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A PRÓSTATA/1
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29/12/2020
MARGARIDA CRUJO
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Portugal vs. Alemanha
Perante números comparativamente piores, os Portugueses são convidados a usar o auto-bom senso, porque as orientações formais de contenção só se instauram a partir da passagem de ano!
𝒜 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝑒𝓈𝓉𝒶́ 𝑒𝓂 𝒽𝑒𝒶𝓋𝓎 𝓁𝑜𝒸𝓀𝒹𝑜𝓌𝓃 𝒹𝑒𝓈𝒹𝑒 𝓂𝑒𝒶𝒹𝑜𝓈 𝒹𝒶 𝓈𝑒𝓂𝒶𝓃𝒶 𝓅𝒶𝓈𝓈𝒶𝒹𝒶. 𝒪 𝑜𝓊𝓉𝓇𝑜, 𝓂𝒶𝒾𝓈 𝓁𝒾𝑔𝒽𝓉, 𝓆𝓊𝑒 𝓉𝒾𝓃𝒽𝒶 𝓈𝒾𝒹𝑜 𝒾𝓂𝓅𝓁𝑒𝓂𝑒𝓃𝓉𝒶𝒹𝑜 𝑒𝓂 𝓃𝑜𝓋𝑒𝓂𝒷𝓇𝑜, 𝓅𝒶𝓇𝑒𝒸𝒾𝒶 𝑒𝓈𝓉𝒶𝓇 𝒶 𝒸𝑜𝓃𝓉𝑒𝓇 𝒶𝓁𝑔𝓊𝓂𝒶 𝓅𝓇𝑜𝓅𝒶𝑔𝒶𝒸̧𝒶̃𝑜 𝒹𝒶 𝒹𝑜𝑒𝓃𝒸̧𝒶, 𝓂𝒶𝓈 𝒶𝒸𝒶𝒷𝑜𝓊 𝓅𝑜𝓇 𝓇𝑒𝓋𝑒𝓁𝒶𝓇-𝓈𝑒 𝒶𝒷𝓈𝑜𝓁𝓊𝓉𝒶𝓂𝑒𝓃𝓉𝑒 𝒾𝓃𝓈𝓊𝒻𝒾𝒸𝒾𝑒𝓃𝓉𝑒, 𝓉𝑒𝓃𝒹𝑜 𝓈𝒾𝒹𝑜 𝓃𝑒𝒸𝑒𝓈𝓈𝒶́𝓇𝒾𝑜 𝒶𝒿𝓊𝓈𝓉𝒶𝓇 𝒶 𝒸𝑜𝓇𝒹𝒶 𝑒 𝓇𝑒𝒻𝒶𝓏𝑒𝓇 𝓂𝑒𝒹𝒾𝒹𝒶𝓈. 𝒪𝓈 𝒫𝑜𝓇𝓉𝓊𝑔𝓊𝑒𝓈𝑒𝓈 𝓈𝒶𝒷𝑒𝓂 𝒹𝑒𝓈𝓉𝒶 𝓈𝒾𝓉𝓊𝒶𝒸̧𝒶̃𝑜, 𝒻𝑒𝓁𝒾𝓏𝓂𝑒𝓃𝓉𝑒 𝓋𝒶𝓂𝑜𝓈 𝓈𝒶𝒷𝑒𝓃𝒹𝑜 𝓊𝓃𝓈 𝒹𝑜𝓈 𝑜𝓊𝓉𝓇𝑜𝓈 𝓅𝑒𝓁𝑜𝓈 𝓂𝑒𝒾𝑜𝓈 𝒹𝑒 𝒸𝑜𝓂𝓊𝓃𝒾𝒸𝒶𝒸̧𝒶̃𝑜 𝓈𝑜𝒸𝒾𝒶𝓁, 𝒻𝒶𝒸𝒾𝓁𝒾𝒹𝒶𝒹𝑒𝓈 𝒹𝑒 𝓊𝓂 𝓂𝓊𝓃𝒹𝑜 𝑔𝓁𝑜𝒷𝒶𝓁𝒾𝓏𝒶𝒹𝑜.
ℰ 𝑒́ 𝒶𝓈𝓈𝒾𝓂 𝓆𝓊𝑒 𝓃𝑜𝓈 𝒸𝒽𝑒𝑔𝒶𝓂 𝓂𝑒𝓃𝓈𝒶𝑔𝑒𝓃𝓈 𝒹𝑜𝓈 𝓃𝑜𝓈𝓈𝑜𝓈 𝒶𝓂𝒾𝑔𝑜𝓈 𝒹𝑒 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁, 𝒶 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝒶𝓇 𝒸𝑜𝓂𝑜 𝑒𝓈𝓉𝒶𝓂𝑜𝓈 𝒸𝒶́ 𝑒𝓂 𝒸𝒶𝓈𝒶, 𝓃𝑒𝓈𝓉𝑒 𝒸𝑜𝓃𝓉𝑒𝓍𝓉𝑜 𝒹𝒾𝒻𝒾́𝒸𝒾𝓁 𝒹𝒶𝓆𝓊𝒾. 𝒜𝓈 𝓇𝑒𝓋𝑒𝓁𝒶𝒸̧𝑜̃𝑒𝓈 𝒹𝑒 𝒸𝒶𝓇𝒾𝓃𝒽𝑜, 𝒹𝑒 𝒶𝓅𝓇𝑒𝒸̧𝑜, 𝒹𝑒 𝒶𝓂𝑜𝓇, 𝓈𝒶̃𝑜 𝒹𝑒 𝓊𝓂𝒶 𝒶𝓊𝓉𝑒𝓃𝓉𝒾𝒸𝒾𝒹𝒶𝒹𝑒 𝒸𝑜𝓂𝑜𝓋𝑒𝓃𝓉𝑒 𝑒 𝓃𝒶̃𝑜 𝓆𝓊𝑒𝓇𝑜 𝓈𝑒𝓇 𝓂𝒶𝓁 𝒾𝓃𝓉𝑒𝓇𝓅𝓇𝑒𝓉𝒶𝒹𝒶 𝒸𝑜𝓂 𝑜 𝓆𝓊𝑒 𝑒𝓂 𝓈𝑒𝑔𝓊𝒾𝒹𝒶 𝓋𝑜𝓊 𝑒𝓈𝒸𝓇𝑒𝓋𝑒𝓇. 