FERNANDA CÂNCIO

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Um festim de preconceito

Uma mesa comprida com vários convivas e uma personagem com uma tiara estrelada no centro é de certeza uma alusão à Última Ceia? E se as personagens estiverem meio despidas, ou em drag, passa a “paródia”, “gozo” e “ofensa”? “É possível rir de Deus”, diz o papa. Gozas, Francisco. É que nem dá para citar obras de arte.

𝖯𝗈𝗋 𝖾𝗌𝗍𝖺 𝖺𝗅𝗍𝗎𝗋𝖺, 𝗍𝗈𝖽𝖺 𝖺 𝗀𝖾𝗇𝗍𝖾 𝗌𝖺𝖻𝖾𝗋𝖺́ 𝗊𝗎𝖾 𝖺 𝖼𝖾𝗋𝗂𝗆𝗈́𝗇𝗂𝖺 𝖽𝖾 𝖺𝖻𝖾𝗋𝗍𝗎𝗋𝖺 𝖽𝗈𝗌 𝖩𝗈𝗀𝗈𝗌 𝖮𝗅𝗂́𝗆𝗉𝗂𝖼𝗈𝗌 𝖽𝖾 𝖯𝖺𝗋𝗂𝗌, 𝗇𝖺 𝗇𝗈𝗂𝗍𝖾 𝖽𝖺 𝗉𝖺𝗌𝗌𝖺𝖽𝖺 𝗌𝖾𝗑𝗍𝖺-𝖿𝖾𝗂𝗋𝖺, 𝗂𝗇𝖼𝗅𝗎𝗂𝗎 𝗎𝗆𝖺 𝖼𝖾𝗇𝖺 𝗇𝖺 𝗊𝗎𝖺𝗅, 𝖺𝗉𝖺𝗋𝖾𝗇𝗍𝖾𝗆𝖾𝗇𝗍𝖾, 𝖺 𝗈𝖻𝗋𝖺 𝖠 𝖴́𝗅𝗍𝗂𝗆𝖺 𝖢𝖾𝗂𝖺, 𝗉𝗂𝗇𝗍𝖺𝖽𝖺 𝗇𝗈 𝗌𝖾́𝖼𝗎𝗅𝗈 𝖷𝖵 𝗉𝖾𝗅𝗈 𝖿𝗅𝗈𝗋𝖾𝗇𝗍𝗂𝗇𝗈 𝖫𝖾𝗈𝗇𝖺𝗋𝖽𝗈 𝖽𝖺 𝖵𝗂𝗇𝖼𝗂, 𝖾 𝗊𝗎𝖾 𝗏𝗂𝗌𝖺 𝗋𝖾𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝗋 𝗎𝗆𝖺 𝗎́𝗅𝗍𝗂𝗆𝖺 𝗋𝖾𝖿𝖾𝗂𝖼̧𝖺̃𝗈, 𝗁𝖺́ 𝗆𝖺𝗂𝗌 𝖽𝖾 𝖽𝗈𝗂𝗌 𝗆𝗂𝗅 𝖺𝗇𝗈𝗌, 𝖽𝗈 𝗉𝗋𝗈𝖿𝖾𝗍𝖺 𝖼𝗋𝗂𝗌𝗍𝖺̃𝗈 𝖩𝖾𝗌𝗎𝗌 𝖼𝗈𝗆 𝗈𝗌 𝗌𝖾𝗎𝗌 𝖽𝗂𝗌𝖼𝗂́𝗉𝗎𝗅𝗈𝗌, 𝗍𝖾𝗋𝗂𝖺 𝗌𝗂𝖽𝗈 𝖾𝗆𝗎𝗅𝖺𝖽𝖺.

