MARIA ESCAJA

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EGEAC:

nomeɑçɑ̃o ou concessɑ̃o?

Foram anos duríssimos para a cultura, para quem nela trabalha e para o próprio público. Mas isso pouco importa ao executivo dos “Novos Tempos”, para quem a cidade pertence a quem puder pagar mais.

𝓓𝓲𝔃-𝓼𝓮 𝓷𝓸𝓼 𝓶𝓮𝓲𝓸𝓼 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓲𝓼 𝓮 𝓪𝓻𝓽𝓲́𝓼𝓽𝓲𝓬𝓸𝓼 𝓺𝓾𝓮 𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪 𝓮́ 𝓼𝓮𝓶𝓹𝓻𝓮 𝓸 𝓹𝓪𝓻𝓮𝓷𝓽𝓮 𝓹𝓸𝓫𝓻𝓮 – 𝓼𝓮𝓳𝓪 𝓹𝓮𝓵𝓪 𝓹𝓻𝓮𝓬𝓪𝓻𝓲𝓮𝓭𝓪𝓭𝓮, 𝓹𝓮𝓵𝓪 𝓯𝓪𝓵𝓽𝓪 𝓭𝓮 𝓻𝓮𝓬𝓸𝓷𝓱𝓮𝓬𝓲𝓶𝓮𝓷𝓽𝓸 𝓭𝓸 𝓽𝓻𝓪𝓫𝓪𝓵𝓱𝓸 𝓮 𝓭𝓮 𝓪𝓵𝓰𝓾𝓶𝓪𝓼 𝓹𝓻𝓸𝓯𝓲𝓼𝓼𝓸̃𝓮𝓼, 𝓸𝓾 𝓹𝓮𝓵𝓸 𝓼𝓾𝓫𝓯𝓲𝓷𝓪𝓷𝓬𝓲𝓪𝓶𝓮𝓷𝓽𝓸 𝓬𝓻𝓸́𝓷𝓲𝓬𝓸. 𝓒𝓸𝓷𝓽𝓲𝓷𝓾𝓪𝓶𝓸𝓼 𝓵𝓸𝓷𝓰𝓮 𝓭𝓸𝓼 𝟏% 𝓭𝓸 𝓞𝓻𝓬̧𝓪𝓶𝓮𝓷𝓽𝓸 𝓭𝓸 𝓔𝓼𝓽𝓪𝓭𝓸 𝓹𝓪𝓻𝓪 𝓾𝓶𝓪 𝓪𝓽𝓲𝓿𝓲𝓭𝓪𝓭𝓮 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵 𝓭𝓲𝓰𝓷𝓪.

