• Quaderna – A Pedra do Reino -
  • Ser-Tão – A Pedra do Reino -
  • Phantasmagoria – A Pedra do Reino -
  • Ponteio Acutilado – A Pedra do Reino -
  • Toque dos Caboclinhos – A Pedra do Reino -
  • Toque dos Orixás – A Pedra do Reino -
  • Alvorada - A Pedra do Reino
  • Perguntinha Cabulosa - A Pedra do Reino
  • Menina Bonita - A Pedra do Reino
  • Matinas - A Pedra do Reino
  • Mineiro Pau - A Pedra do Reino
  • Coco Verde - A Pedra do Reino
  • Toada do Cavalo - A Pedra do Reino
  • Assentei Praça - A Pedra do Reino
  • Vento Corredor - A Pedra do Reino



The miniseries, written from book O Romance d’A Pedra do Reino e  O Príncipe do Sangue do Vai-e-Volta, by Ariano Suassuna, started with the arrival of a circus troupe to a small town. On its stage-wagon, an old clown, leader of the troupe, open a book and starts representing a memorialistic romance: A Pedra do Reino. The clown is the poet-writer Pedro Dinis Quaderna, the already aged protagonist of the romance who dreamt to be the greatest genius of the race, author of a great literary work expressing the true national identity.

Quaderna grew up in the Sertão listening stories about his ancestry from Don Sebastian, mythical Portuguese king. As an adult, his dream was to recover the prestige of the family by means of literary saga, including in the same work erudite, political and intellectual references, establishing a synthesis, to which he called “regal style”. Influenced by royalty stories and sertão culture where he was raised among singers, poets, merriments and cavalcades, he starts dreaming with a new kingdom. He goes to the A Pedra do Reino and crowns himself king, legit heir of the Sertão and Brazilian throne, and starts the project of his great work.

The narrative develops in three different times and spaces that interact with each other: the moment in which the old clown commands a street spectacle; images where his younger version is arrested and writing his story, which details his memories and ancestors gathered by him to deal with his existential concerns; scenes of the inquiry promoted by the capital’s General Judge, leading to his arrest

Director’s Vision

By Luiz Fernando Carvalho (2007)

“I consider the miniseries A Pedra do Reino an incomplete body divided in five parts. I call this attempt of getting closer to a universe so labyrinthine and charming, such as the one of Ariano Suassuna, of Audiovisual Organism divided in five parts: episode 1 (Soul), episode 2 (torso), episode 3 (head), episode 4 (limbs) and episode 5 (heart).

I do not intend to watch episodes connected to each other as if they were supposed to form a movie, because I am already aware that they will not make a movie – at least a movie that I would be interested in working. It is certain, on the other hand, that I have no plausible explanation whatsoever for this process, in which I feel this experience with the literature of Ariano perfectly translated.

Even after combining those five parts, it would be impossible to form a full body. We would like look upon a mix of organs trying to find their previous lost unit. The composition I sought – sometimes baroque and labyrinthine, sometimes oneiric and satirical – is always circular, sensorial, musical and polyphonic, building a narrative experience at each part. Thus we could present it in any order.


It concerns the most sensorial of all parts, where the composition, mainly in the final sequences, mix times and spaces. In constant evolution, the narrative is intertwined as a spiral, while at the same time it opens a fissure in the theatrical convention proposed up to that point – where the flagstone of the A Pedra do Reino was represented in a large painting in canvas. From that moment, the narrative is developed in a movement of shocks between the representation of the real and the real as seen by us, until reaching the apex of a composition in ecstasy which makes us feel that the spiritual goal of the character was achieved.


It is a sort of connection between the first state of the character, more sensorial and internalized, with this second one, where strengths of the external world are revealed around the hero. Such strengths potentiate his delusions and memories to a temperature capable of creating relations and situations redesigning the very notion of geography, city and territory. Passing of actions and times creates, in our senses, the ‘real fictional world’.

Inside this inaccurate territory full of contradictions lies other characters that eventually appear and reach the space of verisimilitude. Connection is established at the time we believe in the truth of this reality introduced to us by Quaderna – an external imaginary as or even more credible than the truth of this internal world in the first episode.


It marks the rational and epic beginning (in the Brechtian sense of the word) between Quaderna and the General Judge. The dynamics of the third episode creates this space where ideas start to be thrown and antagonized. The whole philosophical and aesthetic project of Quaderna is developed from the interrogation scenario. This is the space were phantasy seems to change language: the vocabulary of phantasy is transferred from images produced by the camera to the pure imaginary, which appears now, in the words of the character, as a primordial image. This primordial image, which is born along this adventure of the oral language, counts on the complicity of all other characters. Arranged in bleachers, they surround the space of the interrogatory as in a fair, the population envelopes the storyteller as a tribe around its Shaman.