𝒮𝒾𝓃𝓉𝑜-𝓂𝑒 𝒶𝒷𝑒𝓃𝒸̧𝑜𝒶𝒹𝒶 𝓅𝑜𝓇 𝓂𝑒 𝓈𝑒𝓃𝓉𝒾𝓇 𝓉𝒶̃𝑜 𝑔𝑜𝓈𝓉𝒶𝒹𝒶 𝓅𝑒𝓁𝑜𝓈 𝓂𝑒𝓊𝓈 𝒶𝓂𝒾𝑔𝑜𝓈, 𝓈𝑒𝓃𝒹𝑜 𝓆𝓊𝑒 𝑜 𝓂𝒶𝒾𝑜𝓇 𝓉𝑒𝓈𝑜𝓊𝓇𝑜 𝒹𝑒 𝒸𝒶𝒹𝒶 𝓊𝓂 𝓈𝑒 𝓂𝑜𝓁𝒹𝒶 𝓅𝑜𝓇 𝓂𝒶𝓉𝑒́𝓇𝒾𝒶 𝒹𝑒 𝒶𝓂𝑜𝓇, 𝓈𝑒 𝒻𝒶𝓏 𝒹𝒶𝓈 𝓇𝑒𝓁𝒶𝒸̧𝑜̃𝑒𝓈 𝒾𝓂𝓅𝒶𝒸𝓉𝒶𝓃𝓉𝑒𝓈 𝓆𝓊𝑒 𝓃𝑜𝓈 𝓂𝑜𝓋𝑒𝓂. 𝒩𝑜 𝑒𝓃𝓉𝒶𝓃𝓉𝑜, 𝒶𝒸𝒽𝑜 𝒾𝓂𝓅𝑜𝓇𝓉𝒶𝓃𝓉𝑒 𝒻𝒶𝓏𝑒𝓇𝓂𝑜𝓈 𝑜 𝑒𝓍𝑒𝓇𝒸𝒾́𝒸𝒾𝑜 𝒹𝑒 𝑜𝓁𝒽𝒶𝓇𝓂𝑜𝓈 𝓅𝒶𝓇𝒶 𝑜𝓈 𝓃𝓊́𝓂𝑒𝓇𝑜𝓈 𝑒, 𝓈𝑒𝑔𝓊𝓃𝒹𝑜 𝒶 ℰ𝓊𝓇𝑜𝓅𝑒𝒶𝓃 𝒞𝑒𝓃𝓉𝓇𝑒 𝒻𝑜𝓇 𝒟𝒾𝓈𝑒𝒶𝓈𝑒𝓈 𝒫𝓇𝑒𝓋𝑒𝓃𝓉𝒾𝑜𝓃 𝒶𝓃𝒹 𝒞𝑜𝓃𝓉𝓇𝑜𝓁 (ℰ𝒞𝒟𝒞), 𝓃𝒶 𝓈𝑒𝓂𝒶𝓃𝒶 𝑒𝓂 𝓆𝓊𝑒 𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝑒𝓃𝓉𝓇𝑜𝓊 𝑒𝓂 𝓁𝑜𝒸𝓀𝒹𝑜𝓌𝓃 𝒶𝓅𝑒𝓇𝓉𝒶𝒹𝑜, 𝑜 𝓃𝓊́𝓂𝑒𝓇𝑜 𝒹𝑒 𝓃𝑜𝓋𝑜𝓈 𝒸𝒶𝓈𝑜𝓈 𝓅𝑜𝓇 𝟷𝟶𝟶 𝓂𝒾𝓁 𝒽𝒶𝒷𝒾𝓉𝒶𝓃𝓉𝑒𝓈, 𝓃𝑜𝓈 𝓊́𝓁𝓉𝒾𝓂𝑜𝓈 𝟷𝟺 𝒹𝒾𝒶𝓈, 𝑒𝓇𝒶 𝒹𝑒 𝟹𝟺𝟷,𝟷, 𝒸𝑜𝓃𝓉𝓇𝒶𝓈𝓉𝒶𝓃𝒹𝑜 𝒸𝑜𝓂 𝟻𝟸𝟺,𝟿 𝑒𝓂 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁, 𝑒 𝑜 𝓃𝓊́𝓂𝑒𝓇𝑜 𝒹𝑒 𝓂𝑜𝓇𝓉𝑒𝓈 𝓃𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝓅𝑜𝓇 𝟷𝟶𝟶 𝓂𝒾𝓁 𝒽𝒶𝒷𝒾𝓉𝒶𝓃𝓉𝑒𝓈, 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓃𝑜𝓈 𝓊́𝓁𝓉𝒾𝓂𝑜𝓈 𝟷𝟺 𝒹𝒾𝒶𝓈, 𝑒𝓇𝒶 𝒹𝑒 𝟼,𝟿, 𝓈𝑒𝓃𝒹𝑜 𝒹𝑒 𝟷𝟷,𝟶 𝑒𝓂 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁. ℬ𝑒𝓂 𝓈𝑒𝒾 𝓆𝓊𝑒 𝑜𝓈 𝓃𝓊́𝓂𝑒𝓇𝑜𝓈 𝒶𝒷𝓈𝑜𝓁𝓊𝓉𝑜𝓈 𝓃𝓊𝓂 𝓅𝒶𝒾́𝓈, 𝓆𝓊𝑒 𝑒́ 𝓅𝑒𝓁𝑜 𝓂𝑒𝓃𝑜𝓈 𝑜𝒾𝓉𝑜 𝓋𝑒𝓏𝑒𝓈 𝓂𝒶𝒾𝓈 𝓅𝑜𝓅𝓊𝓁𝑜𝓈𝑜 𝓆𝓊𝑒 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁, 𝓈𝒶̃𝑜 𝒶𝓅𝒶𝓇𝑒𝓃𝓉𝑒𝓂𝑒𝓃𝓉𝑒 𝓂𝓊𝒾𝓉𝑜 𝓂𝒶𝒾𝓈 𝓉𝑒𝓂𝑜𝓇𝑜𝓈𝑜𝓈. ℰ 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓈𝑒𝒾 𝓆𝓊𝑒 𝑜 𝒸𝑜𝓃𝓉𝑒𝓍𝓉𝑜 𝒹𝒶𝓆𝓊𝒾 𝓃𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝑒́, 𝒹𝑒 𝒻𝒶𝒸𝓉𝑜, 𝒹𝒾𝒻𝒾́𝒸𝒾𝓁. ℳ𝒶𝓈 𝑜𝓈 𝓃𝓊́𝓂𝑒𝓇𝑜𝓈 𝓇𝑒𝓁𝒶𝓉𝒾𝓋𝑜𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝒻𝒶𝓁𝒶𝓂 𝓅𝑜𝓇 𝓈𝒾.