𝓣𝓮𝓻𝓲𝓪 𝓰𝓻𝓪𝓬̧𝓪, 𝓼𝓮 𝓷𝓪̃𝓸 𝓯𝓸𝓼𝓼𝓮 𝓽𝓻𝓪́𝓰𝓲𝓬𝓸, 𝓺𝓾𝓮 𝓸 𝓮𝔁𝓮𝓬𝓾𝓽𝓲𝓿𝓸 𝓭𝓮 𝓒𝓪𝓻𝓵𝓸𝓼 𝓜𝓸𝓮𝓭𝓪𝓼 𝓽𝓮𝓷𝓱𝓪 𝓮𝓼𝓬𝓸𝓵𝓱𝓲𝓭𝓸 𝓹𝓪𝓻𝓪 𝓹𝓻𝓮𝓼𝓲𝓭𝓲𝓻 𝓪 𝓔𝓶𝓹𝓻𝓮𝓼𝓪 𝓭𝓮 𝓖𝓮𝓼𝓽𝓪̃𝓸 𝓭𝓮 𝓔𝓺𝓾𝓲𝓹𝓪𝓶𝓮𝓷𝓽𝓸𝓼 𝓮 𝓐𝓷𝓲𝓶𝓪𝓬̧𝓪̃𝓸 𝓒𝓾𝓵𝓽𝓾𝓻𝓪𝓵 (𝓔𝓖𝓔𝓐𝓒) 𝓟𝓮𝓭𝓻𝓸 𝓜𝓸𝓻𝓮𝓲𝓻𝓪 (𝓵𝓲𝓷𝓴 𝓲𝓼 𝓮𝔁𝓽𝓮𝓻𝓷𝓪𝓵), 𝓪𝓷𝓽𝓲𝓰𝓸 𝓭𝓲𝓻𝓮𝓽𝓸𝓻 𝓭𝓮 𝓶𝓪𝓻𝓴𝓮𝓽𝓲𝓷𝓰 𝓮 𝓿𝓲𝓼𝓲𝓽𝓸𝓻 𝓪𝓽𝓽𝓻𝓪𝓬𝓽𝓲𝓸𝓷𝓼 𝓭𝓪 𝓐𝓼𝓼𝓸𝓬𝓲𝓪𝓬̧𝓪̃𝓸 𝓭𝓮 𝓣𝓾𝓻𝓲𝓼𝓶𝓸 𝓭𝓮 𝓛𝓲𝓼𝓫𝓸𝓪 (𝓐𝓣𝓛), 𝓪𝓾𝓽𝓸𝓻 𝓭𝓮 𝓯𝓻𝓪𝓼𝓮𝓼 𝓽𝓪̃𝓸 (𝓲𝓷𝓯𝓮𝓵𝓲𝔃𝓶𝓮𝓷𝓽𝓮) 𝓶𝓮𝓶𝓸𝓻𝓪́𝓿𝓮𝓲𝓼 𝓬𝓸𝓶𝓸 “𝓸𝓼 𝓽𝓾𝓻𝓲𝓼𝓽𝓪𝓼 𝓼𝓪̃𝓸 𝓸 𝓷𝓸𝓼𝓼𝓸 𝓹𝓮𝓽𝓻𝓸́𝓵𝓮𝓸 𝓮 𝓷𝓾𝓷𝓬𝓪 𝓼𝓮𝓻𝓪̃𝓸 𝓭𝓮𝓶𝓪𝓲𝓼”.

𝓞 𝓮𝔁𝓮𝓬𝓾𝓽𝓲𝓿𝓸 𝓯𝓮𝔃 𝓾𝓶𝓪 𝓮𝓼𝓬𝓸𝓵𝓱𝓪 𝓬𝓸𝓷𝓼𝓬𝓲𝓮𝓷𝓽𝓮: 𝓻𝓮𝓽𝓲𝓻𝓪𝓻 𝓪 𝓔𝓖𝓔𝓐𝓒 𝓪𝓸𝓼 𝓛𝓲𝓼𝓫𝓸𝓮𝓽𝓪𝓼 𝓮 𝓮𝓷𝓽𝓻𝓮𝓰𝓪́-𝓵𝓪 𝓪 𝓾𝓶𝓪 𝓰𝓮𝓼𝓽𝓪̃𝓸 𝓹𝓪𝓻𝓪 𝓲𝓷𝓰𝓵𝓮̂𝓼 – 𝓸𝓾 𝓷𝓪̃𝓸, 𝓭𝓮𝓼𝓭𝓮 𝓺𝓾𝓮 𝓼𝓮𝓳𝓪 𝓽𝓾𝓻𝓲𝓼𝓽𝓪 – 𝓿𝓮𝓻. 𝓝𝓸 𝓯𝓾𝓷𝓭𝓸, 𝓮́ 𝓶𝓪𝓲𝓼 𝓾𝓶 𝓹𝓪𝓼𝓼𝓸 𝓷𝓸 𝓱𝓲𝓼𝓽𝓸́𝓻𝓲𝓬𝓸 𝓭𝓮 𝓬𝓸𝓷𝓬𝓮𝓼𝓼𝓸̃𝓮𝓼 (𝓵𝓲𝓷𝓴 𝓲𝓼 𝓮𝔁𝓽𝓮𝓻𝓷𝓪𝓵) 𝓪̀ 𝓐𝓼𝓼𝓸𝓬𝓲𝓪𝓬̧𝓪̃𝓸 𝓭𝓮 𝓣𝓾𝓻𝓲𝓼𝓶𝓸 𝓛𝓲𝓼𝓫𝓸𝓪: 𝓹𝓻𝓲𝓶𝓮𝓲𝓻𝓸 𝓸 𝓐𝓻𝓬𝓸 𝓭𝓪 𝓡𝓾𝓪 𝓐𝓾𝓰𝓾𝓼𝓽𝓪, 𝓭𝓮𝓹𝓸𝓲𝓼 𝓸 𝓣𝓸𝓻𝓻𝓮𝓪̃𝓸 𝓝𝓪𝓼𝓬𝓮𝓷𝓽𝓮, 𝓸 𝓟𝓪́𝓽𝓲𝓸 𝓭𝓪 𝓖𝓪𝓵𝓮́, 𝓸 𝓟𝓪𝓿𝓲𝓵𝓱𝓪̃𝓸 𝓒𝓪𝓻𝓵𝓸𝓼 𝓛𝓸𝓹𝓮𝓼 𝓮 𝓪 𝓔𝓼𝓽𝓾𝓯𝓪 𝓕𝓻𝓲𝓪. 𝓒𝓸𝓶𝓸 𝓼𝓮 𝓮𝓼𝓼𝓪𝓼 𝓷𝓪̃𝓸 𝓫𝓪𝓼𝓽𝓪𝓼𝓼𝓮𝓶, 𝓬𝓸𝓷𝓬𝓮𝓼𝓼𝓲𝓸𝓷𝓪 𝓪𝓰𝓸𝓻𝓪 𝓪 𝓹𝓻𝓸́𝓹𝓻𝓲𝓪 𝓔𝓖𝓔𝓐𝓒 𝓪̀ 𝓐𝓣𝓛.