This crate-like stage, without any conventional glamorization, is the site where this entire oral saga takes place and where I propose a more conscious participation of the viewer. In addition to the rational machination between both visions of the world, the audience watches the construction and deconstruction of the scenario, which moves lifted by wires and pulleys. At the same time, the narrative and its language seems to offer the spectator a place among the other characters, creating the possibility of acting in the tenuous relation between fiction and reality, dream and life.


Structure is shaped by short stories. At this point, the strength of the oral narrative has contaminated the whole language and, little by little, has introduced several short stories into the main plot.

Such stories are self-defined by their critical and usually sarcastic view of life and men. These are the limbs that help Quaderna to answer the most complex matters inquired by the General Judge. The limb-based structure is in line with the narrative of Quaderna as much as the stories are in line with literature. Quaderna goes through such fragments as he sees fit, introducing passages that help him to continue with his epic narrative and then, reach the purpose of writing his great masterpiece.


I am not going to start by the idea of end, as such romantic idea fails to dialogue with the new outcomes written by Ariano Suassuna. The narrative remains as an open fable, constantly appointing several end senses, which seems to me connected to the Myth of the Eternal restart, of the Immortality. The fifth episode tells the absolute contradiction of the character Arésio, as well as of Quaderna himself who, from the new outcome written by Ariano Suassuna, also happens to confess his works and scars before Margarida.

Arésio, despite the fact he spends the whole story defending his irascible point of view, which is solely bound to his bloodline issues (in complete antagonism to the matter of the spirit claimed by the revolutionary poet Adalberto Coura), ends up beaten by his own sanguineous obsessions, that is, his heart. Arésio is a savage that loves. Perhaps the one who loved the most was the King, his father, contrary to what everyone imagined. He loved in secrecy, for years, the current bride of Adalberto Coura, Maria Inominata. And it is before him that she is stolen in a gest that combines in one motion, violence and passion. It is an epilogue made of violated affections, a sort of heart hunger.

About filming in the Sertão

To be in the Sertão was fundamental to prepare the whole thing. The territory is the seed. It is like entering a space of ancestry. Not only of the author, Ariano, but also of the actors, who are all from the Northeast region. I walked the reverse way from the folklore idea, even from regionalism. There is no regionalism, only the Sertão. At the same time, this Sertão has deep relations with the Iberian Peninsula, with Spain, Cervantes, Garcia Lorca, Mediterranean and with the Arabian world. Sertão is a world in itself, a state of the soul that does not depend necessarily on geography.

The Romance, in an epic manner, both satirical and tragic, narrates the struggle against death and victory of creation against darkness. Finally, the victory of art and life against human darkness. Both Ariano, who fought against the death of the father when he wrote, and Quaderna, protagonist of the romance, who claims his World and his God. Thus, together, creator and creature build a new world. The text is, from a point of view, a political and revolutionary metaphor. It is emblematic, deeply rooted, and which, in one motion, gathers reflections, emotions and laughter much needed by the country. It concerns a vertiginous book, a sort of alchemical and fabulous version of Brazil and men: sometimes comic, sometimes tragic – and thus more current than ever.

I refuse the idea of an adaptation. It seems a reduction idea to me, always. In the best moments, whether working for TV or cinema, it seems I have reached a sort of answer to texts, or, as I feel it, a dialogue, a creative reaction to literature. When transposing images, I clung to the “between-the-lines” of the text itself, where there is a good dose of alchemy urging all that.

I asked Braulio and Abreu to create a dialogue with the circularity of the book, which is fully divided into booklets that go back and forth in time”

Writer's Vision

By Ariano Suassuna (2008)

“The recreation envisioned by Luiz Fernando Carvalho of my ‘Romance d’A Pedra do Reino’ resulted in an extraordinarily beautiful work that stirred emotions in me as an author and an individual, as a viewer. I think that, as a great artist he is, he managed to fully capture the spirit of the romance and my universe as a writer, taking care of each scene as if they were frames and calling on the assistance, in order to choose such frames, of some of the Masters, more often than not from the Baroque, which as I see it, are more harmonic when detailing Brazil and our great People.

