazy Town
Dancer - Computernet
D-Deep - Deep House
Faint - Linkin Park

Volume 2
I've got you under my skin - Diana Krall(tema de Helena)
La vie en rose - Tony Bennett & K.D. Lang
Amor maior - Jota Quest (tema de Diogo e Luciana)
Mais uma vez - Renato Russo (tema de Cláudio e Edwiges)
They can't take that away from me - Rod Stewart
Tell me all about it - Natalie Cole
Fly me to the moon - Peter Jones
Dois rios - Skank (tema de Rodrigo e Paulinha)
Incondicionalmente - Capital Inicial
Serenata do luar (Moonlight serenade) - Paula Lima
Nick bar - Dick Farney
Alguém como tu - Elisa Lucinda
De bem com a vida - Alberto Rosenblit
As rosas não falam - Léo Gandelman
(Prelude) Dreams - Heaven
Jazzy+Funky+Bossa=Cool - Insoul

Curiosidades

Exibida entre 17 de fevereiro e 11 de outubro de 2003 em 203 capítulos.
Uma das personagens de maior sussesso foi Dóris, a vilã interpretada por Regiane Alves, uma moça rebelde, que maltratava seus avós. Um fato curioso é que em Laços de Família, Mulheres Apaixonadas e Páginas da Vida, ambas de Manoel Carlos, Regiane interpretou figuras desprezíveis, as respectivas vilãs Clara, Dóris e Alice, respectivamente.
Com este retrato sutil e humano, da alma feminina, Manoel Carlos criou mais um grande sucesso do horário nobre. Mulheres Apaixonadas, obteve uma média geral de 46 pontos no horário, provando, mais uma vez, a grande versatilidade do autor, em abordar temas próximos do nosso cotidiano.
Christiane Torloni personificaria a quinta Helena, das novelas de Manoel Carlos. Lilian Lemmertz, em Baila Comigo, de 1981; Maitê Proença, em Felicidade, de 1991; e Regina Duarte, em História de Amor, de 1995, e, em Por Amor, de 1997, já haviam feito a personagem, de modo que Regina viveria novamente, sua terceira Helena, em Páginas da Vida, de 2006. e Vera fischer em Laços de Família, de 2000.
Nesta trama, o núcleo central era formado por Helena (Christiane Torloni), dividida entre o amor do saxofonista Téo (Tony Ramos) e o médico César (José Mayer). Ao final da trama, ela fica com César, enquanto Téo se casa com a médica Laura (Carolina Kasting).
A novela teve 15 aberturas diferentes, sempre mostrando fotos mandadas por telespectadores, em tons de azul. As mulheres apareciam destacadas, enquanto os homens, embaçados. Inicialmente a abertura seria trocada a cada 4 semanas, mas a idéia fez tanto sucesso, que passou a ser de 2 em 2 semanas, tendo a última semana, abertura diferente, da penúltima.
Muitos foram os destaques da trama, a começar pelo núcleo central vivido pelas irmãs Hilda (Maria Padilha), Heloísa (Giulia Gam) e Helena (Christiane Torloni). Enquanto Hilda, se descobria vítima de um câncer de mama, Heloísa, sofria com o ciúme possessivo ao marido Sérgio (Marcello Antony). A excelente atuação de Giulia Gam, lhe rendeu as melhores críticas, de toda a sua carreira.
Ao abordar a questão da violência doméstica, Dan Stulbach personificou de uma maneira brilhante, o amoral e surtado Marcos, que violentava a esposa Raquel (Helena Ranaldi), com surras de raquetada. Dan, entrou no meio da trama, a partir do capítulo 72, no ar em 10 de maio de 2003, um sábado. Mas, em pouco tempo, roubou a cena. Sua atuação, lhe rendeu todos os prêmios inerentes à categoria, naquele ano, além do que, foi aclamado, merecidamente, um dos melhores atores, senão, o melhor, de sua geração.
A novela formou o primeiro casal homossexual bem aceito pelo público. As lésbicas vividas por Paula Picarelli e Alinne Moraes, conquistaram os telespectadores, que inclusive, torceram pelo final feliz das personagens.
Uma das atrizes que roubaram a cena foi justamente Ana Roberta Gualda, intérprete de Paulinha. Ana fez tanto sucesso nesse papel negativo, que viveu a doce Linda em Começar de Novo, novela exibida no ano seguinte, em um personagem totalmente diferente, como prova de sua versatilidade como atriz.
A história dos primos Diogo (Rodrigo Santoro) e Luciana (Camila Pitanga) foi um grande sucesso. Tanto que, no fim da trama, o casal acabou junto. Esta foi a última novela de Rodrigo Santoro. Depois dessa participação, ele se dedicaria à sua carreira internacional, no cinema hollywoodiano.