𝖢𝗈𝗆𝗈? 𝖢𝗈𝗅𝗈𝖼𝖺𝗇𝖽𝗈 𝗎𝗆𝖺 𝗆𝗎𝗅𝗁𝖾𝗋, 𝖺 𝖣𝖩 𝖾 𝖺𝗍𝗂𝗏𝗂𝗌𝗍𝖺 𝖡𝖺𝗋𝖻𝖺𝗋𝖺 𝖡𝗎𝗍𝖼𝗁, 𝖽𝖾 𝗍𝗂𝖺𝗋𝖺 𝖾𝗌𝗍𝗋𝖾𝗅𝖺𝖽𝖺 𝗇𝗈 𝗅𝗎𝗀𝖺𝗋 𝖼𝖾𝗇𝗍𝗋𝖺𝗅 (𝗈 𝖽𝖾 𝖩𝖾𝗌𝗎𝗌) 𝖽𝖾 𝗎𝗆𝖺 𝗆𝖾𝗌𝖺 𝖼𝗈𝗆𝗉𝗋𝗂𝖽𝖺, 𝗅𝖺𝖽𝖾𝖺𝖽𝖺 𝗉𝗈𝗋 𝟣𝟩 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝖾𝗆 𝖽𝗋𝖺𝗀 - 𝗈𝗎 𝗌𝖾𝗃𝖺, 𝖼𝗈𝗆 𝗀𝖾́𝗇𝖾𝗋𝗈 𝖽𝗂𝖿𝗎𝗌𝗈 - 𝖾𝗆 𝗉𝗈𝗌𝖾𝗌 𝗍𝖾𝖺𝗍𝗋𝖺𝗂𝗌 (𝖾, 𝗇𝗎𝗆 𝗌𝖾𝗀𝗎𝗇𝖽𝗈 𝗆𝗈𝗆𝖾𝗇𝗍𝗈, 𝗎𝗆 𝗁𝗈𝗆𝖾𝗆 𝖼𝗈𝗋𝗈𝖺𝖽𝗈 𝖽𝖾 𝖿𝗅𝗈𝗋𝖾𝗌, 𝖼𝗈𝗋𝗉𝗈 𝗇𝗎 𝗉𝗂𝗇𝗍𝖺𝖽𝗈 𝖽𝖾 𝖺𝗓𝗎𝗅-𝖼𝖾́𝗎 𝖾 𝗋𝗈𝖽𝖾𝖺𝖽𝗈 𝖽𝖾 𝖿𝗋𝗎𝗍𝖺 𝗇𝗎𝗆𝖺 𝗀𝗋𝖺𝗇𝖽𝖾 𝖼𝗈𝗇𝖼𝗁𝖺 𝖽𝖾 𝗆𝖾𝗍𝖺𝗅, 𝖺 𝖼𝖺𝗇𝗍𝖺𝗋, 𝖼𝗈𝗆 𝖺 𝗆𝖾𝗌𝖺 𝖾 𝖺𝗌 𝗈𝗎𝗍𝗋𝖺𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝖾𝗆 𝖿𝗎𝗇𝖽𝗈).

𝖳𝗈𝖽𝖺 𝖺 𝗀𝖾𝗇𝗍𝖾 𝗃𝖺́ 𝖽𝖾𝗏𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗌𝖺𝖻𝖾𝗋 𝗊𝗎𝖾 𝖽𝖾𝗌𝖽𝖾 𝖺𝗂́ 𝖺𝗎𝗍𝗈𝗋𝗂𝖽𝖺𝖽𝖾𝗌 𝖼𝖺𝗍𝗈́𝗅𝗂𝖼𝖺𝗌 𝗏𝖺́𝗋𝗂𝖺𝗌, 𝖺 𝖾𝗑𝗍𝗋𝖾𝗆𝖺-𝖽𝗂𝗋𝖾𝗂𝗍𝖺 𝗀𝗅𝗈𝖻𝖺𝗅 𝖾 𝗁𝗈𝗋𝖽𝖺𝗌 𝖽𝗂𝗀𝗂𝗍𝖺𝗂𝗌 𝖽𝖾 𝖺𝗎𝗍𝗈-𝗉𝗋𝗈𝖼𝗅𝖺𝗆𝖺𝖽𝗈𝗌 𝖼𝗋𝗂𝗌𝗍𝖺̃𝗈𝗌 𝗋𝖺𝗌𝗀𝖺𝗆 𝖿𝗎𝗋𝗂𝗈𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝖺𝗌 𝗏𝖾𝗌𝗍𝖾𝗌 𝖺𝗇𝗍𝖾 𝗈 𝗊𝗎𝖾 𝖺𝗉𝖾𝗅𝗂𝖽𝖺𝗆 𝖽𝖾 “𝗉𝖺𝗋𝗈́𝖽𝗂𝖺” 𝖾 “𝗓𝗈𝗆𝖻𝖺𝗋𝗂𝖺”, 𝗍𝖾𝗇𝖽𝗈 𝖺 𝗈𝗋𝗀𝖺𝗇𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖽𝗈𝗌 𝖩𝖮𝟤𝟢𝟤𝟦 𝗅𝖺𝗆𝖾𝗇𝗍𝖺𝖽𝗈 𝗊𝗎𝖺𝗂𝗌𝗊𝗎𝖾𝗋 𝗈𝖿𝖾𝗇𝗌𝖺𝗌 𝗈𝖼𝗈𝗋𝗋𝗂𝖽𝖺𝗌 – 𝗅𝖺𝗆𝖾𝗇𝗍𝗈 𝖾𝗇𝖼𝖺𝗋𝖺𝖽𝗈 𝗉𝗈𝗋 𝗆𝗎𝗂𝗍𝗈𝗌 𝖼𝗈𝗆𝗈 𝖼𝗈𝗆𝗉𝗋𝗈𝗏𝖺𝗇𝖽𝗈 𝗊𝗎𝖾 𝖺 𝖼𝖾𝗇𝖺 𝖾𝗋𝖺 𝗆𝖾𝗌𝗆𝗈 𝗎𝗆𝖺 “𝗋𝖾𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝖼̧𝖺̃𝗈” 𝖽𝖾 𝖠 𝖴́𝗅𝗍𝗂𝗆𝖺 𝖢𝖾𝗂𝖺.