All characters with which I have dreamed of – Quaderna, Heliana, Sinésio, Pedro Cego, Safira, Arésio etc. – are there; Quaderna was even treated with due care and sympathy he always deserved, at least in my intentions: an old Clown that in the end Luiz Fernando Carvalho masterfully managed to show the touching face of the King, by means of a sonnet that, amidst all from Vida Nova Brasileira is the one that truly expresses my world and my persona. In other words: showing Quaderna as a Clown/King, Luiz Fernando Carvalho elevated him to the condition of insignia of any human being, of anytime, anywhere in the World.

I can say that he exceed everything I expected, and his work is an artistic success that, in my opinion, outperformed any other broadcasted by our television until now. He surpassed even his previous works and I am not afraid to affirm that the reason behind all such beauty lies beyond the romance he used as a starting point. And if the reception of ‘A Pedra do Reino’ does not match his success, this is only due to the fact the work of Luiz Fernando Carvalho is ahead of our time – due to his boldness, courage, beauty and innovative language that – as in all major work of art – it represents and imposes.”

Actor's Vision

By Irandhir Santos (2007)

“In my second meeting with Luiz, he simply looked at me and said: “Quaderna is yours’. It was just like that. I spent the next ten minutes in silence, looking at him, who I could swear he was holding his laughter, having fun with the image in front of him, shocked. He asked: ‘Did I fail to mention that to you earlier?’. I replied: ‘You did’. The he laughed and made a gesture, the first a corporal one, that I have to confess, I kept for myself to use when playing Quaderna. He looked to me over his shoulder, stretching his neck, then I saw there Quaderna was getting near. How come he does such a thing to me, all of a sudden: ‘He is yours’? Something only Quaderna would do. I got my very first inspiration for the character thanks to that moment.

The starting point of Quaderna, for me, was an interrogation mark. When I read Quaderna, I saw this seeker questioning everything, because he wanted to know things further. Then this was the first drawing I made of Quaderna on paper. And that I carried that same interrogation mark on to the body of the character. That is the reason why he as a body drawn with the spine. From the point on, with the help of Tiche Viana, Ricardo Blat, direct and clear instructions of Luiz Fernando Carvalho and conversation we had with Ariano Suassuna and with Carlos Byington clarifying fundamental things in the enigmatic and unconscious fields, additional things were added. As the rhythm of Quaderna, which changes constantly – sometimes it is a hurricane, sometimes it is a breeze. Quaderna was built collectively, with so much help around him, but always from that wandering interrogation mark.

I see Quaderna as a great seeker, a man that is in search of the full being that we once were one day in the presence of God. He goes after that dream by searching for his roots. The path he does up to its enchanted stone considers the roots of his family, his blood, his land, his region, his ancestors.

The voice of Quaderna was a discovery in one of the exercises of Tiche Viana. She challenged us to find an animal that represented our character. The first animal that came to my mind was the Louro, as we call it here in the Northeast, and that most people known as parrot. The talking animal. Quaderna is a talking person. It was based on the Louro that I started playing with the voice of the animal and then I came up with this voice for Quaderna, who was capable of saying nice and sweet words, but equally ferocious and mad if needed”



The miniseries A Pedra do Reino features two albums mixing regional, Iberian, Arabian, Indian, gypsy and indigenous styles. One of them is a double disc, only with instrumental tracks composed by Marco Antônio Guimarães, member of the band Uakti, and Antônio Madureira, musical pupil of the armorial aesthetics founded by Ariano Suassuna and conductor and arranger of Quinteto Armorial e Romançal, which take part and interpret the songs of the show.

The second album presents the musical research of Luiz Fernando Carvalho, which was edited by the director himself in order to reveal the path of the sound research. The record includes songs from regional artists, some of them members of the cast, such as Renata Rosa, Siba and Mestre Salustiano.

Disco 1 

1 – Quaderna (tema de abertura)
2 – Canto Gregoriano
3 – SER-Tão
4 – Taperoá
5 – Maria Safira
6 – Colibrí
7 – Circorama
8 – Phantasmagoria
9 – Transfigurada
10 – Medieval
11 – Onça Caetana
12 – Pedra do Reino
13 – Viginal
14 – Catituo com Cascavel
15 – Silvestre

Disco 2 

1 – Revoada – Quinteto Armorial
2 – Romance da Bela Infanta – Quinteto Amorial
3 – Mourão – Quinteto Armorial
4 – Ponteio Acutilado – Quinteto Armorial
5 – Toré – Quinteto Armorial
6 – Rasga – Quinteto Armorial
7 – Toque dos Caboclinhos – Quinteto Armorial
8 – Entremeio para uma rabeca e percussão – Quinteto Armorial
9 – Lancinante – Quinteto Armorial
10 – Xincuan – Quinteto Armorial
11 – Cantiga – Quinteto Armorial
12 – Toque dos Encantados – Quinteto Armorial
13 – Toque dos Degradados – Quinteto Armorial
14 – Toque dos Orixás – Quarteto Ramançal

