26/01/2023

AFONSO REIS CABRAL

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Muito virtuosa
mas muito fake

"Transfake, transfake!", berrou-se no São Luiz quando a activista Keyla Brasil saltou seminua para o palco, interrompeu a peça e acusou a companhia de dar papéis trans a pessoas alheias - seria imoral, e até violento, actor e papel terem as identidades desencontradas.

𝑨 𝒂𝒓𝒆𝒏𝒂 𝒅𝒆𝒔𝒕𝒆 𝒅𝒆𝒃𝒂𝒕𝒆 𝒆𝒔𝒕𝒂́ 𝒂̀ 𝒑𝒂𝒓𝒕𝒊𝒅𝒂 𝒆𝒏𝒗𝒊𝒆𝒔𝒂𝒅𝒂 𝒑𝒐𝒓 𝒗𝒐𝒄𝒂𝒃𝒖𝒍𝒂́𝒓𝒊𝒐 𝒉𝒆𝒓𝒎𝒆́𝒕𝒊𝒄𝒐 𝒑𝒂𝒓𝒂 𝒍𝒆𝒊𝒈𝒐𝒔 𝒆 𝒂𝒕𝒆́ 𝒑𝒆𝒓𝒊𝒕𝒐𝒔: 𝒕𝒓𝒂𝒏𝒔𝒇𝒂𝒌𝒆, 𝒄𝒊𝒔𝒈𝒆́𝒏𝒆𝒓𝒐, 𝒄𝒐𝒓𝒑𝒐𝒔, 𝒊𝒏𝒕𝒆𝒓𝒔𝒆𝒄𝒄𝒊𝒐𝒏𝒂𝒍, 𝑻𝑬𝑹𝑭, 𝒆𝒕𝒄. 𝑬́ 𝒑𝒓𝒆𝒄𝒊𝒔𝒐 𝒍𝒆𝒓 𝒖𝒎𝒂 𝒃𝒊𝒃𝒍𝒊𝒐𝒕𝒆𝒄𝒂, 𝒐𝒖 𝒑𝒖𝒙𝒂𝒓 𝒎𝒖𝒊𝒕𝒐 𝒑𝒆𝒍𝒐 𝑮𝒐𝒐𝒈𝒍𝒆, 𝒑𝒂𝒓𝒂 𝒄𝒐𝒏𝒔𝒆𝒈𝒖𝒊𝒓𝒎𝒐𝒔 𝒅𝒆𝒃𝒂𝒕𝒆𝒓.