𝖭𝗈 𝗊𝗎𝖾 𝗇𝖾𝗆 𝗍𝗈𝖽𝗈𝗌 𝗍𝖾𝗋𝖺̃𝗈 𝗋𝖾𝗉𝖺𝗋𝖺𝖽𝗈 – 𝗈𝗎, 𝗋𝖾𝗉𝖺𝗋𝖺𝗇𝖽𝗈, 𝖿𝖺𝗓𝖾𝗆 𝗉𝗈𝗋 𝗂𝗀𝗇𝗈𝗋𝖺𝗋 – 𝖾́ 𝗊𝗎𝖾 𝗈𝗌 𝖺𝗎𝗍𝗈𝗋𝖾𝗌 𝖽𝗈 𝖾𝗌𝗉𝖾𝖼𝗍𝖺́𝖼𝗎𝗅𝗈 𝖽𝖾𝗌𝗆𝖾𝗇𝗍𝗂𝗋𝖺𝗆 𝗍𝖾𝗋 𝖺 𝖼𝖾𝗇𝖺 𝖺𝗅𝗀𝗎𝗆𝖺 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖼𝗈𝗆 𝖺 𝗈𝖻𝗋𝖺 𝖽𝖾 𝖣𝖺 𝖵𝗂𝗇𝖼𝗂. 𝖮 𝖽𝗂𝗋𝖾𝗍𝗈𝗋 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝗈 𝖽𝖺 𝖼𝖾𝗋𝗂𝗆𝗈́𝗇𝗂𝖺, 𝖳𝗁𝗈𝗆𝖺𝗌 𝖩𝗈𝗅𝗅𝗒, 𝖽𝖾𝖼𝗅𝖺𝗋𝗈𝗎 𝗇𝗈 𝖽𝗈𝗆𝗂𝗇𝗀𝗈, 𝖾𝗆 𝖾𝗇𝗍𝗋𝖾𝗏𝗂𝗌𝗍𝖺 𝗍𝖾𝗅𝖾𝗏𝗂𝗌𝗂𝗏𝖺, 𝗊𝗎𝖾 “𝖺 𝗂𝖽𝖾𝗂𝖺 𝖿𝗈𝗂 𝗋𝖾𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝗋 𝗎𝗆 𝗀𝗋𝖺𝗇𝖽𝖾 𝖿𝖾𝗌𝗍𝗂𝗏𝖺𝗅 𝗉𝖺𝗀𝖺̃𝗈, 𝖾𝗆 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖼𝗈𝗆 𝗈𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖽𝗈 𝖮𝗅𝗂𝗆𝗉𝗈”.

𝖮𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖽𝗈 𝖮𝗅𝗂𝗆𝗉𝗈, 𝖾𝗌𝗍𝖺̃𝗈 𝖺 𝗏𝖾𝗋? 𝖠𝗊𝗎𝖾𝗅𝖾𝗌 𝗊𝗎𝖾 𝖾𝗋𝖺𝗆 𝖺𝖽𝗈𝗋𝖺𝖽𝗈𝗌 𝗇𝖺 𝖦𝗋𝖾́𝖼𝗂𝖺 𝖠𝗇𝗍𝗂𝗀𝖺, 𝗈 𝗅𝗈𝖼𝖺𝗅 𝗈𝗇𝖽𝖾 𝗈𝗌 𝖩𝗈𝗀𝗈𝗌 𝖮𝗅𝗂́𝗆𝗉𝗂𝖼𝗈𝗌 𝗇𝖺𝗌𝖼𝖾𝗋𝖺𝗆, 𝖼𝗈𝗆𝗈, 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗆𝖾𝗇𝗍𝖾, 𝗎𝗆 𝖿𝖾𝗌𝗍𝗂𝗏𝖺𝗅 𝗋𝖾𝗅𝗂𝗀𝗂𝗈𝗌𝗈 𝖾𝗆 𝗁𝗈𝗇𝗋𝖺 𝖽𝖾𝗌𝗌𝖾𝗌 𝖽𝖾𝗎𝗌𝖾𝗌, 𝗎𝗇𝗌 𝖻𝗈𝗇𝗌 𝗌𝖾𝗍𝖾 𝗌𝖾́𝖼𝗎𝗅𝗈𝗌 𝖺𝗇𝗍𝖾𝗌 𝖽𝖺 𝖽𝖺𝗍𝖺 𝖽𝗈 𝗍𝖺𝗅 𝗎́𝗅𝗍𝗂𝗆𝗈 𝗋𝖾𝗉𝖺𝗌𝗍𝗈 𝖽𝖾 𝖩𝖾𝗌𝗎𝗌. 