𝒟𝑒 𝒻𝒶𝒸𝓉𝑜, 𝒶𝓈 𝓂𝒶𝓉𝒾𝓏𝑒𝓈 𝒹𝒶 𝓇𝑒𝒶𝓁𝒾𝒹𝒶𝒹𝑒 𝓋𝒶̃𝑜 𝓋𝒶𝓇𝒾𝒶𝓃𝒹𝑜 𝓅𝑒𝓁𝒶 𝒷𝒶𝓉𝓊𝓉𝒶 𝒹𝒶 𝓃𝒶𝓇𝓇𝒶𝓉𝒾𝓋𝒶 𝓆𝓊𝑒 𝓃𝑜𝓈 𝑒́ 𝒸𝑜𝓃𝓉𝒶𝒹𝒶. 𝒜 𝑒𝓁𝑜𝓆𝓊𝑒̂𝓃𝒸𝒾𝒶 𝑒 𝒶 𝓇𝑒𝓉𝑜́𝓇𝒾𝒸𝒶 𝒸𝑜𝓃𝓉𝒶𝓂. 𝒫𝑒𝓇𝒶𝓃𝓉𝑒 𝓃𝓊́𝓂𝑒𝓇𝑜𝓈 𝓉𝑒𝓃𝒹𝑒𝓃𝒸𝒾𝒶𝓁𝓂𝑒𝓃𝓉𝑒 𝓅𝒾𝑜𝓇𝑒𝓈, 𝒹𝑒 𝒹𝒾𝒶 𝓅𝒶𝓇𝒶 𝒹𝒾𝒶, ℱ𝓇𝒶𝓊 ℳ𝑒𝓇𝓀𝑒𝓁 𝒶𝓃𝓊𝓃𝒸𝒾𝑜𝓊 𝓊𝓂 𝓈𝑒𝓃𝓉𝒾𝒹𝑜 𝒷𝒶𝓈𝓉𝒶 𝑒 𝒾𝓂𝓅𝓁𝑒𝓂𝑒𝓃𝓉𝑜𝓊 𝓊𝓂𝒶 𝑒𝓈𝓉𝓇𝒶𝓉𝑒́𝑔𝒾𝒶 𝓇𝒾́𝑔𝒾𝒹𝒶 𝒹𝑒 𝒸𝑜𝓃𝓉𝑒𝓃𝒸̧𝑜̃𝑒𝓈, 𝒸𝑜𝓂 𝑒𝓈𝓅𝑒𝓇𝒶𝓃𝒸̧𝒶 𝒹𝑒 𝓇𝑒𝓋𝑒𝓇𝓉𝑒𝓇 𝒶 𝓅𝓇𝑒𝒹𝒾𝓈𝓅𝑜𝓈𝒾𝒸̧𝒶̃𝑜 𝒹𝒶𝓈 𝒸𝑜𝓃𝓉𝒶𝓈. ℰ𝓂 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁, 𝓅𝑜𝓇 𝓈𝓊𝒶 𝓋𝑒𝓏, 𝓅𝑒𝓇𝒶𝓃𝓉𝑒 𝓃𝓊́𝓂𝑒𝓇𝑜𝓈 𝒸𝑜𝓂𝓅𝒶𝓇𝒶𝓉𝒾𝓋𝒶𝓂𝑒𝓃𝓉𝑒 𝓅𝒾𝑜𝓇𝑒𝓈, 𝑜𝓈 𝒫𝑜𝓇𝓉𝓊𝑔𝓊𝑒𝓈𝑒𝓈 𝓈𝒶̃𝑜 𝒸𝑜𝓃𝓋𝒾𝒹𝒶𝒹𝑜𝓈 𝒶 𝓊𝓈𝒶𝓇 𝑜 𝒶𝓊𝓉𝑜-𝒷𝑜𝓂 𝓈𝑒𝓃𝓈𝑜 𝑒𝓂 𝒶𝓁𝓉𝓊𝓇𝒶𝓈 𝒻𝑒𝓈𝓉𝒾𝓋𝒶𝓈, 𝒶 𝓈𝑒𝓇𝑒𝓂 𝒸𝓇𝒾𝒶𝓉𝒾𝓋𝑜𝓈 𝓃𝒶 𝒻𝑜𝓇𝓂𝒶 𝒸𝑜𝓂𝑜 𝒸𝑒𝓁𝑒𝒷𝓇𝒶𝓂 𝑒𝓂 𝒻𝒶𝓂𝒾́𝓁𝒾𝒶, 𝓅𝑜𝓇𝓆𝓊𝑒 𝒶𝓈 𝑜𝓇𝒾𝑒𝓃𝓉𝒶𝒸̧𝑜̃𝑒𝓈 𝒻𝑜𝓇𝓂𝒶𝒾𝓈 𝒹𝑒 𝒸𝑜𝓃𝓉𝑒𝓃𝒸̧𝒶̃𝑜 𝓈𝑜́ 𝓈𝑒 𝒾𝓃𝓈𝓉𝒶𝓊𝓇𝒶𝓂 𝒶 𝓅𝒶𝓇𝓉𝒾𝓇 𝒹𝒶 𝓅𝒶𝓈𝓈𝒶𝑔𝑒𝓂 𝒹𝑒 𝒶𝓃𝑜!
𝒜 𝒾𝓂𝒶𝑔𝑒𝓂 𝒹𝑒 ℱ𝓇𝒶𝓊 ℳ𝑒𝓇𝓀𝑒𝓁 𝓃𝒶 ℰ𝓊𝓇𝑜𝓅𝒶 𝓃𝑒𝓂 𝑒́ 𝑒𝓍𝓉𝓇𝒶𝑜𝓇𝒹𝒾𝓃𝒶́𝓇𝒾𝒶, 𝓂𝒶𝓈 𝒶𝓈𝓈𝓊𝓂𝑜, 𝓅𝑜𝓇 𝑒𝓍𝓅𝑒𝓇𝒾𝑒̂𝓃𝒸𝒾𝒶 𝓅𝓇𝑜́𝓅𝓇𝒾𝒶, 𝓆𝓊𝑒 𝑒́ 𝓊𝓂𝒶 𝒻𝒾𝑔𝓊𝓇𝒶 𝓆𝓊𝑒 𝓈𝑒 𝒶𝓅𝓇𝑒𝓃𝒹𝑒 𝒶 𝒶𝒹𝓂𝒾𝓇𝒶𝓇. 𝒩𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶, 𝒶𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈 𝓈𝑒𝓃𝓉𝑒𝓂 𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶 𝓃𝑜𝓈 𝒹𝑒𝒸𝒾𝓈𝑜𝓇𝑒𝓈 𝓅𝑜𝓁𝒾́𝓉𝒾𝒸𝑜𝓈, 𝒶𝓈 𝓅𝒶𝓁𝒶𝓋𝓇𝒶𝓈 𝓅𝓇𝑜𝒻𝑒𝓇𝒾𝒹𝒶𝓈 𝓋𝑒̂𝓂 𝒸𝑒𝓇𝓉𝑒𝒾𝓇𝒶𝓈, 𝑜𝒷𝒿𝑒𝓉𝒾𝓋𝒶𝓈, 𝑒 𝓈𝒶̃𝑜 𝓈𝑜𝒷𝓇𝑒𝓅𝑜𝓃𝒾́𝓋𝑒𝒾𝓈 𝒶𝑜𝓈 𝓅𝓁𝒶𝓃𝑜𝓈. 