As cenas do casamento entre Diogo (Rodrigo Santoro) e Marina (Paloma Duarte) mobilizaram cinco capítulos da trama, de modo que o quarto capítulo, atingiu seu clímax, na cena em que Marina flagra Diogo e a prima Luciana (Camila Pitanga) se beijando. As duas atrizes brilharam em cena, em um barraco de marcar história na TV.
Última novela dos atores Oswaldo Louzada e Carmem Silva, que emocionaram o país vivendo o casal de idosos, Leopoldo e Flora, maltratados pela neta Dóris (Regiane Alves). A elogiada atuação de Regiane, lhe rendeu a capa da revista Playboy, na edição de aniversário de 28 anos da revista, em agosto de 2003.
Através da personagem Santana, brilhantemente interpretada por Vera Holtz, o autor Manoel Carlos abordou o drama do alcoolismo.
Polêmico também foi o amor da jovem Estela (Lavínia Vlasak), por Padre Pedro (Nicola Siri), tal como a cena do penúltimo capítulo, em que ela entra nua, na sacristia, abdicando dos prazeres da vida mundana.
Muitos foram os destaques da trama, mas sem dúvida, a cena que mais marcou o folhetim, foi a última cena do capítulo 150, no ar em 9 de agosto de 2003, um sábado, a qual Téo (Tony Ramos) e Fernanda (Vanessa Gerbelli), são vítimas de bala perdida, durante um tiroteio, pelas ruas do Leblon. O realismo das cenas, foi impressionante.
Outra cena que merece destaque é a cena do capítulo 181, no ar em 15 de setembro de 2003, uma segunda-feira, onde foi mostrado a manifestação do Movimento - Brasil sem Armas, que reuniu cerca de 40 mil pessoas na Avenida Atlântida, no Rio de Janeiro, além do elenco, da novela. As cenas foram gravadas na manhã do domingo anterior, dia 14 de setembro, e foram ao ar, já no capítulo seguinte.
Bruna Marquezine, com apenas 7 anos de idade, conquistou o país, na pele da meiga Salete, filha de Téo (Tony Ramos) e Fernanda (Vanessa Gerbelli). Depois da novela, Bruna faria uma boa carreira, nas novelas da casa.
O jovem triângulo amoroso formado pela recatada Edwiges (Carolina Dieckmann), o jovem Cláudio (Erik Marmo) e a fogosa Gracinha (Carol Castro) funcionou muito bem e ganhou a empatia do público.
O sucesso foi tanto que ganhou até capa da revista Veja, na edição que chegou às bancas na quarta-feira, de 9 de julho de 2003.
A trilha-sonora foi a última trilha da Globo a atingir disco de diamante e a última a vender mais de 1 milhão de cópias. Um verdadeiro fenômeno, em tempos de pirataria. As trilhas sonoras, nacional & internacional, foram lançadas simultaneamente, em um único CD.
A música tema de abertura Pela Luz dos Olhos Teus, de Tom Jobim e Miúcha, já havia sido executada em outra novela, mais precisamente em Dona Xepa, exibida pela própria Globo, em 1977.
Primeira novela de Priscilla Dias, Carol Castro,Erik Marmo, Paula Picarelli, Rafael Calomeni, Ana Roberta Gualda, Bruna Marquezine, Daniel Zettel, Juliana Mesquita, Leonardo Miggiorin, Luciele di Camargo, Maria Clara Gueiros, Pedro Furtado e Roberta Rodrigues.
Na época da exibição, o Ministério da Justiça inicialmente classificou a novela para maiores de 12 anos, mas a partir do dia 30/06/2003 foi reclassificada para maiores de 14 anos. Motivo: excesso de cenas de violência (inclusive familiar) e insinuações de sexo. Assim, a novela teve que passar a ser exibida diariamente ás 21h00, o que tornou os capítulos mais curtos (principalmente ás quartas-feiras, quando a Rede Globo exibia futebol).
Será reprisada na sessão Vale a Pena Ver de Novo a partir do dia 1 de Setembro substituíndo a novela Cabocla. Após três anos da última exibição de uma novela das 8 (Laços de Família), a Rede Globo consegue uma autorização do Ministério da Justiça para reprisar a novela exibida as 21h no ano de 2003.
Para poder ser reprisada no Vale a Pena Ver de Novo, a novela foi muito editada e classificada para maiores de 10 anos. É a primeira novela da sessão a ter essa classificação.