𝖭𝖺 𝗏𝖾𝗋𝖽𝖺𝖽𝖾, 𝖾́ 𝗎𝗆𝖺 𝗋𝖾𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝗍𝖺̃𝗈 𝖽𝗂𝗌𝗍𝖺𝗇𝗍𝖾 𝗇𝗈 𝗍𝖾𝗆𝗉𝗈 𝖾 𝗇𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝗊𝗎𝖾 𝗇𝖺 𝗆𝖾𝗇𝗍𝖾 𝖽𝖺 𝗆𝖺𝗂𝗈𝗋𝗂𝖺, 𝗊𝗎𝖺𝗇𝖽𝗈 𝖽𝗂𝗓 𝗈𝗎 𝗉𝖾𝗇𝗌𝖺 “𝗈𝗅𝗂́𝗆𝗉𝗂𝖼𝗈”, 𝗇𝖺̃𝗈 𝗈𝖼𝗈𝗋𝗋𝖾 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝖺𝗌𝗌𝗈𝖼𝗂𝖺𝖼̧𝖺̃𝗈 𝖺𝗈 𝖬𝗈𝗇𝗍𝖾 𝖮𝗅𝗂𝗆𝗉𝗈, 𝗆𝗈𝗋𝖺𝖽𝖺 𝖽𝗈𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖽𝖺 𝖺𝗇𝗍𝗂𝗀𝗎𝗂𝖽𝖺𝖽𝖾 𝗀𝗋𝖾𝗀𝖺. 𝖬𝗎𝗂𝗍𝗈 𝗆𝖾𝗇𝗈𝗌, 𝗇𝖺𝗍𝗎𝗋𝖺𝗅𝗆𝖾𝗇𝗍𝖾, 𝖺̀𝗌 𝗏𝖺́𝗋𝗂𝖺𝗌 𝗈𝖻𝗋𝖺𝗌 𝖽𝖾 𝖺𝗋𝗍𝖾 𝖽𝗈 𝖱𝖾𝗇𝖺𝗌𝖼𝗂𝗆𝖾𝗇𝗍𝗈 𝗊𝗎𝖾, 𝗌𝗈𝖻 𝗈 𝗇𝗈𝗆𝖾 𝖮 𝖥𝖾𝗌𝗍𝗂𝗆 𝖽𝗈𝗌 𝖣𝖾𝗎𝗌𝖾𝗌 (𝗈𝗎 𝗌𝖾𝗆𝖾𝗅𝗁𝖺𝗇𝗍𝖾) 𝗋𝖾𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝗆 𝗍𝖺𝗂𝗌 𝖽𝗂𝗏𝗂𝗇𝖽𝖺𝖽𝖾𝗌 𝖺̀ 𝗆𝖾𝗌𝖺, 𝖾𝗆 𝗉𝗈𝗌𝖾𝗌 𝗅𝖺𝗌𝖼𝗂𝗏𝖺𝗌 𝖾 𝖻𝗂𝗓𝖺𝗋𝗋𝖺𝗌, 𝖼𝗈𝗆 𝗇𝗎𝖽𝖾𝗓 𝖾 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝖽𝖾 𝖺𝗌𝗉𝖾𝗍𝗈 𝖽𝗂𝖺𝖻𝗈́𝗅𝗂𝖼𝗈 𝗈𝗎 𝖺𝗇𝗂𝗆𝖺𝗅𝖾𝗌𝖼𝗈 𝖺̀ 𝗆𝗂𝗌𝗍𝗎𝗋𝖺.