𝒫𝑜𝒹𝑒 𝓈𝑒𝓇 𝓃𝑒𝒸𝑒𝓈𝓈𝒶́𝓇𝒾𝑜 𝑒𝓃𝑔𝑒𝓃𝒹𝓇𝒶𝓇 𝓃𝑜𝓋𝑜𝓈 𝒸𝑒𝓃𝒶́𝓇𝒾𝑜𝓈, 𝒸𝓁𝒶𝓇𝑜, 𝓂𝒶𝓈 𝓃𝒶̃𝑜 𝒽𝒶́ 𝓂𝓊𝒾𝓉𝒶 𝒶𝓂𝒷𝒾𝑔𝓊𝒾𝒹𝒶𝒹𝑒 𝑒 𝒶 𝒹𝑒𝓈𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶, 𝒹𝑒 𝓊𝓂𝒶 𝒻𝑜𝓇𝓂𝒶 𝑔𝑒𝓇𝒶𝓁, 𝓃𝒶̃𝑜 𝓉𝑒𝓂 𝓁𝓊𝑔𝒶𝓇 𝒹𝑒 𝑒𝓍𝒾𝓈𝓉𝑒̂𝓃𝒸𝒾𝒶. ℋ𝒶́ 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓈𝑒𝓇𝒾𝑒𝒹𝒶𝒹𝑒 𝓃𝒶 𝑔𝑒𝓈𝓉𝒶̃𝑜 𝒹𝑜 𝓆𝓊𝑒 𝑒́ 𝒸𝑜𝓂𝓊𝓂 𝑒, 𝓈𝑒 𝓅𝑜𝓇 𝒶𝒸𝒶𝓈𝑜, 𝓅𝑜𝓇 𝒶𝓉𝓇𝑒𝓋𝒾𝓂𝑒𝓃𝓉𝑜, 𝓈𝓊𝓇𝑔𝑒 𝒶𝓁𝑔𝓊𝑒́𝓂 𝒸𝑜𝓂 𝓊𝓂 𝒾𝓃𝓉𝓊𝒾𝓉𝑜 𝓂𝑒𝓃𝑜𝓈 𝓈𝑒́𝓇𝒾𝑜 𝓃𝑜 𝓂𝒶𝓃𝓊𝓈𝑒𝒶𝓂𝑒𝓃𝓉𝑜 𝒹𝒶 𝓅𝑜𝓁𝒾́𝓉𝒾𝒸𝒶, 𝑒́ 𝒹𝑒𝒻𝒾𝓃𝒾𝓉𝒾𝓋𝒶𝓂𝑒𝓃𝓉𝑒 𝒶𝒻𝒶𝓈𝓉𝒶𝒹𝑜, 𝑒́ 𝓋𝑒𝓇𝒹𝒶𝒹𝑒𝒾𝓇𝒶𝓂𝑒𝓃𝓉𝑒 𝒶𝒻𝒶𝓈𝓉𝒶𝒹𝑜 𝑒𝓂 𝒹𝑒𝒻𝒾𝓃𝒾𝓉𝒾𝓋𝑜, 𝓃𝒶̃𝑜 𝓇𝑒𝓈𝓈𝓊𝓇𝑔𝑒 𝒶𝓃𝑜𝓈 𝓂𝒶𝒾𝓈 𝓉𝒶𝓇𝒹𝑒 (𝓅𝑜𝓊𝒸𝑜𝓈!) 𝒹𝒶𝓈 𝓈𝑜𝓂𝒷𝓇𝒶𝓈 𝓅𝒶𝓇𝒶 𝒾𝓇 𝓅𝓈𝑒𝓊𝒹𝑜𝒷𝓇𝒾𝓁𝒽𝒶𝓇 𝓃𝑜𝓊𝓉𝓇𝑜 𝒸𝒶𝓇𝑔𝑜 𝓅𝓊́𝒷𝓁𝒾𝒸𝑜 𝑒𝓍𝓉𝓇𝒶𝑜𝓇𝒹𝒾𝓃𝒶́𝓇𝒾𝑜 𝑒 𝒷𝑒𝓂 𝓅𝒶𝑔𝑜. 𝒩𝒶𝓉𝓊𝓇𝒶𝓁𝓂𝑒𝓃𝓉𝑒, 𝒾𝓈𝓉𝑜 𝒹𝒶́ 𝓊𝓂𝒶 𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶 𝓂𝓊𝒾𝓉𝑜 𝑔𝓇𝒶𝓃𝒹𝑒 𝒶̀𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈 𝑒 𝓈𝒶𝒷𝑒 𝒷𝑒𝓂 𝓈𝑒𝓃𝓉𝒾𝓇 𝓆𝓊𝑒 𝑜 𝑔𝑜𝓋𝑒𝓇𝓃𝑜 𝑒́ 𝓊𝓂 𝑔𝑒́𝓃𝑒𝓇𝑜 𝒹𝑒 𝓂𝒶̃𝑒, 𝓅𝑜𝓇𝓆𝓊𝑒 𝓃𝓊𝓂𝒶 𝓂𝒶̃𝑒 𝒸𝑜𝓃𝒻𝒾𝒶𝓂𝑜𝓈 𝒶̀𝓈 𝒸𝑒𝑔𝒶𝓈.
𝒜̀𝓈 𝓋𝑒𝓏𝑒𝓈, 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝑜-𝓂𝑒: 𝓅𝑜𝓇𝓆𝓊𝑒 𝓉𝑒𝓇𝒶́ 𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝓉𝒶𝓃𝓉𝑜 𝒹𝒾𝓃𝒽𝑒𝒾𝓇𝑜, 𝓅𝑜𝓇𝓆𝓊𝑒 𝓉𝑒𝓇𝒶́ 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁 𝓉𝒶̃𝑜 𝓅𝑜𝓊𝒸𝑜?! ℰ 𝓃𝒶̃𝑜 𝓂𝑒 𝒾𝓃𝓉𝑒𝓇𝓇𝑜𝑔𝑜 𝒹𝑒 𝒻𝑜𝓇𝓂𝒶 𝒶𝓅𝑒𝓃𝒶𝓈 𝒾𝓃𝒻𝒶𝓃𝓉𝒾𝓁: 𝒸𝓁𝒶𝓇𝑜 𝓆𝓊𝑒 𝒶 𝒜𝓁𝑒𝓂𝒶𝓃𝒽𝒶 𝑒́ 𝓊𝓂 𝓅𝒶𝒾́𝓈 𝓅𝓇𝑜𝒹𝓊𝓉𝑜𝓇 𝑒 𝑒𝓍𝓅𝑜𝓇𝓉𝒶𝒹𝑜𝓇, 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁 𝓃𝑒𝓂 𝓉𝒶𝓃𝓉𝑜, 𝑒 𝒾𝓈𝓈𝑜 𝒸𝑜𝓃𝓉𝓇𝒾𝒷𝓊𝒾𝓇𝒶́ 𝓃𝓊𝓂𝒶 𝑒𝓈𝒸𝒶𝓁𝒶 𝑔𝓇𝒶𝓃𝒹𝑒 𝓅𝒶𝓇𝒶 𝓊𝓂 𝓈𝒶𝓁𝒹𝑜 𝓅𝑜𝓈𝒾𝓉𝒾𝓋𝑜 𝓃𝒶 𝒷𝒶𝓁𝒶𝓃𝒸̧𝒶 𝒹𝑜𝓈 𝒹𝒾𝓃𝒽𝑒𝒾𝓇𝑜𝓈. ℳ𝒶𝓈 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝑜-𝓂𝑒 𝓅𝑜𝓇𝓆𝓊𝑒, 𝓃𝑜𝓈 𝓈𝑒𝓇𝓋𝒾𝒸̧𝑜𝓈 𝒹𝑒 𝓉𝑜𝒹𝑜𝓈 𝑜𝓈 𝒹𝒾𝒶𝓈, 𝑒𝓁𝑒𝓈 𝓃𝒶̃𝑜 𝓈𝒶̃𝑜 𝓂𝑒𝓁𝒽𝑜𝓇𝑒𝓈 𝒹𝑜 𝓆𝓊𝑒 𝓃𝑜́𝓈, 𝒫𝑜𝓇𝓉𝓊𝑔𝓊𝑒𝓈𝑒𝓈. 