Água na Boca - Abertura

Pantanal - Abertura 2008

Chamas da Vida - Abertura

Os Mutantes: Caminhos do Coração - Abertura

Prova de Amor - Abertura

Malhação 2008 - Abertura

Cabocla - Abertura

Beleza Pura - Abertura

Ciranda de Pedra - Abertura

A Favorita - Abertura

TELENOVELAS, BOLEROS, TANGOS AND RANCHERAS

According to media scholar Jesús Martín-Barbero, melodramatic genres such as the Argentinean tango, the Mexican ranchera and, most of all, telenovelas, perform a crucial role in Latin America’s everyday life (1993). “The melodrama is much of what we are—fatalists, inclined to machismo, superstitious—and what we dream of becoming—stealing the identities of others, nostalgia, righteous anger” (p. 225).

I add the bolero to this list of melodramatic genres. All of them--telenovelas, tangos, boleros and rancheras--represent not only different geographic sides of this cultural region we call Latin America, but they are also cultural expressions of one of the most interesting (and without easy translation to other languages) verbs: despechar.

The United States is the culture of "moving on" and "shaking off" a heartbreak and/or unrequited love. In contrast, in Latin America we have the tendency of not moving on until we have wallowed in our sadness for a good while. That is "despecho." And there's no better company for a good "despecho" than a bolero, tango or ranchera (alcohol is also frequently involved). Telenovelas are underpinned also by the principle/process of despecho. They are, as Cabrujas said, "the spectacle of emotions." But, they are also emotions turned into spectacle. Through telenovelas, audiences can live over and over again the cycle of falling in love, rupture and despecho in a way that may seem somewhat operatic or over the top, but that nevertheless generates identification. Even if we are surprised by that identification. 

Following are three videos I frequently use in class to explain/illustrate the relationship between boleros, tangos, rancheras and telenovelas. All of them are about a loss: lost love, lost time, lost moments. All of them are within melodrama, the most universal of codes.

José Feliciano sings bolero "Amor Gitano" in which he tells the woman he saw walking with another man:
"Take this knife and open my veins. I want to bleed until death. I don't want life if it means that you belong to someone else. Because without you, life is worthless."

Penélope Cruz dubbs Estrella Morente in the  Pedro Almodóvar film "Volver". It's a Spanish-style version of  tango "Volver":
"I'm scared of encountering the past that comes to confront my life. I'm scared of the nights populated with memories that are like chains in my dreams" 

...

'

And, finally, the most stereotypical despecho of all: Vicente Fernández sings ranchera "Volver, Volver" in a bar, drinking tequila. 

"We left each other a while ago, but now is my moment to lose. You were right, I'm listening to my heart, and I'm dying to come back."

...