𝑴𝒂𝒔 𝒐 𝒗𝒆𝒓𝒅𝒂𝒅𝒆𝒊𝒓𝒐 𝒑𝒓𝒐𝒃𝒍𝒆𝒎𝒂 𝒆́ 𝒒𝒖𝒆 𝒒𝒖𝒂𝒏𝒅𝒐 𝒔𝒆 𝒇𝒂𝒍𝒂 𝒅𝒆 𝒂𝒓𝒕𝒆 𝒏𝒂̃𝒐 𝒔𝒆 𝒒𝒖𝒆𝒓 𝒇𝒂𝒍𝒂𝒓 𝒅𝒆 𝒂𝒓𝒕𝒆. 𝑶 𝒕𝒆𝒂𝒕𝒓𝒐, 𝒂 𝒍𝒊𝒕𝒆𝒓𝒂𝒕𝒖𝒓𝒂 𝒆 𝒐 𝒄𝒊𝒏𝒆𝒎𝒂 𝒔𝒂̃𝒐, 𝒑𝒂𝒓𝒂 𝒒𝒖𝒆𝒎 𝒊𝒏𝒗𝒂𝒅𝒆 𝒑𝒂𝒍𝒄𝒐𝒔 𝒑𝒐𝒓 𝒄𝒂𝒖𝒔𝒂 𝒅𝒐 "𝒕𝒓𝒂𝒏𝒔𝒇𝒂𝒌𝒆", 𝒖𝒎 𝒎𝒆𝒊𝒐 𝒑𝒂𝒓𝒂 𝒂𝒕𝒊𝒏𝒈𝒊𝒓 𝒖𝒎 𝒇𝒊𝒎. 𝑨 𝒑𝒆𝒄̧𝒂 𝒑𝒐𝒅𝒆 𝒔𝒆𝒓 𝒖𝒎𝒂 𝒃𝒐𝒅𝒆𝒈𝒂, 𝒐 𝒇𝒊𝒍𝒎𝒆 𝒅𝒆𝒑𝒍𝒐𝒓𝒂́𝒗𝒆𝒍, 𝒐 𝒍𝒊𝒗𝒓𝒐 𝒖𝒎𝒂 𝒎𝒆𝒅𝒊𝒐𝒄𝒓𝒊𝒅𝒂𝒅𝒆 - 𝒕𝒂𝒏𝒕𝒐 𝒇𝒂𝒛, 𝒅𝒆𝒔𝒅𝒆 𝒒𝒖𝒆 𝒂𝒍𝒆𝒓𝒕𝒆 𝒄𝒐𝒏𝒔𝒄𝒊𝒆̂𝒏𝒄𝒊𝒂𝒔 𝒆 𝒍𝒖𝒕𝒆 𝒄𝒐𝒏𝒕𝒓𝒂 𝒂 𝒊𝒏𝒋𝒖𝒔𝒕𝒊𝒄̧𝒂. 𝑫𝒆𝒔𝒅𝒆 𝒒𝒖𝒆 𝒐𝒔 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒆 𝒄𝒐𝒎𝒐 𝒂𝒄𝒉𝒂𝒎 𝒒𝒖𝒆 𝒅𝒆𝒗𝒆𝒎 𝒔𝒆𝒓 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒂𝒅𝒐𝒔.

𝑨 𝒂𝒓𝒕𝒆 𝒑𝒐𝒅𝒆 𝒕𝒆𝒓 𝒊𝒔𝒔𝒐 𝒎𝒂𝒔 𝒏𝒂̃𝒐 𝒆́ 𝒏𝒂𝒅𝒂 𝒅𝒊𝒔𝒔𝒐. 𝑬́ 𝒖𝒎 𝒗𝒂𝒍𝒐𝒓 𝒆𝒎 𝒔𝒊 𝒎𝒆𝒔𝒎𝒂, 𝒏𝒂̃𝒐 𝒗𝒊𝒗𝒆 𝒂𝒑𝒆𝒏𝒂𝒔 𝒅𝒂 𝒗𝒊𝒓𝒕𝒖𝒅𝒆, 𝒕𝒓𝒂𝒏𝒔𝒄𝒆𝒏𝒅𝒆 𝒂 𝒊𝒅𝒆𝒏𝒕𝒊𝒅𝒂𝒅𝒆 𝒅𝒆 𝒒𝒖𝒆𝒎 𝒂 𝒑𝒓𝒐𝒅𝒖𝒛, 𝒑𝒓𝒐𝒄𝒖𝒓𝒂 𝒐 𝒐𝒖𝒕𝒓𝒐 - 𝒆 𝒃𝒖𝒔𝒄𝒂 𝒏𝒂𝒔 𝒎𝒊𝒏𝒂𝒔 𝒇𝒖𝒏𝒅𝒂𝒔 𝒅𝒐 𝒔𝒆𝒓 𝒉𝒖𝒎𝒂𝒏𝒐 𝒐 𝒐𝒖𝒓𝒐 𝒕𝒓𝒊𝒔𝒕𝒆, 𝒐 𝒐𝒖𝒓𝒐 𝒂𝒍𝒆𝒈𝒓𝒆 𝒅𝒆 𝒒𝒖𝒆 𝒔𝒐𝒎𝒐𝒔 𝒇𝒆𝒊𝒕𝒐𝒔. 𝑨 𝒂𝒓𝒕𝒆 𝒆𝒏𝒈𝒓𝒂𝒏𝒅𝒆𝒄𝒆-𝒏𝒐𝒔 - 𝒎𝒂𝒔 𝒏𝒂̃𝒐 𝒏𝒐𝒔 𝒕𝒐𝒓𝒏𝒂 𝒏𝒆𝒄𝒆𝒔𝒔𝒂𝒓𝒊𝒂𝒎𝒆𝒏𝒕𝒆 𝒎𝒆𝒍𝒉𝒐𝒓𝒆𝒔 𝒄𝒊𝒅𝒂𝒅𝒂̃𝒐𝒔.