𝓕𝓸𝓻𝓪𝓶 𝓪𝓷𝓸𝓼 𝓭𝓾𝓻𝓲́𝓼𝓼𝓲𝓶𝓸𝓼 𝓹𝓪𝓻𝓪 𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪, 𝓹𝓪𝓻𝓪 𝓺𝓾𝓮𝓶 𝓷𝓮𝓵𝓪 𝓽𝓻𝓪𝓫𝓪𝓵𝓱𝓪 (𝓵𝓲𝓷𝓴 𝓲𝓼 𝓮𝔁𝓽𝓮𝓻𝓷𝓪𝓵), 𝓹𝓪𝓻𝓪 𝓪 𝓻𝓮𝓷𝓽𝓪𝓫𝓲𝓵𝓲𝓭𝓪𝓭𝓮 𝓭𝓸𝓼 𝓮𝓺𝓾𝓲𝓹𝓪𝓶𝓮𝓷𝓽𝓸𝓼 – 𝓼𝓪𝓵𝓪𝓼 𝓯𝓮𝓬𝓱𝓪𝓭𝓪𝓼 𝓸𝓾 𝓪 𝓶𝓮𝓲𝓸 𝓰𝓪́𝓼 𝓭𝓾𝓻𝓪𝓷𝓽𝓮 𝓶𝓪𝓲𝓼 𝓭𝓮 𝓾𝓶 𝓪𝓷𝓸, 𝓵𝓲𝓶𝓲𝓽𝓪𝓬̧𝓸̃𝓮𝓼, 𝓮𝓽𝓬. – 𝓮 𝓹𝓪𝓻𝓪 𝓸 𝓹𝓻𝓸́𝓹𝓻𝓲𝓸 𝓹𝓾́𝓫𝓵𝓲𝓬𝓸. 𝓜𝓪𝓼 𝓲𝓼𝓼𝓸 𝓹𝓸𝓾𝓬𝓸 𝓲𝓶𝓹𝓸𝓻𝓽𝓪 𝓪𝓸 𝓮𝔁𝓮𝓬𝓾𝓽𝓲𝓿𝓸 𝓭𝓸𝓼 “𝓝𝓸𝓿𝓸𝓼 𝓣𝓮𝓶𝓹𝓸𝓼”, 𝓹𝓪𝓻𝓪 𝓺𝓾𝓮𝓶 𝓪 𝓬𝓲𝓭𝓪𝓭𝓮 𝓹𝓮𝓻𝓽𝓮𝓷𝓬𝓮 𝓪 𝓺𝓾𝓮𝓶 𝓹𝓾𝓭𝓮𝓻 𝓹𝓪𝓰𝓪𝓻 𝓶𝓪𝓲𝓼. 𝓐̀ 𝓼𝓾𝓪 𝓲𝓶𝓪𝓰𝓮𝓶, 𝓜𝓸𝓮𝓭𝓪𝓼 𝓮𝓷𝓽𝓻𝓮𝓰𝓪 𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪 𝓭𝓪 𝓬𝓲𝓭𝓪𝓭𝓮 𝓪 𝓺𝓾𝓮𝓶 𝓹𝓻𝓲𝓿𝓲𝓵𝓮𝓰𝓲𝓪 𝓸 𝓽𝓾𝓻𝓲𝓼𝓽𝓪 𝓬𝓸𝓶𝓸 𝓶𝓮𝓽𝓪 𝓭𝓸 𝓹𝓻𝓸𝓭𝓾𝓽𝓸 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵. 𝓜𝓸𝓻𝓮𝓲𝓻𝓪 𝓻𝓮𝓯𝓮𝓻𝓮-𝓼𝓮 𝓪̀ 𝓬𝓾𝓵𝓽𝓾𝓻𝓪 𝓹𝓸𝓹𝓾𝓵𝓪𝓻 𝓬𝓸𝓶 𝓪 𝓪𝓻𝓻𝓸𝓰𝓪̂𝓷𝓬𝓲𝓪 𝓭𝓮 𝓺𝓾𝓮𝓶 𝓭𝓲𝓼𝓽𝓲𝓷𝓰𝓾𝓮 “𝓹𝓸𝓹𝓾𝓵𝓪𝓻” 𝓭𝓮 “𝓹𝓸𝓹𝓾𝓵𝓪𝓻𝓾𝓬𝓱𝓸”, 𝓬𝓸𝓷𝓼𝓲𝓭𝓮𝓻𝓪 𝓸 𝓪𝓾𝓶𝓮𝓷𝓽𝓸 𝓭𝓪 𝓬𝓸𝓶𝓹𝓻𝓪 𝓭𝓮 𝓬𝓪𝓼𝓪𝓼 𝓹𝓸𝓻 𝓮𝓼𝓽𝓻𝓪𝓷𝓰𝓮𝓲𝓻𝓸𝓼 𝓾𝓶𝓪 𝓬𝓸𝓲𝓼𝓪 “𝓸́𝓹𝓽𝓲𝓶𝓪” 𝓮 𝓬𝓸𝓷𝓽𝓪 𝓺𝓾𝓮 𝓪𝓼 𝓻𝓮𝓾𝓷𝓲𝓸̃𝓮𝓼 𝓬𝓸𝓶 𝓸𝓼 𝓻𝓮𝓹𝓻𝓮𝓼𝓮𝓷𝓽𝓪𝓷𝓽𝓮𝓼 𝓭𝓸𝓼 𝓫𝓪𝓲𝓻𝓻𝓸𝓼 𝓭𝓪𝓼 𝓜𝓪𝓻𝓬𝓱𝓪𝓼 𝓟𝓸𝓹𝓾𝓵𝓪𝓻𝓮𝓼 𝓮𝓻𝓪𝓶 “𝓾𝓶 𝓱𝓸𝓻𝓻𝓸𝓻” 𝓺𝓾𝓮 𝓬𝓸𝓷𝓼𝓮𝓰𝓾𝓲𝓾 𝓪𝓹𝓪𝔃𝓲𝓰𝓾𝓪𝓻.

