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Sonhos Pesados
Um homem misterioso duvida de sua própria identidade, temendo ser apenas a personificação de um sonho. Três ladrões planejam roubar o tesouro que um ancião esconde em sua casa. Um velho comerciante se encontra com uma mulher que chora desconsoladamente. Sr. Enfield, amigo de Dr. Jekyll, relembra um encontro perturbador com o Sr. Hyde. E em um bairro de Londres, um homem com medo de perder seus bens mais preciosos deve enfrentar uma situação extrema. Em 1981 e em plena maturidade criativa, Alberto Breccia desenvolveu versões livres de clássicos literários como A Última Visita do Cavalheiro Doente, O Terrível Ancião, Mujina, O Médico e o Monstro e A Noite de Camberwell. Com a colaboração do roteirista Norberto Buscaglia em três dessas histórias, o artista uruguaio ofereceu sua particular interpretação dos imaginários de Giovanni Papini, H.P. Lovecraft, Lafcadio Hearn, Robert Louis Stevenson e Jean Ray através de uma coleção de adaptações literárias nas quais o talento de Breccia brilha em todo o seu esplendor. A edição tem acabamento de luxo, com formato grande, capa dura com verniz localizado, 64 páginas em cores, impressas em papel offset de alta gramatura, além de um marcador de páginas exclusivo.
64 pages, Hardcover
First published January 1, 2003
1 person is currently reading
53 people want to read
About the author
Alberto Breccia
99 books77 followersBorn in Montevideo, Uruguay, Breccia moved with his parents to Buenos Aires, Argentina when he was three years old. After leaving school, Breccia worked in a tripe packing plant and in 1938 he got a job for the magazine El Resero, where he wrote articles and drew the covers.
He began to work professionally in 1939, when he joined the publishing house Manuel Láinez. He worked on magazines such as Tit-Bits, Rataplán and El Gorrión where he created comic strips such as Mariquita Terremoto, Kid Río Grande, El Vengador (based on a popular novel), and other adaptations.
During the 1950s he became an "honorary" member of the "Group of Venice" that consisted of expatriate Italian artists such as Hugo Pratt, Ido Pavone, Horacio Lalia, Faustinelli and Ongaro. Other honorary members were Francisco Solano López, Carlo Cruz and Arturo Perez del Castillo. With Hugo Pratt, he started the Pan-American School of Art in Buenos Aires. In 1957 he joined publisher Editorial Frontera, under the direction of Héctor Germán Oesterheld, where he created several Ernie Pike stories. In 1958 Breccia's series Sherlock Time ran in the comic magazine Hora Cero Extra, with scripts by Oesterheld.
Breccia and Oesterheld collaborated to produce one of the most important comic strips in history, Mort Cinder, in 1962. The face of the immortal Cinder is modeled after Breccia's assistant, Horacio Lalia, and the appearance of his companion, the antique dealer Ezra Winston, is actually Breccia's own. Cinder and Winston's strip began on July 26, 1962, in issue Nº 714 of Misterix magazine, and ran until 1964 .
In 1968 Breccia was joined by his son, Enrique, in a project to draw the comic biography of Che, the life of Che Guevara, again with a script provided by Oesterheld. This comic book is considered the chief cause behind Oesterheld's disappearance.
In 1969 Oesterheld rewrote the script of El Eternauta, for the Argentinian magazine Gente. Breccia drew the story with a decidedly experimental style, resorting to diverse techniques. The resulting work was anything but conventional and moving away from the commercial. Breccia refused to modify its style, which added to the tone of the script, and was much different from Francisco Solano López original.
During the seventies, Breccia makes major graphic innovations in black and white and color with series like Un tal Daneri and Chi ha paura delle fiabe?, written by Carlos Trillo. On the last one, a satire based on Brothers Grimm's tales, he plays with texture, mixing collage, acrylic and watercolor.
Other stories include: Cthulhu Mythos, Buscavidas (text by Carlos Trillo), a Historia grafica del Chile and Perramus, inspired by the work of the poet Juan Sasturain a pamphlet against the dictatorship in Argentina. Breccia died in Buenos Aires in 1993.
He began to work professionally in 1939, when he joined the publishing house Manuel Láinez. He worked on magazines such as Tit-Bits, Rataplán and El Gorrión where he created comic strips such as Mariquita Terremoto, Kid Río Grande, El Vengador (based on a popular novel), and other adaptations.
During the 1950s he became an "honorary" member of the "Group of Venice" that consisted of expatriate Italian artists such as Hugo Pratt, Ido Pavone, Horacio Lalia, Faustinelli and Ongaro. Other honorary members were Francisco Solano López, Carlo Cruz and Arturo Perez del Castillo. With Hugo Pratt, he started the Pan-American School of Art in Buenos Aires. In 1957 he joined publisher Editorial Frontera, under the direction of Héctor Germán Oesterheld, where he created several Ernie Pike stories. In 1958 Breccia's series Sherlock Time ran in the comic magazine Hora Cero Extra, with scripts by Oesterheld.