𝑫𝒆𝒑𝒓𝒆𝒆𝒏𝒅𝒆-𝒔𝒆 𝒒𝒖𝒆 𝒂 𝒗𝒊𝒔𝒊𝒃𝒊𝒍𝒊𝒅𝒂𝒅𝒆 𝒆́ 𝒐 𝒄𝒆𝒏𝒕𝒓𝒐 𝒅𝒂 𝒒𝒖𝒆𝒔𝒕𝒂̃𝒐. 𝑵𝒂̃𝒐 𝒑𝒓𝒐𝒑𝒓𝒊𝒂𝒎𝒆𝒏𝒕𝒆 𝒂 𝒗𝒊𝒔𝒊𝒃𝒊𝒍𝒊𝒅𝒂𝒅𝒆 𝒅𝒐 𝒅𝒓𝒂𝒎𝒂 𝒒𝒖𝒆 𝒕𝒓𝒂𝒏𝒔-𝑨 𝒐𝒖 𝒕𝒓𝒂𝒏𝒔-𝑩 𝒗𝒊𝒗𝒆𝒎, 𝒎𝒂𝒔 𝒂 𝒗𝒊𝒔𝒊𝒃𝒊𝒍𝒊𝒅𝒂𝒅𝒆 𝒅𝒂 𝒄𝒂𝒖𝒔𝒂, 𝒒𝒖𝒆 𝒕𝒆𝒎 𝒑𝒐𝒓 𝒅𝒐𝒖𝒕𝒓𝒊𝒏𝒂 𝒔𝒖𝒃𝒎𝒆𝒕𝒆𝒓 𝒂 𝒂𝒓𝒕𝒆 𝒂̀ 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕𝒂𝒕𝒊𝒗𝒊𝒅𝒂𝒅𝒆. 𝑼𝒎 𝒄𝒓𝒆𝒅𝒐 𝒂𝒃𝒔𝒖𝒓𝒅𝒐 𝒒𝒖𝒆 𝒅𝒊𝒛 𝒒𝒖𝒆 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒈𝒆𝒏𝒔 𝒈𝒂𝒚 𝒑𝒆𝒓𝒕𝒆𝒏𝒄𝒆𝒎 𝒂 𝒂𝒄𝒕𝒐𝒓𝒆𝒔 𝒈𝒂𝒚, 𝒕𝒓𝒂𝒏𝒔 𝒂 𝒕𝒓𝒂𝒏𝒔, 𝒆𝒕𝒄. 𝑺𝒆 𝒊𝒏𝒗𝒆𝒓𝒕𝒆̂𝒔𝒔𝒆𝒎𝒐𝒔 𝒂 𝒍𝒐́𝒈𝒊𝒄𝒂 (𝒑𝒂𝒑𝒆𝒍 𝒉𝒆́𝒕𝒆𝒓𝒐 𝒔𝒐́ 𝒑𝒐𝒅𝒆 𝒔𝒆𝒓 𝒅𝒆 𝒂𝒄𝒕𝒐𝒓 𝒉𝒆́𝒕𝒆𝒓𝒐), 𝒑𝒆𝒓𝒄𝒆𝒃𝒆𝒓𝒊́𝒂𝒎𝒐𝒔 𝒎𝒂𝒊𝒔 𝒄𝒍𝒂𝒓𝒂𝒎𝒆𝒏𝒕𝒆 𝒐 𝒂𝒃𝒆𝒓𝒓𝒂𝒏𝒕𝒆 𝒅𝒂 𝒄𝒐𝒊𝒔𝒂, 𝒆 𝒐 𝒒𝒖𝒂̃𝒐 𝒍𝒐𝒏𝒈𝒆 𝒅𝒂 𝒂𝒓𝒕𝒆 𝒄𝒉𝒆𝒈𝒂́𝒎𝒐𝒔.