𝒫𝑜𝓇 𝑒𝓍𝑒𝓂𝓅𝓁𝑜, 𝒶 𝓅𝓇𝒶́𝓉𝒾𝒸𝒶 𝒹𝒶 𝓂𝑒𝒹𝒾𝒸𝒾𝓃𝒶 𝒹𝑒 𝒶𝓂𝒷𝓊𝓁𝒶𝓉𝑜́𝓇𝒾𝑜, 𝒶𝒾𝓃𝒹𝒶 𝓆𝓊𝑒 𝓈𝑜𝒻𝒾𝓈𝓉𝒾𝒸𝒶𝒹𝒶 𝓃𝒶 𝓉𝑒𝒸𝓃𝑜𝓁𝑜𝑔𝒾𝒶 𝑒 𝓈𝑒𝓂 𝑒𝓃𝓉𝓇𝒶𝓋𝑒𝓈 𝑒𝒸𝑜𝓃𝑜́𝓂𝒾𝒸𝑜𝓈 𝓅𝒶𝓇𝒶 𝓅𝑒𝒹𝒾𝒹𝑜𝓈 𝒹𝑒 𝑒𝓍𝒶𝓂𝑒𝓈 𝑒 𝒶𝓃𝒶́𝓁𝒾𝓈𝑒𝓈, 𝑒́ 𝒾𝓃𝒻𝑒𝓇𝒾𝑜𝓇 𝒶̀ 𝓃𝑜𝓈𝓈𝒶 (𝑒, 𝒸𝑜𝓂𝑜 𝓂𝑒́𝒹𝒾𝒸𝒶, 𝓈𝒾𝓃𝓉𝑜-𝓂𝑒 𝒶̀ 𝓋𝑜𝓃𝓉𝒶𝒹𝑒 𝓅𝒶𝓇𝒶 𝑜 𝒸𝑜𝓂𝑒𝓃𝓉𝒶𝓇); 𝑜𝓊 𝒸𝒽𝒶𝓂𝒶𝓇 𝓊𝓂 𝒸𝒶𝓃𝒶𝓁𝒾𝓏𝒶𝒹𝑜𝓇 𝒶 𝒸𝒶𝓈𝒶 𝓃𝒶̃𝑜 𝓃𝑜𝓈 𝑔𝒶𝓇𝒶𝓃𝓉𝑒 𝓆𝓊𝑒 𝑒𝓁𝑒 𝓈𝒶𝒾𝒷𝒶 𝓇𝑒𝓈𝑜𝓁𝓋𝑒𝓇 𝑜 𝓅𝓇𝑜𝒷𝓁𝑒𝓂𝒶 𝒸𝑜𝓂 𝒶 𝒶́𝑔𝓊𝒶, 𝑒 𝑜 𝓂𝑒𝓈𝓂𝑜 𝒸𝑜𝓂 𝑜 𝑒𝓁𝑒𝓉𝓇𝒾𝒸𝒾𝓈𝓉𝒶, 𝒸𝑜𝓂 𝑜 𝓉𝑒́𝒸𝓃𝒾𝒸𝑜 𝒹𝒶 𝒾𝓃𝓉𝑒𝓇𝓃𝑒𝓉… ℰ𝓁𝑒𝓈 𝓃𝒶̃𝑜 𝓈𝒶̃𝑜, 𝒹𝑒 𝒻𝒶𝒸𝓉𝑜, 𝓂𝑒𝓁𝒽𝑜𝓇𝑒𝓈 𝒹𝑜 𝓆𝓊𝑒 𝓃𝑜́𝓈 𝑒, 𝒶𝓈𝓈𝒾𝓂, 𝒶 𝑜𝓊𝓉𝓇𝒶 𝓅𝒶𝓇𝓉𝑒 𝒹𝒶 𝓇𝑒𝓈𝓅𝑜𝓈𝓉𝒶 𝓅𝒶𝓇𝒶 𝒶 𝓂𝒾𝓃𝒽𝒶 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝒶 𝓉𝑒𝓂 𝓆𝓊𝑒 𝓅𝒶𝓈𝓈𝒶𝓇 𝓅𝑒𝓁𝒶 𝑔𝑜𝓋𝑒𝓇𝓃𝒶𝒸̧𝒶̃𝑜, 𝓅𝑜𝓇 𝓊𝓂𝒶 𝑒𝓃𝓉𝒾𝒹𝒶𝒹𝑒 𝑒𝓈𝓉𝓇𝓊𝓉𝓊𝓇𝒶𝓁.
𝒞𝑜𝓃𝓉𝓇𝒶𝓇𝒾𝒶𝓂𝑒𝓃𝓉𝑒 𝒶 ℳ𝒶𝓇𝒾𝒶 ℱ𝒾𝓁𝑜𝓂𝑒𝓃𝒶 ℳ𝑜́𝓃𝒾𝒸𝒶 𝑒 𝒶 𝒥𝑜𝓈𝑒́ ℳ𝒶𝓃𝓊𝑒𝓁 ℱ𝑒𝓇𝓃𝒶𝓃𝒹𝑒𝓈, 𝑒𝓊 𝒶𝒾𝓃𝒹𝒶 𝓉𝑒𝓃𝒽𝑜 𝑜𝓇𝑔𝓊𝓁𝒽𝑜 𝑒𝓂 𝓈𝑒𝓇 𝓅𝑜𝓇𝓉𝓊𝑔𝓊𝑒𝓈𝒶. 𝒫𝑜𝒹𝑒 𝓈𝑒𝓇 𝓆𝓊𝑒 𝒶 𝓂𝒾𝓃𝒽𝒶 𝑜𝓅𝒾𝓃𝒾𝒶̃𝑜 𝓂𝓊𝒹𝑒 𝒹𝒶𝓆𝓊𝒾 𝒶 𝒶𝓁𝑔𝓊𝓃𝓈 𝒶𝓃𝑜𝓈, 𝑒𝓁𝑒𝓈 𝓈𝒶𝒷𝑒𝓂 𝓂𝓊𝒾𝓉𝑜 𝓂𝒶𝒾𝓈 𝒹𝑜 𝓆𝓊𝑒 𝑒𝓊. ℳ𝒶𝓈 𝓉𝒶𝓁𝓋𝑒𝓏 𝒶𝒾𝓃𝒹𝒶 𝓉𝑒𝓃𝒽𝒶 𝑜𝓇𝑔𝓊𝓁𝒽𝑜, 𝓅𝑜𝓇 𝓂𝑒 𝒸𝑜𝓁𝑜𝒸𝒶𝓇 𝓂𝒶𝒾𝓈 𝒹𝑒𝓈𝒶𝓉𝑒𝓃𝓉𝒶 𝒶̀ ℋ𝒾𝓈𝓉𝑜́𝓇𝒾𝒶, 𝓂𝒶𝓈 𝓂𝒶𝒾𝓈 𝒻𝑜𝒸𝒶𝒹𝒶 𝓃𝑜 𝒸𝒽𝒶̃𝑜 𝒹𝑒 𝒫𝑜𝓇𝓉𝓊𝑔𝒶𝓁. ℰ́ 𝒹𝒾𝒻𝒾́𝒸𝒾𝓁 𝒹𝑒𝓈𝒸𝑜𝒷𝓇𝒾𝓇 𝓉𝒶𝓃𝓉𝑜 𝓈𝑜𝓁, 𝓉𝒶𝓃𝓉𝒶 𝒽𝑜𝓈𝓅𝒾𝓉𝒶𝓁𝒾𝒹𝒶𝒹𝑒, 𝒶𝓁𝑔𝓊𝓂𝒶 𝒸𝑒𝓇𝒾𝓂𝑜́𝓃𝒾𝒶 𝑒𝒹𝓊𝒸𝒶𝒹𝒶, 𝓉𝒶𝓃𝓉𝑜 𝒸𝑜𝓇𝒶𝒸̧𝒶̃𝑜 𝒹𝑒 𝒷𝓇𝒶𝒸̧𝑜𝓈 𝑒𝓈𝓉𝑒𝓃𝒹𝒾𝒹𝑜𝓈, 𝓉𝒶𝓃𝓉𝑜 𝓂𝒶𝓇, 𝓃𝑜𝓊𝓉𝓇𝑜 𝓁𝓊𝑔𝒶𝓇 𝒹𝑜 𝓂𝓊𝓃𝒹𝑜. ℳ𝒶𝓈, 𝑒́ 𝓉𝒶𝓂𝒷𝑒́𝓂 𝒸𝑒𝓇𝓉𝑜, 𝑒𝓈𝓉𝑒 𝒸𝒽𝒶̃𝑜 𝓂𝒶𝓇𝒶𝓋𝒾𝓁𝒽𝑜𝓈𝑜 𝓉𝑒𝓂 𝓆𝓊𝑒 𝓈𝑒𝓇 𝒸𝒶𝓅𝒶𝓏 𝒹𝑒 𝓈𝑒 𝓇𝑒𝓃𝑜𝓋𝒶𝓇 𝓃𝒶 𝒸𝒽𝒾𝒸𝑜-𝑒𝓈𝓅𝑒𝓇𝓉𝒾𝒸𝑒, 𝓃𝒶 𝒸𝑜𝓇𝓇𝓊𝓅𝒸̧𝒶̃𝑜, 𝓃𝒶 𝒾𝓃𝒸𝑜𝓃𝓈𝑒𝓆𝓊𝑒̂𝓃𝒸𝒾𝒶, 𝓃𝒶 𝓇𝑒𝒷𝒶𝓁𝒹𝒶𝓇𝒾𝒶.