𝖢𝗈𝗅𝗈𝖼𝖺𝗇𝖽𝗈 𝗈 𝗍𝗂́𝗍𝗎𝗅𝗈 𝗋𝖾𝖿𝖾𝗋𝗂𝖽𝗈 𝗇𝗈 𝖦𝗈𝗈𝗀𝗅𝖾 𝗌𝗎𝗋𝗀𝖾𝗆 𝗏𝖺́𝗋𝗂𝖺𝗌 𝖽𝖾𝗌𝗌𝖺𝗌 𝗈𝖻𝗋𝖺𝗌, 𝖺𝗅𝗀𝗎𝗆𝖺𝗌 𝖼𝗈𝗆 𝗎𝗆 𝖽𝗂𝗌𝗉𝗈𝗌𝗂𝗍𝗂𝗏𝗈 𝖼𝖾́𝗇𝗂𝖼𝗈 𝗌𝖾𝗆𝖾𝗅𝗁𝖺𝗇𝗍𝖾 𝖺𝗈 𝖽𝖾 𝖠 𝖴́𝗅𝗍𝗂𝗆𝖺 𝖢𝖾𝗂𝖺. 𝖤́ 𝗈 𝖼𝖺𝗌𝗈 𝖽𝗈 𝗊𝗎𝖺𝖽𝗋𝗈 𝖺 𝗈́𝗅𝖾𝗈 𝖽𝗈 𝗉𝗂𝗇𝗍𝗈𝗋 𝗁𝗈𝗅𝖺𝗇𝖽𝖾̂𝗌 𝖩𝖺𝗇 𝗏𝖺𝗇 𝖡𝗂𝗃𝗅𝖾𝗋𝗍, 𝖽𝖺𝗍𝖺𝖽𝗈 𝖽𝖾 𝟣𝟨𝟥𝟧/𝟣𝟨𝟦𝟢, 𝗇𝗈 𝗊𝗎𝖺𝗅 𝗎𝗆𝖺 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗆 𝖼𝗈𝗆 𝗎𝗆𝖺 𝖺𝗎𝗋𝖾́𝗈𝗅𝖺 𝖺𝗆𝖺𝗋𝖾𝗅𝖺𝖽𝖺 – 𝗈 𝖽𝖾𝗎𝗌 𝖠𝗉𝗈𝗅𝗈 – 𝗈𝖼𝗎𝗉𝖺 𝗈 𝖼𝖾𝗇𝗍𝗋𝗈 𝖽𝖾 𝗎𝗆𝖺 𝗅𝗈𝗇𝗀𝖺 𝗆𝖾𝗌𝖺, 𝗋𝗈𝖽𝖾𝖺𝖽𝗈 𝗉𝗈𝗋 𝗏𝖺́𝗋𝗂𝗈𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖾 𝖽𝖾𝗎𝗌𝖺𝗌, 𝖺𝗅𝗀𝗎𝗆𝖺𝗌 𝖽𝖾𝗅𝖺𝗌 𝗇𝗎𝖺𝗌, 𝗇𝗎𝗆 𝖼𝗅𝗂𝗆𝖺 𝗀𝖾𝗋𝖺𝗅 𝖽𝖾 𝖻𝗈𝖾́𝗆𝗂𝖺 𝖾 𝗁𝖾𝖽𝗈𝗇𝗂𝗌𝗆𝗈 𝖺 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝖿𝖺𝗅𝗍𝖺 𝗌𝖾𝗊𝗎𝖾𝗋 𝗎𝗆𝖺 𝖿𝗂𝗀𝗎𝗋𝖺 𝗆𝖾𝗂𝗈 𝗁𝗎𝗆𝖺𝗇𝖺 𝗆𝖾𝗂𝗈 𝖻𝗈𝖽𝖾. 𝖤𝗌𝗍𝖺 𝗈𝖻𝗋𝖺 𝖿𝗈𝗂 𝖺𝗅𝗂𝖺́𝗌, 𝗆𝖺𝗅 𝗌𝖾 𝗂𝗇𝗂𝖼𝗂𝗈𝗎 𝖺 𝗉𝗈𝗅𝖾́𝗆𝗂𝖼𝖺, 𝗋𝖾𝖿𝖾𝗋𝗂𝖽𝖺 𝗇𝗈 𝖳𝗐𝗂𝗍𝗍𝖾𝗋 𝖼𝗈𝗆𝗈 𝗋𝖾𝖿𝖾𝗋𝖾̂𝗇𝖼𝗂𝖺 𝖽𝗈 𝖿𝖺𝗆𝗈𝗌𝗈 𝗌𝖾𝗀𝗆𝖾𝗇𝗍𝗈 𝖽𝖺 𝖼𝖾𝗋𝗂𝗆𝗈́𝗇𝗂𝖺 𝖽𝗈𝗌 𝖩𝖮𝟤𝟢𝟤𝟦. 𝖬𝖺𝗌 𝗈𝗎𝗍𝗋𝖺𝗌 𝗉𝗈𝖽𝖾𝗋𝗂𝖺𝗆 𝗌𝖾̂-𝗅𝗈. 𝖢𝗈𝗆𝗈 𝖠𝗌 𝗇𝗎́𝗉𝖼𝗂𝖺𝗌 𝖽𝖾 𝖢𝗎𝗉𝗂𝖽𝗈 𝖾 𝖯𝗌𝗂𝖼𝗁𝖾́, 𝖽𝗈 𝗂𝗍𝖺𝗅𝗂𝖺𝗇𝗈 𝖱𝖺𝖿𝖺𝖾𝗅, 𝖽𝖺𝗍𝖺𝖽𝗈 𝖽𝖾 𝟣𝟧𝟣𝟩 𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖽𝗂𝗌𝗉𝗈𝗇𝖽𝗈 𝖺𝗌 𝖽𝗂𝗏𝗂𝗇𝖺𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌, 𝖺 𝗆𝖺𝗂𝗈𝗋𝗂𝖺 𝗇𝗎𝖺𝗌, 𝗇𝗎𝗆𝖺 𝗅𝗈𝗇𝗀𝖺 𝗆𝖾𝗌𝖺.

