Un gato vagabundo

Let me start by admitting that I’ve never attended theater specifically designed for the deaf. At BYU I worked with a role in my acting class from Children of a Lesser God, but even then, the play (and later movie) was produced by and for people who could ultimately hear. Seña y Verbo (Sign and Verb), founded and directed by Alberto Lomnitz, is a “professional artistic and educational organization that aims to create awareness and support the development of Deaf Culture in Mexico, through original theatre and video productions, as well as a variety of courses, workshops and outreach programs” (teatrodesordos.com.mx). The play Un gato vagabundo (A Vagabond Cat), is a first for Mexico because it is written and performed by two of the actors in the show: Roberto De Loera & Eduardo Domínguez. Alberto Lomnitz also contributed to the play. As well, Socorro Casillas made her debut in this theater company with this play.

Seña y Verbo Theater Company for the Deaf

The show follows the story of a young and suicidal deaf man, Vagabundo (Vagabond), who has trouble letting go of his past. More specifically, he has trouble letting go of the memory of his older deaf brother. Vagabundo, the name he creates for himself since he considers himself a wanderer, was also known as “Gato” (Cat) by his older brother, something like a “scaredy-cat”. Throughout the play his brother appears time and again and asks for the flashlight that Vagabundo always carries, but Vagabundo refuses to give it to him. The flashlight represents the only remaining object that maintains his brother’s memory alive. This mentality impedes him from accepting the possibility of love from another deaf person. Up to this point his only source or protection and love came from his brother. Essentially, if he accepts the love and care of another, it would feel like a betrayal to the only person who had ever really understood him. And yet his brother pushes him to move on. Finally, after many different experiences, he accepts that his brother will always be there in his heart.

Vagabundo converses with Flor. His brother watches from a distance.

The actors all sign in Mexican Sign Language (lengua de señas Mexicana, LSM), but for those in the audience who don’t understand this very distinct language from Spanish, the mise-en-scne utilizes subtitles. However, the beautiful use of the actors’ hands is breathtaking. For example, Vagabundo shows us the coming and going of days through sign language that at parts is quite understandable (some sections don’t use subtitles). In this specific moment he cups one hand in the shape of the moon and slowly raises his hand. To represent the day he makes his hand into a circle and raises it. When he walks through the woods the other actors convert into nature and use their arms and hands as if they were branches and logs. If there’s one thing I’ve learned from this unique experience it is that deaf people are some of the most expressive people with their hands.

The party scene in the play.

Even though I don’t understand Mexican Sign Language I could still understand many of the emotions and activities on stage. In fact, the show had me on the verge of tears during several moments (I try not to show too much emotion in public). For example, the show presents the scene where Vagabundo holds his older brother in his arms as he slowly passes away. Both brothers use the flashlight to create shadows on the wall, a pastime from when they were kids. When the brother closes his eyes, Vagabundo turns off the flashlight. It was a tender moment, and with absolutely no need for spoken words. Afterwards, the significance of the flashlight became more apparent. I could definitely feel the need for him to hold on to something so precious as a simple flashlight that contained tender and heartfelt memories.

The use of the flashlight on Vagabundo.

The show is no longer being performed in Mexico. We were able to see a rehearsal as the group prepares to travel to Paris this summer to present the play at an international conference for the deaf. The actors’ new challenge is to convert the sign language used here in Mexico to an international standard. After the rehearsal we had a wonderful conversation with Alberto Lomnitz and it was a huge privilege to meet him. For my first experience with true theater for the deaf, by the deaf, it leaves me wanting to see more of this in the United States. Truly beautiful art!

Me with Alberto Lomnitz