𝑶𝒔 𝒂𝒑𝒍𝒂𝒖𝒔𝒐𝒔 𝒅𝒐 𝒑𝒖́𝒃𝒍𝒊𝒄𝒐 𝒑𝒆𝒓𝒂𝒏𝒕𝒆 𝒂 𝒓𝒆𝒊𝒗𝒊𝒏𝒅𝒊𝒄𝒂𝒄̧𝒂̃𝒐 𝒒𝒖𝒆 𝒍𝒉𝒆 𝒆𝒔𝒕𝒓𝒂𝒈𝒐𝒖 𝒂 𝒑𝒆𝒄̧𝒂, 𝒆 𝒑𝒓𝒊𝒏𝒄𝒊𝒑𝒂𝒍𝒎𝒆𝒏𝒕𝒆 𝒂 𝒄𝒆𝒅𝒆̂𝒏𝒄𝒊𝒂 𝒄𝒐𝒃𝒂𝒓𝒅𝒆 𝒆 𝒉𝒊𝒑𝒐́𝒄𝒓𝒊𝒕𝒂 𝒅𝒂 𝒄𝒐𝒎𝒑𝒂𝒏𝒉𝒊𝒂 𝒅𝒆 𝒕𝒆𝒂𝒕𝒓𝒐, 𝒒𝒖𝒆 𝒑𝒆𝒅𝒊𝒖 𝒅𝒆𝒔𝒄𝒖𝒍𝒑𝒂 𝒆 𝒅𝒆𝒖 𝒐 𝒑𝒂𝒑𝒆𝒍 𝒂 𝒖𝒎𝒂 𝒂𝒄𝒕𝒓𝒊𝒛 𝒕𝒓𝒂𝒏𝒔, 𝒑𝒓𝒐𝒗𝒂𝒎 𝒂 𝒇𝒐𝒓𝒄̧𝒂 𝒅𝒐𝒔 𝒂𝒓𝒈𝒖𝒎𝒆𝒏𝒕𝒐𝒔 𝒇𝒓𝒂́𝒈𝒆𝒊𝒔 𝒒𝒖𝒂𝒏𝒅𝒐 𝒏𝒂̃𝒐 𝒐𝒔 𝒄𝒐𝒏𝒕𝒆𝒔𝒕𝒂𝒎𝒐𝒔 𝒑𝒐𝒓 𝒎𝒆𝒅𝒐 𝒅𝒆 𝒇𝒆𝒓𝒊𝒓 𝒔𝒖𝒔𝒄𝒆𝒕𝒊𝒃𝒊𝒍𝒊𝒅𝒂𝒅𝒆𝒔 𝒐𝒖 𝒅𝒆 𝒔𝒆𝒓𝒎𝒐𝒔 𝒗𝒊𝒔𝒕𝒐𝒔 𝒄𝒐𝒎𝒐 𝒐𝒑𝒓𝒆𝒔𝒔𝒐𝒓𝒆𝒔.