Malhação 2008

História de: Patrícia Moretzsohn
Sinopse de: Patrícia Moretzsohn e Jaqueline Vargas
Escrita por: Patrícia Moretzsohn, Jaqueline Vargas, Alessandra Poggi, Cláudio Lisboa e Ricardo Tiezzi
Redação final: Patrícia Moretzsohn
Consultoria de texto: Charles Peixoto
Direção: Leonardo Nogueira e Paola Pol Balousier
Direção Geral: Mário Márcio Bandarra e Carlo Milani
Núcleo: Ricardo Waddington

Sinopse

Primeira Fase

Angelina e Gustavo são dois adolescentes que pertecem a universos opostos: ela é pobre e ele é rico. O casal, então, deverá superar a distância (social e econômica) que separa seus mundos e provar para todos, inclusive para eles próprios, que, apesar das diferenças, os dois se completam. O que eles não esperam é que neste caminho há grandes obstáculos, como Débora, Andréas, Félix e, mais tarde, Bruno. E o desafio de enfrentar as diferenças não será só para o casal. Diante da fusão do tradicional Colégio Ernesto Ribeiro com o moderno Colégio Múltipla Escolha, os alunos terão que aprender a conviver com os hábitos dos novos colegas. A pluralidade dos jovens levantará questões importantes sobre as diferenças entre indivíduos, culturas, pontos de vista e expectativas que marcarão a vida dos alunos.

Segunda Fase

A segunda fase é marcada por um eclipse. O eclipse traz junto o clímax da história. A vida não vai nada bem para Gustavo e Angelina, pois o destino fez questão de sepára-los, ele com Débora e ela grávida de Bruno. Só que os dois, apesar das diferenças, ainda se completam. A pergunta de muitos adolescentes como Angelina e Bruno é se a vida depois da gravidez continuará sendo a mesma, jovens e com um filho para criar. Qual lado de Angelina vai falar mais alto, o desejo de ter Gustavo ou a obrigação de criar o seu filho com o pai? Essa gravidez vai levantar questões importantes entre os alunos, como gravidez precoce, virgindade e AIDS.

Terceira fase

Nós escolhemos o nosso futuro A sua prisão é você quem escolhe é o tema da nova fase de malhação 2008. Bruno, por conta de sua irresponsabilidade, foi parar na cadeira de rodas e Angelina se sentindo culpada pelo o ocorrido fez uma promessa de ficar ao lado dele para sempre. Ela escolheu a sua prisão! Mas como se diz que o amor move barreiras, seu futuro não é ao lado de Bruno, mas sim de Gustavo.Só ela não percebe isso, mas Bruno sabendo que ela não o ama decide dar uma mãozinha para o amor dos dois dar certo finalmente. Diante dessa situação os alunos cresceram e ganharam responsabilidades. Exemplo disso é Débora, que também teve que escolher sua prisão agora a vilã terá que escolher entre continuar com suas armações ou virar uma pessoa boa e honesta.

Elenco

Protagonistas

• Sophie Charlotte - Angelina
• Rafael Almeida - Gustavo
• Caio Castro - Bruno

Antagonistas

• Nathália Dill - Débora Rios
• Cleiton Morais - Andréas Campadelli
• Licurgo Spínola - Félix Rios

Outros personagens

• Carolina Kasting - Béatrice Lopret
• Daniel Boaventura - Adriano Lopes (Dona Drica/Mariano Lopes)
• Isabel Fillardis - Rita de Cássia
• Keli Freitas - Luana Epifanio
• Norma Blum - Dionísia Pimenta
• Antônio Pedro - Valério Pimenta
• Sílvia Salgado - Daisy Bergantin
• Zé Carlos Machado - Joaquim Bergantin
• Mariana Rios - Yasmin Fontes
• Jonatas Faro - Waldemar Peralta
• Mariah Rocha - Chiara Marcondes
• Carolinie Figueiredo - Domingas Gentil
• Bernardo Mendes - Ivan Cardoso (Bodão)
• Maxwell Nascimento - Pedro Firmino
• Sophia Abrão - Felipa Gentil
• Daniel Uemura - Raiden Mishima
• Johnny Massaro - Fernando Chalfon (Fernandinho)
• Eliane Costa - Maria das Montanhas
• Camila Rodrigues - Teresa Nascimento
• Rael Barja - Caju Pereira
• Guilherme Winter - Tiago Junqueira
• Sérgio Loroza - Orfeu Oliveira
• Beth Lamas - Anita Forte
• Karla Nogueira - Aurélia Silva
• Evelyn Oliveira - Joana Furtado
• Sóstenes Vidal - Isidoro de Jesus
• Dulcinéia Dibo - Zulaide Guilherme
• Henrique Taipas - Godofredo Tonini