The album that introduces the musical research of director Luiz Fernando Carvalho has in its cover the picture of the matrix from a xylograph by artist J. Borges, given by him to Luiz Fernando Carvalho during a visit of the director to the atelier – the carving also inspired the design of the series opening as well as the DVD material. The CD also includes the following statement from the director: “A sort of compilation that is very particular and that, in a way, rules my own finding that the reading made on the Northeast region gas been full of clichés. This small set reveals musical manifestations that marked me from the time of research for A Pedra do Reino up to the meeting with local musicians – which, to my joy, brilliantly joined me as actors.”

Fazenda Acauã

By Luiz Fernando Carvalho


ABC Award

Best Photography Direction – Adrian Teijido and José Tadeu Ribeiro


Critical Fortune

17, Jun — 2007

A Pedra do Reino and the ineffable quality

  • Bia Abramo
  • Folha de S.Paulo

“Beyond all references and crossovers, Luiz Fernando Carvalho establishes himself as an original director, capable of creating images of enormous beauty and of making viewers to leave their comfort zone and safety.”

Leia Mais

A Pedra do Reino: Opera mundi of Luiz Fernando Carvalho

  • Ilana Felman
  • Cinética

“The three instances that form the A Pedra do Reino (the armorial shape of the romance, the epic desire and the “regal style” of Quaderna and the hybrid language, as well as armorial, baroque and regal of the show) are combined in an absolute coherence, as if the opera mundi of Luiz Fernando Carvalho led to the limit of radicalism the aesthetic project proposed and developed by Ariano Suassuna.”

Leia Mais

10, Jun — 2007

Sertão’s opera

  • Esther Hamburger
  • Folha de S.Paulo

“The texture of the work results in an exchange of repertoires between local artists and artisans and professionals from the big city. This multiple interlocution, under the searing heat of the northeast sertão, exudes and gives strength to the final product. The complex interaction caused a profusion of strong emotions that are translated to the screen.”

Leia Mais

6, Jun — 2007

Triumph of the imagination

  • Ricardo Calil
  • IG

A Pedra do Reino follows the same logic of dreams, with visual deliriums of intense brightness and time ellipsis, with spatial disorientations and suspended senses – which leads to an enthralling and imperfect result, but never dull or trivial.”

Leia Mais

6, May — 2007

When verb becomes image

  • Sylvie Debs

“The viewer will be not only literary mesmerized, but also amazed, transported to a true state of trance.”

17, Jun — 2007

Spectacle to the eyes

  • Rose Esquinazi
  • Jornal do Brasil

“What is worth mentioning here is the prestige, quality, boldness and transformation of TV, despite the eventual flaws in the execution of the work. First, the quality of the initial scene (…) is so impacting that it deserves an award of its own.”

24, Aug — 2007

The second life of Pedro Quaderna

  • Luiz Carlos Merten
  • O Estado de S.Paulo

“Carvalho is an author like no other. It is very common of critics to say his work to TV is cinematographic. People say that as a compliment, but Carvalho will never fall for that. He is not sure if A Pedra do Reino is television, cinema, theater, opera or even literature, as its origin is an admirably written text.”

Leia Mais

12, Jun — 2007

A Pedra do Reino leads to the discussion about the real Brazil

  • Luiz Carlos Merten
  • O Estado de S.Paulo

“To smarten up in necessary. Luiz Fernando Carvalho proposes more than just a baroque spectacle for eyes and ears. There is a consistent political discussion in A Pedra do Reino in which the fictitious Brazil of Ariano Suassuna has everything to do with the real Brazil.”

Leia Mais

10, Jun — 2007

A work with a very personal mark

  • Patricia Kogut
  • O Globo

“The rigor that drives Carvalho to take chances in directions different from those already adopted by television makes him a true creator, founder of a language.”

19, Jun — 2007


  • Rafael Cariello e Sylvia Colombo
  • Folha de S.Paulo

“Despite the hype of the critics, the show A Pedra do Reino was considered a flop and caused reactions about its hermeticism.”