𝓞 𝓑𝓵𝓸𝓬𝓸 𝓼𝓮𝓶𝓹𝓻𝓮 𝓯𝓸𝓲 𝓬𝓻𝓲́𝓽𝓲𝓬𝓸 𝓭𝓪𝓼 𝓶𝓪́𝓼 𝓹𝓻𝓪́𝓽𝓲𝓬𝓪𝓼 𝓷𝓪 𝓔𝓖𝓔𝓐𝓒, 𝓬𝓸𝓶𝓸 𝓬𝓪𝓻𝓰𝓪 𝓱𝓸𝓻𝓪́𝓻𝓲𝓪 𝓮𝔁𝓬𝓮𝓼𝓼𝓲𝓿𝓪 𝓸𝓾 𝓸𝓾𝓽𝓼𝓸𝓾𝓻𝓬𝓲𝓷𝓰. 𝓡𝓮𝓬𝓸𝓷𝓱𝓮𝓬𝓮𝓶𝓸𝓼, 𝓷𝓪 𝓰𝓮𝓼𝓽𝓪̃𝓸 𝓭𝓮 𝓙𝓸𝓪𝓷𝓪 𝓖𝓸𝓶𝓮𝓼 𝓒𝓪𝓻𝓭𝓸𝓼𝓸 (𝓵𝓲𝓷𝓴 𝓲𝓼 𝓮𝔁𝓽𝓮𝓻𝓷𝓪𝓵), 𝓭𝓮𝓬𝓲𝓼𝓸̃𝓮𝓼 𝓲𝓶𝓹𝓸𝓻𝓽𝓪𝓷𝓽𝓮𝓼 𝓬𝓸𝓶𝓸 𝓪 𝓻𝓮𝓪𝓵𝓲𝔃𝓪𝓬̧𝓪̃𝓸 𝓭𝓪 𝓮𝔁𝓹𝓸𝓼𝓲𝓬̧𝓪̃𝓸 𝓥𝓲𝓼𝓸̃𝓮𝓼 𝓭𝓸 𝓘𝓶𝓹𝓮́𝓻𝓲𝓸, 𝓬𝓸𝓶𝓹𝓸𝓼𝓽𝓪 𝓹𝓸𝓻 𝓯𝓸𝓽𝓸𝓰𝓻𝓪𝓯𝓲𝓪𝓼 𝓼𝓸𝓫𝓻𝓮 𝓵𝓮𝓲𝓼 𝓮 𝓹𝓻𝓪́𝓽𝓲𝓬𝓪𝓼 𝓭𝓮 𝓭𝓲𝓼𝓬𝓻𝓲𝓶𝓲𝓷𝓪𝓬̧𝓪̃𝓸 𝓹𝓸𝓵𝓲́𝓽𝓲𝓬𝓪, 𝓼𝓸𝓬𝓲𝓪𝓵, 𝓮𝓬𝓸𝓷𝓸́𝓶𝓲𝓬𝓪 𝓮 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵 𝓺𝓾𝓮 𝓻𝓸𝓶𝓹𝓮𝓻𝓪𝓶 𝓬𝓸𝓶 𝓪 𝓱𝓲𝓹𝓸𝓬𝓻𝓲𝓼𝓲𝓪 𝓺𝓾𝓮 𝓮𝓼𝓬𝓸𝓷𝓭𝓮 𝓪 𝓲𝓷𝓲𝓺𝓾𝓲𝓭𝓪𝓭𝓮 𝓮 𝓪 𝓿𝓲𝓸𝓵𝓮̂𝓷𝓬𝓲𝓪 𝓭𝓪 𝓬𝓸𝓵𝓸𝓷𝓲𝔃𝓪𝓬̧𝓪̃𝓸. 𝓐 𝓲𝓶𝓹𝓸𝓻𝓽𝓪̂𝓷𝓬𝓲𝓪 𝓭𝓮𝓼𝓽𝓪 𝓪𝓹𝓻𝓮𝓼𝓮𝓷𝓽𝓪𝓬̧𝓪̃𝓸 𝓷𝓸 𝓟𝓪𝓭𝓻𝓪̃𝓸 𝓭𝓸𝓼 𝓓𝓮𝓼𝓬𝓸𝓫𝓻𝓲𝓶𝓮𝓷𝓽𝓸𝓼, 𝓾𝓶 𝓶𝓸𝓷𝓾𝓶𝓮𝓷𝓽𝓸 𝓺𝓾𝓮 𝓸 𝓔𝓼𝓽𝓪𝓭𝓸 𝓝𝓸𝓿𝓸 𝓮𝓻𝓰𝓾𝓮𝓾 𝓹𝓪𝓻𝓪 𝓵𝓸𝓾𝓿𝓪𝓻 𝓸 𝓬𝓸𝓵𝓸𝓷𝓲𝓪𝓵𝓲𝓼𝓶𝓸, 𝓶𝓸𝓼𝓽𝓻𝓪 𝓺𝓾𝓮 𝓱𝓪́ 𝓾𝓶 𝓬𝓪𝓶𝓲𝓷𝓱𝓸 𝓺𝓾𝓮 𝓭𝓮𝓿𝓮 𝓼𝓮𝓻 𝓹𝓻𝓸𝓼𝓼𝓮𝓰𝓾𝓲𝓭𝓸 𝓷𝓪 𝓹𝓸𝓵𝓲́𝓽𝓲𝓬𝓪 𝓬𝓾𝓵𝓽𝓾𝓻𝓪𝓵 𝓷𝓪𝓬𝓲𝓸𝓷𝓪𝓵 𝓮 𝓵𝓸𝓬𝓪𝓵. 𝓟𝓮𝓻𝓪𝓷𝓽𝓮 𝓲𝓼𝓽𝓸, 𝓸 𝓺𝓾𝓮 𝓹𝓸𝓭𝓮𝓶𝓸𝓼 𝓮𝓼𝓹𝓮𝓻𝓪𝓻 𝓭𝓮 𝓟𝓮𝓭𝓻𝓸 𝓜𝓸𝓻𝓮𝓲𝓻𝓪, 𝓺𝓾𝓮 𝓲𝓷𝓽𝓮𝓰𝓻𝓸𝓾 𝓪 𝓒𝓸𝓶𝓲𝓼𝓼𝓪̃𝓸 𝓭𝓸𝓼 𝓓𝓮𝓼𝓬𝓸𝓫𝓻𝓲𝓶𝓮𝓷𝓽𝓸𝓼, 𝓪 𝓷𝓪̃𝓸 𝓼𝓮𝓻 𝓸 𝓻𝓮𝓽𝓸𝓻𝓷𝓸 𝓪̀ 𝓿𝓮𝓵𝓱𝓪 𝓻𝓸𝓶𝓪𝓷𝓽𝓲𝔃𝓪𝓬̧𝓪̃𝓸 𝓭𝓪𝓼 “𝓭𝓮𝓼𝓬𝓸𝓫𝓮𝓻𝓽𝓪𝓼” 𝓮 𝓪 𝓵𝓪𝓿𝓪𝓰𝓮𝓶 𝓭𝓪 𝓿𝓲𝓸𝓵𝓮̂𝓷𝓬𝓲𝓪 𝓹𝓻𝓪𝓽𝓲𝓬𝓪𝓭𝓪 𝓬𝓸𝓷𝓽𝓻𝓪 𝓸𝓼 𝓹𝓸𝓿𝓸𝓼 𝓲𝓷𝓿𝓪𝓭𝓲𝓭𝓸𝓼?