As crianças

• Larissa da Silva - Antonieta Bergantin
• Fabiana Motta - Carolina Forte (Fortinha)
• Kaleo Maciel - Marcelo Forte (Fortinho)
• Lucas de Jesus - Leonardo Maciel (Léo)

Participações especiais

• Zezeh Barbosa - Conceição Maciel
• Débora Kalume - Eneida Marmontel
• Raisa Gaio - Gisele Marmontel
• Ângela Vieira - Diva Junqueira
• Hugo Carvana - Paulo Lopret
• Fátima Freire - Elisa Fontes
• Luiz Magnelli - Padre Honório
• Isaac Bardavid - Mestre Ramarashi
• Sandra Pêra - Mafalda
• Oberdan Júnior - Antonio
• Thiago Picchi - Carlos
• Buza Ferraz - Marcos
• Dedina Bernardelli - Marília
• Adriana Zattar - Simone
• Andressa Koetz - Enfermeira Sofia
• Franciely Freduzeski - Sarah Chalfon
• Jorge Fernando - Jorge Reyes Borges
• Thalita Ribeiro - Cláudia Selini (Claudinha)
• Ricardo Milano - Eduardo Moreira (Dudu)
• Mauro Jasmin - Juan Cabrón

Trilha Sonora

Malhação Internacional 2007 - Volume 01

1. In The Colors - Ben Harper & The Innocent Criminals
2. Take a Chance - The Magic Numbers
3. Hold On - KT Tunstall (tema de Débora)
4. Nothing But a Song - Tiago Iorc (tema de Angelina e Gustavo)
5. Waiting On The World To Change - John Mayer
6. Class A - Pete Murray (tema de Yasmin e Peralta)
7. Ordinary Day - Dolores O'riordan
8. Without You - Silicon Fly
9. These Arms - Donovan Frankenreiter
10. Talk About You - Eman (tema de Angelina e Bruno)

Malhação Internacional 2007 - Volume 02

1. Who Knew - Pink
2. Beautiful Place - Good Charlotte
3. Light Up The Sky - Yellowcard
4. Little Sister - Mariano San Roman (tema de Domingas e Felipa)
5. Closer - Travis (tema de Chiara e Raiden)
6. Butterfly - Heath Brandon
7. Graffiti - Inmigrantes
8. It's Not Over - Daughtry
9. Fans - Kings of Leon
10. Losing - Zach Ashton (tema geral)
11. Banks of The Deep End - Gov't Mule

E ainda

1. Paraíso proibido - Strike
2. Fugindo de mim - Sideral (tema de Angelina e Guga/Angelina e Bruno)
3. Festa no apê - Latino (tema da Festa do Rei Sol)
4. Olha a barriguinha - Aviões do Forró (tema da Malhareta)
5. Daqui pra frente - Nx Zero
6. Cartas para você - NX Zero
7. Uma música - Fresno
8. Tudo é passageiro - Primadonna
9. O Segundo Sol - Cássia Eller (tema de Angelina, Gustavo, Débora, Bruno e Pedro)
10. Doce Mel - Banda Calypso (tema da Festa do Rei Sol)
11. A Lua que Eu te Dei - Ivete Sangalo (tema da Festa do Rei Sol)
12. Isso me dá um Faniquito - Mariana Rios (tema da Banda Faniquito)
13. Pensa em Mim - Darvin