Leia Mais

11, Jun — 2007

Holy water in the saliva

  • Alexandre Werneck
  • Jornal do Brasil

“Religious metaphors are spread across the entire work of Suassuna. These and others. But what really attracts our attention in this A Pedra do Reino directed by Luiz Fernando Carvalho is how liturgy is the center of actions. Suassuna by Carvalho is yelling. And it yells because the center of the director’s work is the word. More than that, the religious cult worshipping the word.”

19, Jun — 2007

Revolution to drive off the masses

  • Marcos Augusto Gonçalves
  • Folha de S.Paulo

“Once hegemonic, the aesthetic and cultural vision of Suassuna would turn us in a picturesque reliquary in the dawn of the 21st century”

6, Sep — 2007

Images to the letter

  • Roger Lerina
  • Zero Hora

“Carvalho produced a sophisticated work that invites the public to attentive readings, in order to reach that sertão that exists inside each one of those spoken by writer Guimarães Rosa.”

16, Jun — 2007

Art under the redeeming effect of the word

  • Rodrigo Fonseca
  • O Globo

“Quaderna made noise, confirming the thesis defended by Suassuna in the spectacle-class he presented, last Sunday, in the Municipal Theater: ‘The dog enjoys the bone only because he never tasted a steak before. Offer culture to the people to see if they are going to refuse it’. (…) His performance (Jackson Costa) synthetizes the project of Carvalho: the denial of the obvious. The steak in the place of the bone.”

Leia Mais


Principais notícias

15, Oct — 2007

In the kingdom of Suassuna

  • Patricia Kogut

“Considered the founder of a language, an original artist, Carvalho bets on the artisanal creation in lieu of the industrial rhythm that usually characterizes the work on television. (…) The role of the protagonist, Quaderna, shall fall upon Irandhir Santos, young actor and professor of performing arts in Recife that never made TV works before.”

17, Dec — 2006

Sertão is the “seed” of “A Pedra do Reino”

  • Esther Hamburger

“Following the tracks of To the Left of the Father and Today is Maria’s Day, Carvalho is proposing visual innovative solutions based on literary texts adapted in partnership with Luís Alberto de Abreu.”

Leia Mais

1, May — 2007

The salvation of TV?

  • Cristiane Lisbôa

A Pedra do Reino “now is cinema, TV, beauty and – why not? – the zero milestone in a new manner of thinking and making television in the country.”

1, May — 2007

TV can teach indeed

  • Rogério Pacheco Jordão

Luiz Fernando Carvalho: “Education occurs by means of the position of a camera, emotion of a light, by means of the details of a costume, cutting of a fabric, texture, balance of colors, musicality of speeches, beauty of a text. This is all education.”

29, Nov — 2006

Mythical northeast and the kingdom of the essential stone

  • Flávia Guerra
  • O Estado de S.Paulo

“The archeologist in charge of bringing to light this seminal work is the director Luiz Fernando Carvalho.”

Leia Mais

10, Jun — 2007

Brazilian hero

  • Claudia Amorim

“A Pedra do Reino, classic written by Ariano Suassuna – known for exalting the value of the Sertão’s culture – that was adapted to TV by Luiz Fernando Carvalho, a director concerned in showing the quality hidden in the inlands of the country and unhappy with the waste of talents that are kept away from the spotlights.”

6, Jun — 2007

By Ariano Suassuna (80)

  • Eliane Lobato

“I acknowledge this major recognition to medias such as cinema and television.  Luiz Fernando Carvalho introduced me to TV and all of I sudden I started to be recognized again as a writer.”

16, Dec — 2006

Her name is Mayana Neiva

  • Flávia Guerra
  • O Estado de S.Paulo

“It is the dream of a lifetime to work with Luiz Fernando”, says the actress of 23 years old who moved to Sao Paolo to join the Workshop of Antunes Filho. (…) “The show will cause a major impact. We are going to rediscover Brazil.”

12, Jun — 2007

Today is Quaderna’s day

  • Luiz Carlos Merten
  • O Estado de S.Paulo

“Luiz Fernando Carvalho: “Luchino Visconti is my master and there are two quotes for him in Stone.”

3, Jun — 2007

The meeting of a sertão’s hero

  • Claudia Sarmento e Simone Mousse
  • O Globo

“From Pernambuco, 28 years old, not known by the audience, Irandhir Santos is the protagonist of the miniseries directed by Luiz Fernando Carvalho, a daring project that deviates from the traditional standards of television drama.”

15, Oct — 2006

Arts and Logistics in A Pedra do Reino

  • Luciana Veras

“Miniseries production based on the works of Ariano Suassuna turns the city into a huge creation laboratory.”