𝒞𝑜𝓂𝑒𝒸𝑒𝓂𝑜𝓈 𝓅𝑜𝓇 𝑒𝓈𝓉𝒶 𝑒́𝓅𝑜𝒸𝒶 𝒹𝑒 𝒩𝒶𝓉𝒶𝓁 𝑒 𝒾𝓃𝒾𝒸𝒾𝑒𝓂𝑜𝓈 𝑜 𝒩𝑜𝓋𝑜 𝒜𝓃𝑜 𝒸𝑜𝓂 𝒶 𝓇𝑒𝓈𝓅𝑜𝓃𝓈𝒶𝒷𝒾𝓁𝒾𝒹𝒶𝒹𝑒 𝓂𝒶́𝓍𝒾𝓂𝒶 𝓆𝓊𝑒 𝓈𝑜𝓊𝒷𝑒𝓇𝓂𝑜𝓈, 𝒸𝑜𝓂 𝒶 𝑒𝓂𝓅𝒶𝓉𝒾𝒶 𝓂𝒶́𝓍𝒾𝓂𝒶 𝓆𝓊𝑒 𝓈𝑜𝓊𝒷𝑒𝓇𝓂𝑜𝓈, 𝒸𝑜𝓂 𝒶 𝒸𝑜𝓃𝓉𝑒𝓃𝒸̧𝒶̃𝑜 𝒹𝑒 𝓋𝑜𝓁𝓉𝒶𝓈 𝓂𝒶́𝓍𝒾𝓂𝒶 𝓆𝓊𝑒 𝓈𝑜𝓊𝒷𝑒𝓇𝓂𝑜𝓈, 𝓂𝒶𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝒸𝑜𝓂 𝒶 𝒻𝑒𝓁𝒾𝒸𝒾𝒹𝒶𝒹𝑒 𝓂𝒶́𝓍𝒾𝓂𝒶 𝓆𝓊𝑒 𝓅𝓊𝒹𝑒𝓇𝓂𝑜𝓈.
* Médica pedopsiquiatra a residir na Alemanha
IN "OBSERVADOR"- 26/12/20
.
𝟣-ᖇᥱtᥲꙆᖾo⳽ ᑯᥲ ᖇᥲຕᥱꙆᥲ
V-ℬ𝒶𝓁𝓁𝑒𝓉 ℛ𝑜𝓈𝑒
.
VIDAS PROÍBIDAS
Ballet Rose - Vidas Proibidas foi uma série de televisão portuguesa produzida pela NBP em 1997 e exibida pela RTP 1 em 1998, que tinha como cabeça de cartaz a actriz Sofia Alves, que protagonizava cenas íntimas na série. Esta baseava-se no escândalo que rebentou em 1967 em Portugal, em que diversos homens ligados às mais altas cúpulas do Estado Novo
participavam em orgias com crianças entre os 8 e os 12 anos e em
práticas de sado-masoquismo, as quais levaram à morte de, pelo menos,
uma mulher.
* Este episódio tem alguns defeitos de sonorização.
.
27-TEATRO
FORA "D'ORAS"
𝐼𝐼𝐼-𝑆𝑖𝑚𝑜𝑛𝑒, 𝑂 𝑀𝑢𝑠𝑖𝑐𝑎𝑙
𝑆𝐼𝑁𝑂𝑃𝑆𝐸:
𝐴𝑚𝑎𝑑𝑎 𝑝𝑜𝑟 𝑡𝑜𝑑𝑜𝑠, 𝑆𝑖𝑚𝑜𝑛𝑒 𝑑𝑒 𝑂𝑙𝑖𝑣𝑒𝑖𝑟𝑎 𝑒́ 𝑠𝑖𝑛𝑜́𝑛𝑖𝑚𝑜 𝑑𝑒 𝑓𝑜𝑟𝑐̧𝑎, 𝑎𝑢𝑡𝑒𝑛𝑡𝑖𝑐𝑖𝑑𝑎𝑑𝑒 𝑒 𝑐𝑜𝑟𝑎𝑔𝑒𝑚. 𝐴𝑟𝑡𝑖𝑠𝑡𝑎 𝑐𝑜𝑚𝑝𝑙𝑒𝑡𝑎, 𝑛𝑎 𝑠𝑢𝑎 𝑐𝑎𝑟𝑟𝑒𝑖𝑟𝑎 𝑎𝑏𝑟𝑎𝑐̧𝑜𝑢 𝑚𝑎𝑖𝑠 𝑑𝑒 𝑠𝑒𝑡𝑒 𝑜𝑓𝑖́𝑐𝑖𝑜𝑠, 𝑓𝑎𝑧𝑒𝑛𝑑𝑜 𝑠𝑒𝑚𝑝𝑟𝑒 𝑓𝑟𝑒𝑛𝑡𝑒 𝑎𝑜𝑠 𝑑𝑒𝑠𝑎𝑓𝑖𝑜𝑠 𝑞𝑢𝑒 𝑎 𝑣𝑖𝑑𝑎 𝑙𝘩𝑒 𝑙𝑎𝑛𝑐̧𝑜𝑢. 𝑆𝑒𝑚 𝑡𝑒𝑚𝑒𝑟, 𝑜𝑢 𝑡𝑒𝑚𝑒𝑛𝑑𝑜 𝑚𝑢𝑖𝑡𝑜, 𝑑𝑒𝑠𝑏𝑟𝑎𝑣𝑜𝑢 𝑐𝑎𝑚𝑖𝑛𝘩𝑜𝑠 𝑒 𝑓𝑒𝑧-𝑠𝑒 𝑜𝑢𝑣𝑖𝑟 𝑛𝑢𝑚𝑎 𝑠𝑜𝑐𝑖𝑒𝑑𝑎𝑑𝑒 𝑎𝑑𝑣𝑒𝑟𝑠𝑎 𝑎̀𝑠 𝑚𝑢𝑙𝘩𝑒𝑟𝑒𝑠 𝑐𝑜𝑚 𝑣𝑜𝑧.