Breccia and Oesterheld collaborated to produce one of the most important comic strips in history, Mort Cinder, in 1962. The face of the immortal Cinder is modeled after Breccia's assistant, Horacio Lalia, and the appearance of his companion, the antique dealer Ezra Winston, is actually Breccia's own. Cinder and Winston's strip began on July 26, 1962, in issue Nº 714 of Misterix magazine, and ran until 1964 .
In 1968 Breccia was joined by his son, Enrique, in a project to draw the comic biography of Che, the life of Che Guevara, again with a script provided by Oesterheld. This comic book is considered the chief cause behind Oesterheld's disappearance.
In 1969 Oesterheld rewrote the script of El Eternauta, for the Argentinian magazine Gente. Breccia drew the story with a decidedly experimental style, resorting to diverse techniques. The resulting work was anything but conventional and moving away from the commercial. Breccia refused to modify its style, which added to the tone of the script, and was much different from Francisco Solano López original.
During the seventies, Breccia makes major graphic innovations in black and white and color with series like Un tal Daneri and Chi ha paura delle fiabe?, written by Carlos Trillo. On the last one, a satire based on Brothers Grimm's tales, he plays with texture, mixing collage, acrylic and watercolor.
Other stories include: Cthulhu Mythos, Buscavidas (text by Carlos Trillo), a Historia grafica del Chile and Perramus, inspired by the work of the poet Juan Sasturain a pamphlet against the dictatorship in Argentina. Breccia died in Buenos Aires in 1993.
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Displaying 1 - 10 of 10 reviews
August 4, 2020
Más que Sueños pesados, Sueños cumplidos.
March 11, 2022
Más adaptaciones (o mejor dicho, reescrituras) extrañas y salvajes de cuentos de terror, en este caso de clásicos como Jekyll y Hyde, Lovecraft, Jean Ray y Papini... Cuentos clásicos retorcidos bajo la pluma perversa y frenética de Breccia
August 11, 2023
Un volume importante nella produzione del maestro argentino. La sua rilevanza è data dall’uso del colore (nel caso specifico si tratta di acrilici) rende ancora più estrema la tensione già evidenziata dalla struttura della tavola.
È interessante notare come ogni racconto possegga una propria tavolozza di colori e come questa tavolozza lo "segni" profondamente (i blu di "Mujina", i rossi de "L'uomo e la bestia"). Ed è impossibile non rimanere impressionati dal rapporto quasi "fisico" con il colore, estremamente "materico" in ogni immagine.
Pur praticando da tempo la pittura, in parallelo alla sua attività di disegnatore, Breccia ha scelto piuttosto tardivamente di servirsene nel fumetto. Qui, dunque, speri-menta, affina un linguaggio che caratterizzerà parte della sua opera, dalle prime esperienze di “Chi ha paura delle fiabe?” fino al terminale espressivo del “Dracula”.
Le pagine qui raccolte costituiscono uno dei punti salienti di un percorso creativo unico nel panorama del fumetto.
È interessante notare come ogni racconto possegga una propria tavolozza di colori e come questa tavolozza lo "segni" profondamente (i blu di "Mujina", i rossi de "L'uomo e la bestia"). Ed è impossibile non rimanere impressionati dal rapporto quasi "fisico" con il colore, estremamente "materico" in ogni immagine.
Pur praticando da tempo la pittura, in parallelo alla sua attività di disegnatore, Breccia ha scelto piuttosto tardivamente di servirsene nel fumetto. Qui, dunque, speri-menta, affina un linguaggio che caratterizzerà parte della sua opera, dalle prime esperienze di “Chi ha paura delle fiabe?” fino al terminale espressivo del “Dracula”.
Le pagine qui raccolte costituiscono uno dei punti salienti di un percorso creativo unico nel panorama del fumetto.
February 3, 2025
Great selection of stories and beautiful art - 6 page stories very well used
October 13, 2022
Esse livro é um bom exemplo do porque Alberto Breccia ser considerado um dos grandes mestres dos quadrinhos: sua arte estilizada, puxando para o impressionismo, se adeque muito bem às obras que escolheu adaptar, abandonando um pretenso realismo para ressaltar o clima soturno e onírico que o artista pretende apresentar ao leitor. A utilização das cores reforça esse clima. Mais do que adaptar, Breccia recria os originais, imprimindo neles a sua própria visão artística.
August 12, 2021
Enorme.
March 26, 2015
Papini, Lovecraft, Stevenson, Jean Ray y Lafcadio Hearn a través del prisma rompedor del viejo Breccia. Un verdadero Santo Grial...
November 20, 2022
Historias soñadas pero no pesadas. Me parece que esto no se reeditió en Argentina.
July 16, 2023
Edición española. Creo que la mayoría del material que contiene todavía no se recuperó en Argentina.
Displaying 1 - 10 of 10 reviews