7, Jun — 2007

It is television

  • Claudia Sarmento
  • O Globo

“On TV, the audience will watch a story that drifts away from the features of a classic television drama, without start, middle and end and with each episode functioning independent from each other. More than one hundred people lived for three months in Taperoá (…) to retell the story of Quaderna.”

9, Nov — 2006

The Unexplored Quadrant

  • Rose Esquenazi
  • Jornal do Brasil

“Production is part of the Quadrant project, which will be carried out twice a year in several states with the purpose of qualifying professionals in areas such as art direction, costume designer, scenography and interpretation.”

10, Jun — 2007

A lyrical caravan

  • Claudia Sarmento
  • O Globo

“The three artists from the Northeast, more than just being local talents not known in the axis Rio-Sao Paolo, have in common the fact they are debuting on TV.”

10, Jun — 2007

Carvalho promotes chaos on TV

  • Sylvia Colombo
  • Folha de S.Paulo

Luiz Fernando Carvalho: “My way of filming A Pedra do Reino does not diminish TV or exalt the cinema, but still it is not a slave of any artificial language. I want to be free of the industrial weight that turns all it touches into an anodyne reading of beings and life.”

9, Jun — 2007

Ariano, 80

  • Mànya Millen
  • O Globo

Special newspaper section Prosa e Verso (Prose and Verse) pays tribute to the 80 years of Ariano Suassuna and interviews the writer, texts from Patricia Kogut and Claudia Sarmento on the show, articles from José Castelo and screenwriter, Bráulio Tavares (author of book O ABC de Ariano).

11, Apr — 2007

Now is the time to affirm our identity

  • Bráulio Tavares
  • Jornal do Brasil

Ariano Suassuna: “I was felt I had an obligation with the Brazilian people. It may seem the people cared less about it…but I always had a big political and social concern.”

20, May — 2007

Ariano at 80

  • Cristina Maia
  • A Cidade

Ariano Suassuna: “If we are to follow the rules of reason, we will not move. Simply because it is normal for us to relax and accommodate, and if we have no dream to propel us up and away, we will not move (…) Dreaming is vital.”

1, Jun — 2007

Medieval spectacle on TV

  • Homero Fonseca
  • Continente Multicultural

“Luiz Fernando Carvalho is perhaps the most intellectually ambitious director on Brazilian TV. An experimenter and restless, he had the full support and trust of Ariano, whose previous works Uma Mulher Vestida de Sol (1994) and A Farsa da Boa Preguiça (1995) made to TV thanks to Carvalho.”

28, Oct — 2006

Rose of the Sertão

  • Patricia Kogut
  • O Globo

“Renata Rosa, rebec player, will become an actress in the show directed by Luiz Fernando Carvalho.”

16, Oct — 2006

Preparation of actors is intense

  • Olivia Mindêlo
  • Jornal do Commercio

“For a whole month, the cast have lived a rigorous preparation process inside a warehouse previously used to store cotton. In this third and last day of reportage (…) we are going to emphasize how rehearsals, exercises, improvisations and even dance classes must will make a difference in the adaptation of Carvalho.”

16, Oct — 2006

I will hold myself to the between-the-lines

  • Olivia Mêndelo e Diana Moura Barbosa
  • Jornal do Commercio

Luiz Fernando Carvalho: “(A Pedra do Reino) concerns a vertiginous book, a sort of alchemical and fabulous vision of Brazil and men: sometimes comic, sometimes tragic.”

20, Jan — 2007

Today is Luciana’s day

  • Claudia Sarmento
  • O Globo

“In a house borrowed by the City Department of Health, in the isolated city of Taperoá, 22 individuals led by costume designer Luciana Buarque turn rustic fabric into dream clothes and can into jewels.”

16, Oct — 2006

The imaginary kingdom of Taperoá

  • Olivia Mindêlo
  • Jornal do Commercio

“Change of routine has happened by the power Globo has to change anything it touches, but mainly due to the philosophy of the director of the show, Luiz Fernando Carvalho, who decided to value the local talent and effort to execute its third adaptation to television of work based on Suassuna.”

24, Dec — 2006

Sertão on TV and in life

  • Jornal do Commercio

“Under the heating sun of Taperoá (Cariri, Paraíba), two individuals from Pernambuco donning a heavy medieval-regionalist piece in armorial aesthetic style seem to be completely comfortable.”