𝓓𝓮 𝓻𝓮𝓯𝓮𝓻𝓲𝓻 𝓽𝓪𝓶𝓫𝓮́𝓶, 𝓬𝓸𝓶𝓸 𝓶𝓪𝓲𝓼 𝓾𝓶 𝓮𝓵𝓮𝓶𝓮𝓷𝓽𝓸 𝓭𝓮𝓼𝓽𝓪 𝓽𝓻𝓪𝓰𝓮́𝓭𝓲𝓪 𝓺𝓾𝓮 𝓷𝓾𝓷𝓬𝓪 𝓬𝓱𝓮𝓰𝓪𝓻𝓪́ 𝓪 𝓬𝓸𝓶𝓮́𝓭𝓲𝓪, 𝓪 𝓮𝓼𝓬𝓸𝓵𝓱𝓪 𝓭𝓮 𝓢𝓾𝓼𝓪𝓷𝓪 𝓖𝓻𝓪𝓬̧𝓪 𝓹𝓪𝓻𝓪 𝓿𝓸𝓰𝓪𝓵 𝓭𝓸 𝓒𝓸𝓷𝓼𝓮𝓵𝓱𝓸 𝓭𝓮 𝓐𝓭𝓶𝓲𝓷𝓲𝓼𝓽𝓻𝓪𝓬̧𝓪̃𝓸 𝓭𝓪 𝓔𝓖𝓔𝓐𝓒, 𝓻𝓮𝓬𝓸𝓻𝓭𝓪𝓷𝓭𝓸 𝓸 𝓶𝓸𝓶𝓮𝓷𝓽𝓸 𝓮𝓶 𝓺𝓾𝓮 𝓯𝓸𝓲 𝓭𝓲𝓻𝓮𝓽𝓸𝓻𝓪-𝓰𝓮𝓻𝓪𝓵 𝓭𝓪𝓼 𝓐𝓻𝓽𝓮𝓼 𝓹𝓸𝓻 𝟐𝟒 𝓱𝓸𝓻𝓪𝓼, 𝓸 𝓽𝓮𝓶𝓹𝓸 𝓺𝓾𝓮 𝓼𝓮 𝓭𝓮𝓶𝓸𝓻𝓸𝓾 𝓪 𝓹𝓮𝓻𝓬𝓮𝓫𝓮𝓻 𝓺𝓾𝓮 𝓖𝓻𝓪𝓬̧𝓪 𝓽𝓲𝓷𝓱𝓪 𝓾𝓶 𝓹𝓻𝓸𝓬𝓮𝓼𝓼𝓸 𝓬𝓸𝓷𝓽𝓻𝓪 𝓪 𝓹𝓻𝓸́𝓹𝓻𝓲𝓪 𝓓𝓲𝓻𝓮𝓬̧𝓪̃𝓸 𝓖𝓮𝓻𝓪𝓵 𝓭𝓪𝓼 𝓐𝓻𝓽𝓮𝓼.

