{'fraction_non_alphanumeric': 0.024838012958963283, 'fraction_numerical': 0.008639308855291577, 'mean_word_length': 5.393103448275862, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Plurimidialidade no Mundo Digital de Alice Através do Espelho, de Paulo de Moraes

The digital version of Paulo de Moraes’s production of Alice atraves do espelho (2014) is a merging of connected or superposed medias such as musicals, with solo or choir singing and dancing plus, particularly, graphic animation that forwards the action and furnishes settings. The cenography uses resources of the circus – juggling, unexpected explosions, slides, crumbling settings and play with lights, besides costumes tailored to represent the strange creatures of the wonder world. Starting from the exam of the mechanisms that involve the public in the performance, this article analyzes the role of imagination in the creation of Carroll’s creatures, based on Fauconnier’s and Turner’s (2003) argument of conceptual blending : imagination as the driving force behind human creativity and the basis for the development of human thought.