23, Oct — 2006

The new Taperoá

  • Luiz Joaquim
  • Folha de Pernambuco

“For four weeks, Taperoá not only observers but also joins the transformation underwent by the city”

10, Jun — 2007

Artisanal TV

  • Renato Gallo
  • O Estado de S.Paulo

“‘When I see this recreation Luiz is preparing, it even looks good enough, as if!’, says, joking, the writer  Ariano Suassuna in a visit to the filming of the show A Pedra do Reino. The author not only gave the approval to the director but also presented him 52 pages handwritten with new outcomes for some of the characters.”

23, Dec — 2006

House is going to shelter the work of Ariano Suassuna

  • Esdras Marchezan

“The Government of the State of Paraíba, Roberto Marinho Foundation and the City Hall signed yesterday a protocol of intentions ensuring the opening of the Ariano Suassuna Culture Center”

9, Jun — 2007

Enchanted Sertão

  • Marcio Rodrigo

Luiz Fernando Carvalho: “I created the Quadrant Project with the intention of fostering a new dramaturgy. (…) The Quadrant represents, more than just an isolated and solitary manner, an evolution in the way to produce and think, in artistic terms, the television.”

17, Oct — 2006

A politically correct production

  • Olivia Mindêlo
  • Jornal do Commercio

“The political of social insertion of the Quadrant Project, which is taking advantage of local talent to work on different cores and ateliers of the show, is one of the differentials of the initiative directed by Luiz Fernando Carvalho.”

12, Nov — 2006

Education through senses

  • Soraya Belusi

“(The Quadrant) is a model of communication and education, where ethics and aesthetics walk together. I am proposing by means of adaptation of literary texts a reflection of the country”, says Luiz Fernando Carvalho.

25, Oct — 2006

News from Taperoá

  • Carlota Cafiero

“To call the new production of Carvalho a ‘work’ makes sense, mostly because he does not relate to TV in a commercial manner. The director gives a careful treatment to each detail of its creations, as we could see in the costumes, make-ups, scenarios, music, photography and performance.”

19, Aug — 2007

Carapuça? Cleverness? Humor? Anthropophagy?

  • Patricia Kogut
  • O Globo

“Luiz Fernando Carvalho was the idealizer of this release poster for the show in high-resolution digital cinema rooms. Luiz used adjectives such as ‘failure’ and ‘incomprehensible’ used by critics”

6, May — 2006

Art collector

  • Elizabeth Antunes
  • O Globo

“Art director of A Pedra do Reino, Raimundo Rodriguez told us not even garbage – his main raw material – he disputes with others. His garbage, which was turned into magnificent horses of Today is Maria’s Day, has to be exclusive.”

10, Jun — 2007

A Pedra do Reino reveals the enchanted universe of Ariano Suassuna

  • Carla Meneghini

“Look at this richness, our country is being wasted”, says director Luiz Fernando Carvalho at the inauguration this Sunday, in Rio de Janeiro, the mega-exhibition A Pedra do Reino, which reveals the filming backstage of the show”

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11, Jun — 2007

Ariano Suassuna is touched by the release of the show ‘A Pedra do Reino’

  • EGO

“Along with the show it was inaugurated an exhibition with the same name, revealing the creative process of the project directed by Luiz Fernando Carvalho.”

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Academic Studies

Poetic translations: The Romance A Pedra do Reino and the Prince of the Come-and-Go Blood and the television shows

  • Acir Dias da Silva Deise Ellen Piatti
  • USP
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Creative processes in the Brazilian television – The importance of the proposal of Luiz Fernando Carvalho in the Brazilian television

  • Paula Salazar
  • PUC-SP
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The figurative reading of the Armorial Movement from the meaning of the intro of A Pedra do Reino (2007)

  • Maria de Lourdes Ortiz Gandini Baldan e Cristiane Passafaro Guzzi
  • Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual
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Writing networks: narrative confluences in process books of A Pedra do Reino, miniseries of Luiz Fernando Carvalho

  • Tailze Melo Ferreira
  • UFMG
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A Pedra do Reino: an analysis of procedures to adapt the romance into a miniseries and dialogues with other discursive genres

  • Fernanda Cristina Araújo Batista
  • Universidade Mackenzie
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A new look upon television drama: A Pedra do Reino: a television dialogue by Luiz Fernando de Carvalho (06/12/07 to 06/16/07)

  • Fernanda Areias de Oliveira
  • Universidade Mackenzie
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And from TV cinema, theater and painting were made: the educative aesthetic of Luiz Fernando Carvalho and other stories

  • Michelle dos Santos
  • III Congresso Internacional de História da UFG/ Jataí: História e Diversidade Cultural.
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Perspectives of a future literature-television partnership in A Pedra do Reino of Luiz Fernando Carvalho

