Cena da peça "Lia Lia", com Bete Coelho e Camila Pitanga
Cena da peça "Lia Lia", com Bete Coelho e Camila Pitanga - Foto: Mattheus José Maria /Divulgação

De quantos ângulos é preciso olhar até que algo se revele por inteiro? Katsushika Hokusai passou anos desenhando o Monte Fuji, cem vezes e em cem lugares diferentes no Japão. Essa obstinação artística mostra que a mesma montanha nunca será a mesma. Depende, sobretudo, de quem olha. É dessa premissa que parte Lia Lia, montagem da companhia Teatrofilme, que reúne pela primeira vez no palco Bete Coelho e Camila Pitanga. Adaptado por Bete a partir do romance Lia: Cem Vistas do Monte Fuji, de Caetano W Galindo (Companhia das Letras, 2024), o espetáculo não conta uma história. Ele opta por espalhar uma vida inteira por sobre a mesa, tal como uma caixa de fotografias antigas que são revisitadas e nunca colocadas em ordem cronológica. Cabe à plateia essa tarefa.

Convém avisar logo: é uma peça que pega para uns e para outros, não. Lia Lia não faz concessão narrativa, não entrega o conforto da linha reta e muito menos trará alguém que venha explicar o que acabou de acontecer. O espectador é convocado a decifrar o dito e o não-dito, o expresso e o invisível, o trágico que às vezes chega travestido de comédia. Tem quem vá se reconhecer em Lia. E tem quem vá detestá-la, o que não deixa de ser uma forma de reconhecimento.

A escolha mais radical da montagem de Lia Lia é a divisão da personagem entre duas atrizes. Bete Coelho e Camila Pitanga não se revezam apenas em diferentes fases da vida de Lia. Seria convencional demais. Elas ocupam simultaneamente o mesmo corpo simbólico, e o que se vê no palco é o feixe de projeções que recai sobre a protagonista. Lia vê o mundo e é vista por ele, e a peça deixa claro que as duas operações jamais coincidem. Numa das cenas, por exemplo, as duas discutem ao mesmo tempo com o marido (Roberto Audio): o que deveria ser um embate de um contra um vira, sem aviso, duas contra um. É engraçado e é cruel.

Em outro momento, Camila Pitanga rompe a quarta parede para tratar de um assunto que costuma manter-se abafado: o quanto o feminino também produz embates dilacerantes entre mulheres, empurrando a sororidade para bem longe. Lia, ainda menina, nunca foi de fato aceita pelo grupo de colegas. É uma das etapas mais dolorosas de crescer, e a peça não a suaviza. A violência que atravessa a personagem desde a infância não é apresentada como acidente biográfico, mas como aquela fatura que a sociedade cobra, com juros, pelo simples fato de se ser mulher.

Há ainda um coro cênico que funciona como consciência crítica de Lia, comentando, contradizendo, testemunhando, apontando o dedo. Suas integrantes vêm do Núcleo de Artes Cênicas (NAC) do Sesi, onde cursam ou cursaram artes cênicas. Lia Lia nasceu circulando de graça pelo interior paulista, passando por Sorocaba, Ribeirão Preto, Itapetininga, São José dos Campos, Rio Claro e Campinas. Chega agora de graça à Avenida Paulista, sempre com alunos locais integrados ao elenco profissional.

A cenografia de Daniela Thomas e Felipe Tassara é o segundo grande achado da montagem. Sobre mesas e cadeiras, uma estrutura de fios emaranhados sugere um cérebro e seus bilhões de sinapses, explicitando a lógica do pensamento: um fio puxa outro, e o percurso só faz sentido depois, quando já se percorreu. É a tradução espacial da dramaturgia fragmentada, com seus cortes e sobreposições, um território familiar para a Teatrofilme, que há uma década e meia investiga a fronteira entre a linguagem cênica e a cinematográfica, de Medeia a Petra. Bete Coelho, que se formou no rigor de Antunes Filho e na plástica de Gerald Thomas, divide a direção com Gabriel Fernandes. Já a luz de Beto Bruel recorta, isola, apaga, como quem vira páginas de um álbum.

Ao final dos 80 minutos, o espectador sai com um inventário de vistas parciais, algumas contraditórias entre si, nenhuma definitiva. É precisamente o que Hokusai entendeu ao desenhar a mesma montanha pela centésima vez: o objeto não muda, muda o lugar de quem observa. Lia Lia devolve essa missão à plateia sem pedir licença. Se Lia soa insuportável ou familiar demais, talvez o problema, e a potência da peça, não esteja nela. Vale refletir.

Lia Lia. De Caetano W. Galindo, com adaptação de Bete Coelho. Direção de Bete Coelho e Gabriel Fernandes. No Teatro do Sesi, de quarta-feira a sábado (20 horas) e domingos (18). Até 9 de agosto. Entrada gratuita.

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