Accessible aesthetics

Initially, the scene required nothing more than two people. In it, Fyodor, the father played by Babu Santana, engages in a tense dialogue with Ivan, one of his sons, played by Caio Blat. But in this stage adaptation of Dostoevsky's novel The Brothers Karamazov, other presences significantly impose themselves on the plot.

In addition to musicians Arthur Bragantini and Thiago Rebello, who lend sonic depth to the narrative, two women stroll among the actors. As they speak, Juliete Viana and Malu Aquino gesture alternately. Their hands reveal the same conversation between Fiódor and Ivan, but in Brazilian Sign Language.

Premiered in the first half of the year at Sesc Copacabana in Rio and Sesc Pompeia in São Paulo, the play offers a unique feature compared to other productions with accessibility features for the hearing impaired. Instead of being treated as an afterthought, with the performer sidelined under a spotlight, simultaneous translation is integrated into the production.

"Normally, the accessibility team is called upon once the creation is ready. But this is very limited," says Maria Duarte, production director of The Brothers Karamazov. "At most, you can say what the actors are saying. That's far too little for artistic enjoyment."

By combining Portuguese and Libras within the same stage space, the integrated perspective makes the work more engaging for deaf audiences, who don't need to look away from the action to follow along. On the other hand, the focus on a choral performance, always with a large group of people on stage and actors alternating roles, allows the solution to unfold organically, avoiding any awkwardness for the hearing audience.

"It's not enough to include artists with disabilities; they need to co-create. This means accessibility stops being a resource and becomes dramaturgy," says Edinho Santos.

Maria and Blat worked together on the play "Grande Sertão: Veredas," which toured the country after its premiere in 2017. When he decided to direct the stage adaptation of the Russian classic—a dream he'd cherished for 20 years—it was natural to ask her to take on the production. Disturbed by the traditional approach to accessibility in the performing arts, she challenged the team to devise a new approach.

With the project funded through the Sesc Pulsar grant and the Federal Law for Cultural Incentives, specialist Raíssa Couto took over the coordination of the process. She was joined by consultants with and without disabilities.

Initially, there was concern about the extent to which accessibility could compromise the artistic aspect of the work. The turning point came when the entire team recognized this element as a pillar as important as costumes, lighting, and set design. Thus, the performers experienced all stages of development in dialogue with the actors, receiving equal pay.

"It wasn't easy or seamless. But once you stop seeing it as a problem and consider it another creative lens, the challenges become enjoyable and the solutions emerge," says producer Maria Duarte, now striving to incorporate an accessible digital program in upcoming seasons.

Accessibility became a part of everyday artistic production, especially since 2015, when the Statute for Persons with Disabilities began to guarantee access to culture for this community. This requirement led to public notices demanding that proponents provide alternatives to incorporate accessibility into cultural practices.

Year after year, the Ministry of Culture has also been strengthening this requirement through normative instructions that regulate the use of resources raised through the Rouanet Law, through which tax exemption is possible.

Signs. For consultant Raíssa Couto, this is a movement with no turning back – Image: Chris Almeida

"Whether we like it or not, it was public policies that started to guide this movement," says consultant Raíssa Couto. "People were forced to think in ways they'd never thought before. Many criticized it, saying it would cost too much money. But when we presented the possibilities, they went crazy, got engaged, and a beautiful movement of artistic narratives began, considering accessibility as an aesthetic."

The new scenario has brought about changes. While producers previously complained about the low participation of people with disabilities in accessible screenings, this same audience is now speaking out and questioning the quality of the resources offered. There's also an understanding that guaranteeing only one or two screenings with these principles within a long season doesn't truly promote inclusion.

"I want to have the opportunity to see a play on the day I can, not on the day the production team decides. That's what broadening access is all about," says actress and performer Moira Braga, one of the consultants for The Brothers Karamazov. For her, who is blind, there's no point in producing a play without comprehensively considering these aspects.

In Hereditary, her most recent work, three actresses take turns speaking Portuguese and Libras, in addition to narrating the actions of each scene through audio description. During the performances, there are no distinctions among the audience: everyone hears exactly the same version, regardless of their visual or hearing impairments. "What makes a difference is having people with disabilities think about this in the process," explains Moira.

This sentiment is shared by deaf actor Edinho Santos. He stars in "OZ," a production by the Aquilombamento Ficha Preta company that premiered at Sesc Vila Mariana in São Paulo in June and will close the Acessa BH festival in September.

"It needs to be horizontal. It's not enough to include artists with disabilities; they need to co-create from the beginning," he states. "With this, accessibility stops being a resource and becomes dramaturgy, removing the deaf body from the place of exception and placing it at the center of creation, with its own voice and power."

Accessibility rules have been expanded year after year since 2015

This was the case with OZ, which tells the love story of a deaf man and a hearing woman. With the help of an interpreter, the team sought ways to communicate with the actor from the first reading of the script. One result of this was, for example, Dani Nega's soundtrack, full of deep tones, perceived by deaf audiences through their reverberation.

According to Aline Mohamad, who wrote the script, one of the play's distinguishing features is that it shines a positive light on the reality of Black people and people with disabilities. "Society never views these bodies with love and affection, but rather as a space of pain, almost like fetishization," she says.

For consultant Raíssa Couto, this is a movement with no turning back, reinforced by the growing recognition of artists with disabilities. This is the case with Jéssica Teixeira, winner of the 2024 Shell Award for Best Director for the play "Monga," and filmmaker Daniel Gonçalves, winner of the Best Documentary Director award at the 2023 Rio Film Festival for his film "Assexybilidade."

This growing penetration into various creative spheres has popularized the term "def art," adopted by the community to celebrate their own creations. "The concept is for us to use to our advantage and as we see fit. My art comes from a place outside the norms of the majority. In this sense, my disability isn't a problem. Quite the opposite!" explains Moira Braga. "Art is a place to reinvent realities. And we have the power to destabilize structures."

Published in issue no. 1371 of CartaCapital , on July 23, 2025.

This text appears in the print edition of CartaCapital under the title 'Accessible Aesthetics'