𝖤́ 𝖽𝖾 𝗇𝗈𝗍𝖺𝗋 𝗊𝗎𝖾 𝗍𝗈𝖽𝖺𝗌 𝖾𝗌𝗍𝖺𝗌 𝗈𝖻𝗋𝖺𝗌 𝗌𝖺̃𝗈 𝗉𝗈𝗌𝗍𝖾𝗋𝗂𝗈𝗋𝖾𝗌 𝖺̀ 𝖽𝖾 𝖣𝖺 𝖵𝗂𝗇𝖼𝗂, 𝗉𝗈𝖽𝖾𝗇𝖽𝗈 𝖺𝗌𝗌𝗂𝗆 𝗌𝖾𝗋 𝗏𝗂𝗌𝗍𝖺𝗌 𝖼𝗈𝗆𝗈 “𝖼𝗂𝗍𝖺𝖼̧𝗈̃𝖾𝗌” 𝖽𝖺 𝗆𝖾𝗌𝗆𝖺 – 𝗆𝖺𝗌 𝗇𝖺̃𝗈 𝖼𝗁𝖾𝗀𝗈𝗎 𝖺𝗈𝗌 𝗇𝗈𝗌𝗌𝗈𝗌 𝖽𝗂𝖺𝗌 𝗇𝗈𝗍𝗂́𝖼𝗂𝖺 𝖽𝖾 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝖾𝗌𝖼𝖺̂𝗇𝖽𝖺𝗅𝗈 𝗉𝗈𝗋 𝗍𝖺𝗅 𝖺𝗌𝗌𝗈𝖼𝗂𝖺𝖼̧𝖺̃𝗈. 𝖭𝖾𝗆 𝖾𝗑𝖼𝗈𝗆𝗎𝗇𝗁𝖺̃𝗈, 𝗇𝖾𝗆 𝖽𝖾𝖼𝗅𝖺𝗋𝖺𝖼̧𝗈̃𝖾𝗌 𝖽𝖾 𝗈𝗉𝗋𝗈́𝖻𝗋𝗂𝗈, 𝗇𝖾𝗆 𝖼𝗈𝗇𝖽𝖾𝗇𝖺𝖼̧𝗈̃𝖾𝗌 𝖺̀ 𝗆𝗈𝗋𝗍𝖾. 𝖮𝗎 𝗌𝖾𝗊𝗎𝖾𝗋 𝗆𝖺𝗇𝗂𝖿𝖾𝗌𝗍𝖺𝖼̧𝗈̃𝖾𝗌 𝖽𝖾 𝖽𝖾𝗌𝖺𝗀𝗋𝖺𝖽𝗈 𝖽𝖺 𝗇𝗈𝗆𝖾𝗇𝖼𝗅𝖺𝗍𝗎𝗋𝖺 𝗋𝖾𝗅𝗂𝗀𝗂𝗈𝗌𝖺 𝖼𝖺𝗍𝗈́𝗅𝗂𝖼𝖺/𝖼𝗋𝗂𝗌𝗍𝖺̃ 𝖽𝖺 𝖾́𝗉𝗈𝖼𝖺 – 𝗇𝖺𝖽𝗂𝗇𝗁𝖺. 𝖭𝗎𝖽𝖾𝗓, 𝗉𝖺𝗀𝖺𝗇𝗂𝗌𝗆𝗈, 𝖽𝖾𝖻𝗈𝖼𝗁𝖾 𝗇𝗎𝗆𝖺 𝗆𝖾𝗌𝖺 𝖼𝗈𝗆𝗉𝗋𝗂𝖽𝖺? – 𝗍𝗎𝖽𝗈 𝖻𝖾𝗆, 𝖺𝗊𝗎𝖾𝗅𝖾𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖾𝗋𝖺𝗆 𝗆𝖾𝗌𝗆𝗈 𝖺𝗌𝗌𝗂𝗆, 𝗉𝗈𝗋 𝗂𝗌𝗌𝗈 𝖾́ 𝗊𝗎𝖾 𝗈 𝖼𝗋𝗂𝗌𝗍𝗂𝖺𝗇𝗂𝗌𝗆𝗈 𝗏𝖾𝗇𝖼𝖾𝗎, 𝗈𝗅𝗁𝖾𝗆 𝖽𝗈 𝗊𝗎𝖾 𝗇𝗈𝗌 𝗅𝗂𝗏𝗋𝖺́𝗆𝗈𝗌. 𝖣𝖾 𝗋𝖾𝗌𝗍𝗈, 𝗇𝗂𝗇𝗀𝗎𝖾́𝗆 𝖽𝖾𝗎 𝖼𝗈𝗇𝗍𝖺 𝖽𝖾 𝗍𝖾𝗋 𝗁𝖺𝗏𝗂𝖽𝗈, 𝖽𝖾𝗌𝖽𝖾 𝖾𝗇𝗍𝖺̃𝗈, 𝗉𝖾𝖽𝗂𝖽𝗈𝗌 𝗉𝖺𝗋𝖺 𝗋𝖾𝗍𝗂𝗋𝖺𝗋 𝖽𝗈𝗌 𝗆𝗎𝗌𝖾𝗎𝗌, 𝖾𝗆 𝗇𝗈𝗆𝖾 𝖽𝗈𝗌 𝗌𝖾𝗇𝗍𝗂𝗆𝖾𝗇𝗍𝗈𝗌 𝖽𝗈𝗌 𝖼𝗋𝗂𝗌𝗍𝖺̃𝗈𝗌, 𝖺𝗌 𝗈𝖻𝗋𝖺𝗌 𝗋𝖾𝖿𝖾𝗋𝗂𝖽𝖺𝗌.