𝑶 𝒂𝒎𝒃𝒊𝒆𝒏𝒕𝒆 𝒄𝒖𝒍𝒕𝒖𝒓𝒂𝒍 𝒄𝒂𝒎𝒊𝒏𝒉𝒂 𝒑𝒂𝒓𝒂 𝒐 𝒕𝒂𝒃𝒖, 𝒄𝒐𝒎 𝒎𝒆𝒅𝒐 𝒅𝒂 𝒂𝒄𝒖𝒔𝒂𝒄̧𝒂̃𝒐 - 𝒑𝒓𝒆𝒗𝒊𝒂𝒎𝒆𝒏𝒕𝒆 𝒄𝒐𝒛𝒊𝒏𝒉𝒂𝒅𝒂 𝒆 𝒑𝒓𝒐𝒏𝒕𝒂 𝒂 𝒂𝒒𝒖𝒆𝒄𝒆𝒓 𝒄𝒐𝒏𝒕𝒓𝒂 𝒒𝒖𝒆𝒎 𝒅𝒊𝒔𝒄𝒐𝒓𝒅𝒂𝒓 - 𝒅𝒆 𝒇𝒂𝒍𝒕𝒂 𝒅𝒆 𝒆𝒎𝒑𝒂𝒕𝒊𝒂, 𝒂𝒕𝒂𝒒𝒖𝒆 𝒂̀ "𝒄𝒐𝒎𝒖𝒏𝒊𝒅𝒂𝒅𝒆", 𝒓𝒆𝒂𝒄𝒄𝒊𝒐𝒏𝒂𝒓𝒊𝒔𝒎𝒐. 𝑬 𝒂𝒕𝒆́ 𝒂 𝒂𝒄𝒖𝒔𝒂𝒄̧𝒂̃𝒐 𝒑𝒓𝒐𝒏𝒕𝒂 𝒅𝒆 𝒕𝒓𝒂𝒏𝒔𝒇𝒐𝒃𝒊𝒂.

𝑱.𝑲. 𝑹𝒐𝒘𝒍𝒊𝒏𝒈 𝒆́ 𝒖𝒎 𝒃𝒐𝒎 𝒆𝒙𝒆𝒎𝒑𝒍𝒐: 𝒔𝒊𝒎𝒑𝒍𝒆𝒔𝒎𝒆𝒏𝒕𝒆 𝒅𝒊𝒔𝒄𝒐𝒓𝒅𝒐𝒖 𝒒𝒖𝒆 𝒔𝒆 𝒔𝒐𝒏𝒆𝒈𝒂𝒔𝒔𝒆 𝒐 𝒕𝒆𝒓𝒎𝒐 "𝒎𝒖𝒍𝒉𝒆𝒓" 𝒆𝒎 𝒑𝒓𝒐𝒍 𝒅𝒆 "𝒑𝒆𝒔𝒔𝒐𝒂 𝒒𝒖𝒆 𝒎𝒆𝒏𝒔𝒕𝒓𝒖𝒂". 𝑨𝒄𝒕𝒊𝒗𝒊𝒔𝒕𝒂𝒔 𝒒𝒖𝒆𝒊𝒎𝒂𝒓𝒂𝒎-𝒍𝒉𝒆 𝒐𝒔 𝒍𝒊𝒗𝒓𝒐𝒔, 𝒅𝒊𝒗𝒖𝒍𝒈𝒂𝒓𝒂𝒎 𝒂 𝒔𝒖𝒂 𝒎𝒐𝒓𝒂𝒅𝒂, 𝒂𝒔 𝒓𝒆𝒅𝒆𝒔 𝒔𝒐𝒄𝒊𝒂𝒊𝒔 𝒕𝒆𝒏𝒕𝒂𝒓𝒂𝒎 𝒃𝒐𝒊𝒄𝒐𝒕𝒂́-𝒍𝒂.