𝐹𝑜𝑖 𝑗𝑜𝑟𝑛𝑎𝑙𝑖𝑠𝑡𝑎, 𝑙𝑜𝑐𝑢𝑡𝑜𝑟𝑎 𝑑𝑒 𝑐𝑜𝑛𝑡𝑖𝑛𝑢𝑖𝑑𝑎𝑑𝑒, 𝑎𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑎𝑑𝑜𝑟𝑎 𝑑𝑒 𝑐𝑜𝑛𝑐𝑢𝑟𝑠𝑜𝑠 𝑒 𝑝𝑟𝑜𝑔𝑟𝑎𝑚𝑎𝑠 𝑑𝑒 𝑡𝑒𝑙𝑒𝑣𝑖𝑠𝑎̃𝑜 𝑒 𝑟𝑎́𝑑𝑖𝑜 𝑞𝑢𝑎𝑛𝑑𝑜 𝑎 𝑣𝑜𝑧, 𝑝𝑜𝑠𝑠𝑎𝑛𝑡𝑒 𝑒 𝑒𝑛𝑒́𝑟𝑔𝑖𝑐𝑎, 𝑎 𝑓𝑖𝑛𝑡𝑜𝑢. 𝐿𝑢𝑡𝑜𝑢 𝑒 𝑠𝑜𝑏𝑟𝑒𝑣𝑖𝑣𝑒𝑢; 𝑟𝑒𝑔𝑟𝑒𝑠𝑠𝑜𝑢 𝑎̀𝑠 𝑐𝑎𝑛𝑐̧𝑜̃𝑒𝑠 𝑞𝑢𝑒 𝑎 𝑛𝑜𝑡𝑎𝑏𝑖𝑙𝑖𝑧𝑎𝑟𝑎𝑚, 𝑎𝑜𝑠 𝑝𝑜𝑒𝑡𝑎𝑠 𝑐𝑜𝑛𝑡𝑟𝑜𝑣𝑒𝑟𝑠𝑜𝑠 𝑎 𝑐𝑢𝑗𝑎 𝑜𝑏𝑟𝑎 𝑐𝑒𝑑𝑒𝑢 𝑎 𝑎𝑙𝑚𝑎, 𝑎𝑜𝑠 𝑝𝑎𝑙𝑐𝑜𝑠 𝑞𝑢𝑒 𝑎 𝑎𝑚𝑎𝑣𝑎𝑚 𝑐𝑜𝑚𝑜 𝑐𝑎𝑛𝑡𝑜𝑟𝑎 𝑒 𝑎𝑐𝑡𝑟𝑖𝑧, 𝑎𝑜 𝑝𝑢́𝑏𝑙𝑖𝑐𝑜 𝑞𝑢𝑒 𝑎𝑝𝑙𝑎𝑢𝑑𝑖𝑎 𝑎 𝐴𝑟𝑡𝑖𝑠𝑡𝑎 𝑒 𝑎 𝑀𝑢𝑙𝘩𝑒𝑟.
𝐴𝑜𝑠 𝟽𝟿 𝑎𝑛𝑜𝑠, 𝑆𝑖𝑚𝑜𝑛𝑒 𝑑𝑒 𝑂𝑙𝑖𝑣𝑒𝑖𝑟𝑎 𝑎𝑖𝑛𝑑𝑎 𝑡𝑒𝑚 𝑠𝑜𝑛𝘩𝑜𝑠 𝑝𝑜𝑟 𝑐𝑜𝑛𝑐𝑟𝑒𝑡𝑖𝑧𝑎𝑟 𝑒 𝑚𝑢𝑖𝑡𝑎𝑠 𝑚𝑒𝑚𝑜́𝑟𝑖𝑎𝑠 𝑝𝑎𝑟𝑎 𝑝𝑎𝑟𝑡𝑖𝑙𝘩𝑎𝑟. 𝐴 𝑝𝑎𝑟𝑡𝑖𝑟 𝑑𝑒 𝑡𝑒𝑚𝑎𝑠 𝑖𝑐𝑜́𝑛𝑖𝑐𝑜𝑠 𝑐𝑜𝑚𝑜 “𝐷𝑒𝑠𝑓𝑜𝑙𝘩𝑎𝑑𝑎”, “𝑆𝑜𝑙 𝑑𝑒 𝐼𝑛𝑣𝑒𝑟𝑛𝑜”, “𝐸𝑠𝑡𝑎 𝑃𝑎𝑙𝑎𝑣𝑟𝑎 𝑆𝑎𝑢𝑑𝑎𝑑𝑒” 𝑒 “𝑇𝑎𝑛𝑔𝑜 𝑅𝑖𝑏𝑒𝑖𝑟𝑖𝑛𝘩𝑜”, 𝑆𝑖𝑚𝑜𝑛𝑒 𝑣𝑎𝑖 𝑑𝑒𝑠𝑣𝑒𝑛𝑑𝑎𝑟-𝑠𝑒 𝑒, 𝑚𝑎𝑖𝑠 𝑢𝑚𝑎 𝑣𝑒𝑧, 𝑒𝑛𝑡𝑟𝑒𝑔𝑎𝑟-𝑠𝑒 𝑝𝑢𝑏𝑙𝑖𝑐𝑎𝑚𝑒𝑛𝑡𝑒 𝑝𝑒𝑙𝑜 𝑞𝑢𝑒 𝑎𝑐𝑟𝑒𝑑𝑖𝑡𝑎, 𝑝𝑒𝑙𝑜 𝑞𝑢𝑒 𝑠𝑒𝑛𝑡𝑒 𝑐𝑜𝑚𝑜 𝑑𝑒𝑠𝑡𝑖𝑛𝑜, 𝑝𝑒𝑙𝑜 𝑞𝑢𝑒 𝑎 𝑡𝑜𝑟𝑛𝑎 𝑢𝑚 𝑒𝑥𝑒𝑚𝑝𝑙𝑜 𝑎𝑐𝑎𝑟𝑖𝑛𝘩𝑎𝑑𝑜 𝑝𝑜𝑟 𝑡𝑜𝑑𝑜𝑠 𝑜𝑠 𝑝𝑜𝑟𝑡𝑢𝑔𝑢𝑒𝑠𝑒𝑠.