𝖮 𝗊𝗎𝖾 𝗇𝗈𝗌 𝗅𝖾𝗏𝖺 𝖺̀ 𝗏𝖾𝗋𝖽𝖺𝖽𝖾𝗂𝗋𝖺 𝗊𝗎𝖾𝗌𝗍𝖺̃𝗈: 𝗈 𝗊𝗎𝖾 𝗋𝖾𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗈𝖼𝖺𝗌𝗂𝗈𝗇𝗈𝗎 𝗍𝖺𝗇𝗍𝖺 𝗂𝗋𝖺 𝖾 𝖼𝗁𝗈𝗊𝗎𝖾; 𝗉𝗈𝗋 𝗊𝗎𝖾 𝗆𝗈𝗍𝗂𝗏𝗈 𝗇𝗈𝗌 𝗀𝖺𝗋𝖺𝗇𝗍𝖾𝗆 𝗊𝗎𝖾 𝖺𝗊𝗎𝖾𝗅𝖾𝗌 𝗆𝗈𝗆𝖾𝗇𝗍𝗈𝗌 𝖽𝖺 𝖼𝖾𝗋𝗂𝗆𝗈́𝗇𝗂𝖺 𝗌𝖺̃𝗈 𝗎𝗆𝖺 𝗁𝖾𝗋𝖾𝗌𝗂𝖺, 𝗎𝗆𝖺 𝖻𝗅𝖺𝗌𝖿𝖾́𝗆𝗂𝖺, 𝗎𝗆𝖺 “𝗓𝗈𝗆𝖻𝖺𝗋𝗂𝖺 𝗀𝗋𝗈𝗌𝗌𝖾𝗂𝗋𝖺 𝖽𝗈 𝖼𝗋𝗂𝗌𝗍𝗂𝖺𝗇𝗂𝗌𝗆𝗈”.

𝖣𝖾𝗌𝖽𝖾 𝗅𝗈𝗀𝗈, 𝗈 𝖼𝗈𝗇𝗍𝖾𝗑𝗍𝗈 𝖽𝖾 𝗀𝗎𝖾𝗋𝗋𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅 – 𝗊𝗎𝖾 𝖼𝗁𝖾𝗀𝗈𝗎 𝖺 𝗍𝖺𝗅 𝖽𝖾𝗅𝗂́𝗋𝗂𝗈 𝗊𝗎𝖾 𝗎𝗆𝖺 𝖼𝖾𝗋𝗂𝗆𝗈́𝗇𝗂𝖺 𝗉𝗋𝖾𝗉𝖺𝗋𝖺𝖽𝖺 𝗌𝗈𝖻 𝗈𝗌 𝖺𝗎𝗌𝗉𝗂́𝖼𝗂𝗈𝗌 𝖽𝖾 𝗎𝗆 𝗀𝗈𝗏𝖾𝗋𝗇𝗈 𝗅𝗂𝖻𝖾𝗋𝖺𝗅, 𝗈 𝖽𝖾 𝖬𝖺𝖼𝗋𝗈𝗇, 𝖾́ 𝖼𝗋𝗂𝗌𝗆𝖺𝖽𝖺 𝖽𝖾 “𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖾𝗑𝗍𝗋𝖾𝗆𝖺-𝖾𝗌𝗊𝗎𝖾𝗋𝖽𝖺”. 𝖤, 𝗇𝖾𝗌𝗌𝖾 𝖼𝗈𝗇𝗍𝖾𝗑𝗍𝗈, 𝖺 𝗇𝖾𝖼𝖾𝗌𝗌𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝗊𝗎𝖾𝗆, 𝖺𝖼𝗈𝗌𝗌𝖺𝖽𝗈 𝗉𝗈𝗋 𝖺𝖼𝗎𝗌𝖺𝖼̧𝗈̃𝖾𝗌 𝖽𝖾 𝗌𝖾́𝖼𝗎𝗅𝗈𝗌 𝖽𝖾 𝖽𝗂𝗌𝖼𝗋𝗂𝗆𝗂𝗇𝖺𝖼̧𝖺̃𝗈 𝖾 𝖼𝗋𝗂𝗆𝖾𝗌 𝖼𝗈𝗇𝗍𝗋𝖺 𝗈𝗌 𝖽𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝗁𝗎𝗆𝖺𝗇𝗈𝗌, 