  • PUC-Rio
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Tele-(re)writing: a trip through the Northeast imaginary in Ariano Suassuna and Luiz Fernando Carvalho

  • Emanuella Leite Rodrigues de Moraes
  • UFBA
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A Pedra do Reino and Poetic-translation

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Cinema and theater: mythical motion and space-time re-signification in the show A Pedra do Reino

  • Yuri de Andrade Magalhães
  • Unifap
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Stories of Sertão by Luiz Fernando Carvalho: aesthetics, narrative and education

  • Fabiana Gomes de Souza
  • Universidade Estadual de Goiás
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From literature to television: dialogue (re)creations in A Pedra do Reino

  • Marinyze Prates de Oliveira Emanuella Leite Rodrigues de Moraes
  • UFPB
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A Pedra do Reino: transformation procedures of the adaptation from romance to miniseries

  • Fernanda Cristina Araújo Batista
  • Universidade Mackenzie
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The decoding come-and-go of the transposition of Romance A Pedra do Reino from literary to television narrative

  • Renato França
  • UFSC
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Scenes of a book: transposition of parts from romance A Pedra do Reino to television

  • Julius Nunes
  • UniAndrade
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Quaderna: a character in literature and television

  • Érica Renata Gonçalves
  • Universidade Metodista de São Paulo
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Armorial aesthetic in the show A Pedra do Reino

  • Jane Aparecida Marques
  • Poéticas visuais
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A Pedra do Reino: Audiovisual epic romance Characters and costumes

  • PUC-SP
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Literature of Ariano Suassuna on TV: a study of aesthetic formation

  • Rosa Maria Bueno Fischer
  • Universidade Federal do Rio Grande do Sul
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Starring Irandhir Santos, Abdias Campos, Alyyne Pereira, Américo Oliveira, Anthero Montenegro, Beatriz Lelis, Claudete Andrade, Everaldo Pontes, Flávio Rocha, Germano Haiut, Hilda Torres, Iziane Mascarenhas, João Ferreira, Jones Melo, Julio Rocha, Jyokonda Rocha, Lázaro Machado, Manoel Constantino, Marcio Tadeu, Mayana Neiva, Mestre Salustiano, Milene Ramalho, Moisés Gonçalves, Nelson Lima, Nill de Pádua, Paulo César Ferreira, Pedro Henrique, pedro Salustiano, Prazeres Barbosa, Sandra Bele, SErvílio de Holanda, Soia Lira, Tavinho Teixeira, Tay Lopez, Frank Menezes and Jackyson Costa Guest Stars Cacá Carvalho, Jessier Quirino, Luiz Carlos Vasconcelos, Marcélia Cartaxo and Renata Rosa Children Felipe Rodrigues, Jéssica Araújo and Vanderson Taveira Original Soundtrack Marco Antônio Guimarães (Uakti) Additional Soundtrack Antonio Madureira Based on the Book of Ariano Suassuna Written by Bráulio Tavares, Luís Alberto de Abreu and Luiz Fernando Carvalho with the Collaboration of Edna Palatnik Executive Production (Academia de Filmes) Maria Clara Fernandez and Paulo Schmidt Production Direction (Urso Filmes) Alcir Lacerda General Direction Department Carla Madeira Direction Assistance Manuel Dantas Vilar Suassuna and Raquel Couto Cast Production Manoel Constantino  Cast Preparation Ricardo Blat Body Preparation Tiche Viana e Lúcia Cordeiro Vocal Preparation Fátima França Costume Designer Luciana Buarque Characterization Supervision Vavá Torres Scenography Irênio Art Direction Raimundo Rodriguez Art Production Ricardo Cerqueira Mamulengo Puppet Performer Master Zé Lopes Plastic Artists Carlos Fernandes Soares, Dittoluz, Evaldo Ezequiel (Bado), Hemerson Cavalcante de Souza, João Joaquim da Silva, José Arimatéia de Oliveira, Manuel Dantas Vilar Suassuna (painting of the panel of A Pedra do Reino), Maritônio Sousa Portela, Julio Alexandre da Silva Neto (plastic artist assistant) Lecturers Fernanda Montenegro, Carlos Byington, Maria Helena Guerra, Instituto Ricardo Brennand (Joana D´Arc and staff) Edited by Marcio Hashimoto, Pedro Duran, Renato Briano General Post-Production Coordination (Academia de Filmes) Maria Clara Fernandes Photography Direction Adrian Teijido and José Tadeu Ribeiro  Camera Azevedo Directed by Luiz Fernando Carvalho