𝑴𝒂𝒔 𝒅𝒊𝒔𝒄𝒐𝒓𝒅𝒂̂𝒏𝒄𝒊𝒂 𝒆 𝒆𝒎𝒑𝒂𝒕𝒊𝒂 𝒑𝒐𝒅𝒆𝒎 𝒄𝒐𝒏𝒗𝒊𝒗𝒆𝒓. 𝑵𝒖𝒏𝒄𝒂 𝒔𝒖𝒃𝒂𝒍𝒕𝒆𝒓𝒏𝒊𝒛𝒂𝒓𝒊𝒂 𝒖𝒎𝒂 𝒑𝒆𝒔𝒔𝒐𝒂 𝒄𝒐𝒏𝒄𝒐𝒓𝒅𝒂𝒏𝒅𝒐 𝒂𝒑𝒆𝒏𝒂𝒔 𝒑𝒐𝒓 𝒆𝒔𝒕𝒂 𝒇𝒂𝒍𝒂𝒓 𝒂 𝒑𝒂𝒓𝒕𝒊𝒓 𝒅𝒂 𝒄𝒂𝒕𝒆𝒈𝒐𝒓𝒊𝒂 𝒅𝒆 𝒗𝒊́𝒕𝒊𝒎𝒂. 𝑬𝒎 𝒖́𝒍𝒕𝒊𝒎𝒐 𝒄𝒂𝒔𝒐, 𝒂 𝒅𝒊𝒔𝒄𝒐𝒓𝒅𝒂̂𝒏𝒄𝒊𝒂 𝒆́ 𝒑𝒓𝒐𝒗𝒂 𝒅𝒆 𝒒𝒖𝒆 𝒗𝒆𝒋𝒐 𝒂𝒍𝒈𝒖𝒆́𝒎 𝒄𝒐𝒎𝒐 𝒊𝒏𝒕𝒓𝒊𝒏𝒔𝒆𝒄𝒂𝒎𝒆𝒏𝒕𝒆 𝒅𝒊𝒈𝒏𝒐, 𝒔𝒆𝒋𝒂𝒎 𝒒𝒖𝒂𝒊𝒔 𝒇𝒐𝒓𝒆𝒎 𝒂𝒔 𝒄𝒊𝒓𝒄𝒖𝒏𝒔𝒕𝒂̂𝒏𝒄𝒊𝒂𝒔. 𝑸𝒖𝒆 𝒗𝒆𝒋𝒐 𝒐 𝒎𝒆𝒖 𝒔𝒆𝒎𝒆𝒍𝒉𝒂𝒏𝒕𝒆 𝒄𝒐𝒎𝒐 𝒎𝒆𝒖 𝒊𝒓𝒎𝒂̃𝒐.

𝑷𝒐𝒓 𝒆𝒔𝒕𝒆 𝒄𝒂𝒎𝒊𝒏𝒉𝒐, 𝒆𝒎 𝒃𝒓𝒆𝒗𝒆 𝒏𝒂̃𝒐 𝒑𝒐𝒅𝒆𝒎𝒐𝒔 𝒕𝒓𝒂𝒕𝒂𝒓 𝒕𝒆𝒎𝒂𝒔 𝒔𝒆𝒎 𝒐𝒔 𝒕𝒆𝒓𝒎𝒐𝒔 𝒗𝒊𝒗𝒊𝒅𝒐 - 𝒔𝒆𝒎 "𝒍𝒖𝒈𝒂𝒓 𝒅𝒆 𝒇𝒂𝒍𝒂". 𝑻𝒆𝒎𝒆-𝒔𝒆 𝒒𝒖𝒆 𝒂 𝒂𝒓𝒕𝒆 𝒗𝒆𝒏𝒉𝒂 𝒂 𝒔𝒆𝒓 𝒖𝒎𝒂 𝒄𝒐𝒊𝒔𝒂 𝒎𝒐𝒏𝒐́𝒕𝒐𝒏𝒂, 𝒃𝒆𝒎-𝒄𝒐𝒎𝒑𝒐𝒓𝒕𝒂𝒅𝒂 𝒆 𝒑𝒍𝒆𝒏𝒂 𝒅𝒆 𝒃𝒐𝒏𝒔 𝒔𝒆𝒏𝒕𝒊𝒎𝒆𝒏𝒕𝒐𝒔. 𝑴𝒖𝒊𝒕𝒐 𝒗𝒊𝒓𝒕𝒖𝒐𝒔𝒂 𝒎𝒂𝒔 𝒎𝒖𝒊𝒕𝒐 𝒇𝒂𝒌𝒆.
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* Escritor

IN "JORNAL DE NOTÍCIAS"- 25/01/23 .

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