Cena de ator surdo na peça "Língua", que esteve em cartaz no Teatro Anchieta, do Sesc Consolação
Cena de ator surdo na peça "Língua", que esteve em cartaz no Teatro Anchieta, do Sesc Consolação - Foto: Renato Mangolin/ Divulgação

Há uma cena, aparentemente não ensaiada ou combinada, que elucida todo o espetáculo Língua, que encerrou temporada no Teatro Anchieta, no Sesc Consolação, no último domingo (28/6). Lá pelo meio do espetáculo, dois atores rompem a quarta parede e confirmam se há na plateia algum intérprete da Língua Brasileira de Sinais (Libras). Uma mulher, no dia em que FAROFAFÁ viu a peça, começa a traduzir com uma riqueza de detalhes falas complexas entre os dois que estão no palco. Rompe-se ali uma quinta parede, a da ignorância.

Um dos atores interpreta o filho surdo (Ricardo Boaretto) e outro (Jhonatas Narciso), fluente em Libras. Até então, o último servia como tradutor para o protagonista. Mas com a possibilidade de poderem falar “livremente”, ancorados pela intérprete, eles assumem seus papéis de apenas atores e mostram que nossa compreensão do espetáculo, até então, havia sido parcial. E tudo bem que tenha sido assim: para bons entendedores, meias palavras bastam. Língua é uma peça que nos tira do lugar de conforto que nos habituamos a ocupar, sem se preocupar com quem não faz parte dele. E isso diz respeito a quem não fala, mas também para tantas faltas de comunicações em geral.

Tudo se passa numa festa de aniversário, cenário escolhido pela dramaturgia assinada por Vinícius Arneiro e Pedro Emanuel. A escolha por um momento mundano nessa celebração doméstica que reúne um pequeno grupo de amigos é simbólica. Bebidas, afetos, a conversa jogada fora que se interrompe e recomeça. Mas é exatamente nesse ordinário que Língua instala o seu extraordinário. O álcool afrouxa as línguas, nos sentidos literal e figurado, e o que parecia uma confraternização vai revelando camadas que nenhum brinde mais conseguirá encobrir.

Boaretto, o ator surdo que interpreta o protagonista, carrega o peso e o humor de uma figura paradoxal. Arneiro foi preciso ao descrever o que buscava nessa construção: uma personagem “afetuosa, mas também fugidia de alguma maneira”. Logo, nada de trazer ao palco um símbolo da surdez ou de uma causa encarnada. O filho surdo é um ser humano com ambiguidades, com “caminhos e descaminhos”, nas palavras do diretor. E é essa recusa em “espetacularizar” a condição surda que eleva Língua acima do teatro de tese bem-intencionado, mas raso.

A mãe (Erika Rettl), e aqui o espetáculo revela outra de suas camadas incômodas, ama o filho com uma intensidade que parece sufocar. O capacitismo que ela pratica não é o da crueldade, mas o da proteção excessiva, o do amor que não confia. A escolha de Arneiro de não usar intérprete de Libras em cena se revela como uma decisão política. O espetáculo, calcada no gestual tão próprio do teatro, é encenado em duas línguas simultaneamente, garantindo que espectadores surdos e ouvintes ocupem o mesmo patamar de atenção e envolvimento emocional. Nem todos estão compreendendo inteiramente o desenrolar das falas.

A trilha sonora, com direção musical de Felipe Storino, aposta em frequências graves, pensadas a partir da experiência vibracional da música para pessoas surdas. Essa escolha amplifica o alcance sensorial da peça, tornando audível para todos, em diferentes gradações.
Vencedora do Prêmio Shell de dramaturgia na edição carioca de 2025, Língua chegou ao Teatro Anchieta depois de temporada no Rio e de apresentações na Mostra Internacional de Teatro de São Paulo (MITsp). É o tipo de peça que precisa circular por mais temporadas.

“A peça fala justamente desse descompasso entre sentir algo e conseguir expressar”, disse Arneiro. A frase poderia descrever qualquer relação humana, e é essa universalidade conquistada pelos meandros do específico que faz de Língua um espetáculo que merece mais apresentações. Quando a intérprete da plateia começou a traduzir naquela quinta parede improvisada, o que se revelou não foi apenas uma conversa entre dois personagens. Foi o quanto de comunicação acontece às margens do que se entende, e o quanto disso passa despercebido todo dia.

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