𝓗𝓪́ 𝓶𝓾𝓲𝓽𝓸 𝓺𝓾𝓮 𝓼𝓮 𝓹𝓮𝓻𝓬𝓮𝓫𝓮𝓾 𝓺𝓾𝓮 𝓒𝓪𝓻𝓵𝓸𝓼 𝓜𝓸𝓮𝓭𝓪𝓼 𝓭𝓮𝓼𝓲𝓼𝓽𝓲𝓾 𝓭𝓮 𝓰𝓸𝓿𝓮𝓻𝓷𝓪𝓻 𝓹𝓪𝓻𝓪 𝓺𝓾𝓮𝓶 𝓿𝓲𝓿𝓮 𝓮 𝓽𝓻𝓪𝓫𝓪𝓵𝓱𝓪 𝓮𝓶 𝓛𝓲𝓼𝓫𝓸𝓪 𝓹𝓪𝓻𝓪 𝓼𝓮 𝓭𝓮𝓭𝓲𝓬𝓪𝓻 𝓪𝓸𝓼 𝓽𝓾𝓻𝓲𝓼𝓽𝓪𝓼 𝓮 𝓪𝓸𝓼 𝓮𝓼𝓹𝓮𝓬𝓾𝓵𝓪𝓭𝓸𝓻𝓮𝓼, 𝓪𝓸𝓼 𝓱𝓾𝓫𝓼 𝓮 𝓪𝓸𝓼 𝓷𝓸𝓶𝓪𝓭𝓼.