𝑀𝑎𝑠, 𝑆𝐼𝑀𝑂𝑁𝐸, 𝑂 𝑀𝑈𝑆𝐼𝐶𝐴𝐿 𝑒́ 𝑚𝑢𝑖𝑡𝑜 𝑚𝑎𝑖𝑠 𝑞𝑢𝑒 𝑢𝑚 𝑚𝑢𝑠𝑖𝑐𝑎𝑙 𝑒𝑚 𝑛𝑜𝑚𝑒 𝑝𝑟𝑜́𝑝𝑟𝑖𝑜, 𝑜𝑛𝑑𝑒 𝑎 𝑠𝑢𝑎 𝘩𝑖𝑠𝑡𝑜́𝑟𝑖𝑎, 𝑟𝑒𝑐𝘩𝑒𝑎𝑑𝑎 𝑑𝑒 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑛𝑠 𝑐𝑜𝑚𝑜 𝑉𝑎𝑟𝑒𝑙𝑎 𝑆𝑖𝑙𝑣𝑎, 𝐴𝑟𝑦 𝑑𝑜𝑠 𝑆𝑎𝑛𝑡𝑜𝑠, 𝐶𝑎𝑟𝑙𝑜𝑠 𝑑𝑜 𝐶𝑎𝑟𝑚𝑜 𝑒 𝐷𝑎𝑣𝑖𝑑 𝑀𝑜𝑢𝑟𝑎̃𝑜 𝐹𝑒𝑟𝑟𝑒𝑖𝑟𝑎, 𝑒́ 𝑝𝑎𝑢𝑡𝑎𝑑𝑎 𝑝𝑒𝑙𝑎 𝑚𝑢́𝑠𝑖𝑐𝑎 𝑒 𝘩𝑢𝑚𝑜𝑟.
𝐸𝐿𝐸𝑁𝐶𝑂:
𝑆𝑖𝑚𝑜𝑛𝑒 𝑑𝑒 𝑂𝑙𝑖𝑣𝑒𝑖𝑟𝑎, 𝐹𝐹, 𝐽𝑜𝑠𝑒́ 𝑅𝑎𝑝𝑜𝑠𝑜, 𝑀𝑎𝑟𝑖𝑎 𝐽𝑜𝑎̃𝑜 𝐴𝑏𝑟𝑒𝑢, 𝑀𝑎𝑟𝑡𝑎 𝐴𝑛𝑑𝑟𝑖𝑛𝑜, 𝑃𝑒𝑑𝑟𝑜 𝑃𝑒𝑟𝑛𝑎𝑠, 𝑅𝑢𝑏𝑒𝑛 𝑀𝑎𝑑𝑢𝑟𝑒𝑖𝑟𝑎, 𝑆𝑎𝑙𝑣𝑎𝑑𝑜𝑟 𝑁𝑒𝑟𝑦, 𝑆𝑖𝑠𝑠𝑖 𝑀𝑎𝑟𝑡𝑖𝑛𝑠, 𝑆𝑜𝑟𝑎𝑖𝑎 𝑇𝑎𝑣𝑎𝑟𝑒𝑠
𝑀𝑢́𝑠𝑖𝑐𝑜𝑠:
𝐻𝑒𝑙𝑑𝑒𝑟 𝐺𝑜𝑑𝑖𝑛𝘩𝑜 - 𝑎𝑠𝑠. 𝑑𝑖𝑟. 𝑚𝑢𝑠𝑖𝑐𝑎𝑙/𝑝𝑖𝑎𝑛𝑜
𝑀𝑖𝑔𝑢𝑒𝑙 𝐴𝑚𝑎𝑑𝑜 - 𝑏𝑎𝑖𝑥𝑜/𝑐𝑜𝑛𝑡𝑟𝑎𝑏𝑎𝑖𝑥𝑜
𝑅𝑖𝑐𝑎𝑟𝑑𝑜 𝐵𝑎𝑟𝑟𝑖𝑔𝑎 - 𝑔𝑢𝑖𝑡𝑎𝑟𝑟𝑎
𝐷𝑎𝑣𝑖𝑑 𝐽𝑒𝑟𝑜́𝑛𝑖𝑚𝑜 - 𝑏𝑎𝑡𝑒𝑟𝑖𝑎
𝐸𝑞𝑢𝑖𝑝𝑎 𝑐𝑟𝑖𝑎𝑡𝑖𝑣𝑎:
𝑇𝑒𝑥𝑡𝑜 𝑒 𝑒𝑛𝑐𝑒𝑛𝑎𝑐̧𝑎̃𝑜 𝑇𝑖𝑎𝑔𝑜 𝑇𝑜𝑟𝑟𝑒𝑠 𝑑𝑎 𝑆𝑖𝑙𝑣𝑎
𝐷𝑖𝑟. 𝑀𝑢𝑠𝑖𝑐𝑎𝑙 𝑅𝑒𝑛𝑎𝑡𝑜 𝐽𝑢́𝑛𝑖𝑜𝑟
𝐶𝑒𝑛𝑜𝑔𝑟𝑎𝑓𝑖𝑎 𝐶𝑎𝑡𝑎𝑟𝑖𝑛𝑎 𝐴𝑚𝑎𝑟𝑜
𝐹𝑖𝑔𝑢𝑟𝑖𝑛𝑜𝑠 𝐷𝑖𝑛𝑜 𝐴𝑙𝑣𝑒𝑠
𝐷𝑒𝑠𝑒𝑛𝘩𝑜 𝑑𝑒 𝐿𝑢𝑧 𝑃𝑎𝑢𝑙𝑜 𝑆𝑎𝑏𝑖𝑛𝑜
𝐶𝑜𝑟𝑒𝑜𝑔𝑟𝑎𝑓𝑖𝑎 𝑃𝑎𝑢𝑙𝑜 𝐽𝑒𝑠𝑢𝑠
𝑉𝑜𝑐𝑎𝑙 𝐶𝑜𝑎𝑐𝘩𝑖𝑛𝑔 𝐶𝑎𝑟𝑙𝑜𝑠 𝐶𝑜𝑖𝑛𝑐𝑎𝑠
𝐹𝑜𝑡𝑜𝑔𝑟𝑎𝑓𝑖𝑎 𝑑𝑜 𝐶𝑎𝑟𝑡𝑎𝑧 𝑅𝑢𝑖 𝐹𝑖𝑔𝑢𝑒𝑖𝑟𝑒𝑑𝑜
𝐴𝑠𝑠𝑖𝑠𝑡𝑒𝑛𝑡𝑒 𝑑𝑒 𝑒𝑛𝑐𝑒𝑛𝑎𝑐̧𝑎̃𝑜 𝑆𝑎𝑙𝑣𝑎𝑑𝑜𝑟 𝑁𝑒𝑟𝑦
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