𝓜𝓪𝓼 𝓪 𝓒𝓾𝓵𝓽𝓾𝓻𝓪 𝓻𝓮𝓼𝓲𝓼𝓽𝓲𝓻𝓪́, 𝓬𝓸𝓶𝓸 𝓼𝓮𝓶𝓹𝓻𝓮 𝓯𝓮𝔃, 𝓶𝓮𝓼𝓶𝓸 𝓺𝓾𝓮 𝓷𝓸𝓼 𝓺𝓾𝓮𝓲𝓻𝓪𝓶 𝓹𝓻𝓲𝓿𝓪𝓽𝓲𝔃𝓪𝓻 𝓮 𝓿𝓮𝓷𝓭𝓮𝓻 𝓪𝓸 𝓶𝓪𝓲𝓸𝓻 𝓵𝓲𝓬𝓲𝓽𝓪𝓭𝓸𝓻. 𝓐𝓯𝓲𝓷𝓪𝓵, 𝓮́ 𝓮𝓼𝓼𝓪 𝓪 𝓷𝓸𝓼𝓼𝓪 𝓯𝓾𝓷𝓬̧𝓪̃𝓸, 𝓮́ 𝓮𝓼𝓼𝓪 𝓪 𝓷𝓸𝓼𝓼𝓪 𝓷𝓪𝓽𝓾𝓻𝓮𝔃𝓪.

* Profissional do sector da Cultura

IN "PÚBLICO" - 24/07/22 .