𝗌𝖾 𝗊𝗎𝖾𝗋 𝖽𝖾𝗌𝖾𝗌𝗉𝖾𝗋𝖺𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝖺𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝗋 𝖼𝗈𝗆𝗈 𝗏𝗂́𝗍𝗂𝗆𝖺. 𝖤́ 𝗎𝗆 𝗆𝖾𝖼𝖺𝗇𝗂𝗌𝗆𝗈 𝖼𝗈𝗇𝗁𝖾𝖼𝗂𝖽𝗈 – 𝗉𝖺𝗋𝖺 𝖺 𝖨𝗀𝗋𝖾𝗃𝖺 𝖢𝖺𝗍𝗈́𝗅𝗂𝖼𝖺, 𝖼𝗈𝗆𝗈 𝗉𝖺𝗋𝖺 𝖺𝗊𝗎𝖾𝗅𝖾𝗌 𝗊𝗎𝖾 𝗍𝗈𝗆𝖺𝗆 𝖺𝗌 𝗌𝗎𝖺𝗌 𝖽𝗈𝗋𝖾𝗌, 𝖺 𝗆𝖾𝗋𝖺 𝖾𝗑𝗂𝗌𝗍𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗊𝗎𝖾𝗆 𝗅𝗁𝖾 𝗌𝗎𝗋𝗀𝖾 𝖼𝗈𝗆𝗈 “𝖾𝗋𝗋𝖺𝖽𝗈” 𝗍𝖾𝗆 𝗌𝗂𝖽𝗈 𝗌𝖾𝗆𝗉𝗋𝖾 𝗌𝖾𝗇𝗍𝗂𝖽𝖺 𝖼𝗈𝗆𝗈 𝖺𝗀𝗋𝖾𝗌𝗌𝖺̃𝗈, 𝗎𝗆𝖺 𝖺𝗀𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗊𝗎𝖾 𝗌𝗈́ 𝗉𝗈𝖽𝗂𝖺 𝗌𝖾𝗋 𝗌𝖺𝗇𝖺𝖽𝖺 𝗇𝖺 𝖽𝖾𝗌𝗍𝗋𝗎𝗂𝖼̧𝖺̃𝗈, 𝖿𝗂́𝗌𝗂𝖼𝖺 𝗈𝗎 𝗌𝗂𝗆𝖻𝗈́𝗅𝗂𝖼𝖺, 𝖽𝖾𝗌𝗌𝖾 𝗈𝗎𝗍𝗋𝗈.

𝖤́ 𝖺𝗂́, 𝖼𝗅𝖺𝗋𝗈, 𝗊𝗎𝖾 𝗋𝖾𝗌𝗂𝖽𝖾 𝗈 𝗆𝗈𝗍𝗂𝗏𝗈 𝖽𝖾 𝗍𝗈𝖽𝖺 𝖺 𝖿𝗎́𝗋𝗂𝖺: 𝗀𝖾𝗇𝗍𝖾 𝖼𝗈𝗆 𝗎𝗆𝖺 𝗌𝖾𝗑𝗎𝖺𝗅𝗂𝖽𝖺𝖽𝖾 “𝖺𝖻𝖾𝗋𝗋𝖺𝗇𝗍𝖾” 𝗈𝗎 “𝖼𝗈𝗇𝗍𝗋𝖺-𝗇𝖺𝗍𝗎𝗋𝖺”, 𝗀𝖾𝗇𝗍𝖾 𝗊𝗎𝖾 𝖾́ 𝗈 𝖾𝗍𝖾𝗋𝗇𝗈 “𝗈𝗎𝗍𝗋𝗈”, 𝗇𝗎𝗆 𝖼𝖾𝗇𝖺́𝗋𝗂𝗈 𝗊𝗎𝖾 𝗉𝗈𝖽𝖾 𝗌𝖾𝗋 𝖺𝗌𝗌𝗈𝖼𝗂𝖺𝖽𝗈 𝖺𝗈 𝖽𝖺 “𝗎́𝗅𝗍𝗂𝗆𝖺 𝖼𝖾𝗂𝖺”? 𝖯𝗈𝖽𝖾 𝗅𝖺́ 𝗌𝖾𝗋.

𝖳𝖺𝗇𝗍𝗈 𝖿𝖺𝗓 𝗊𝗎𝖾 𝖺 𝖼𝗂𝗍𝖺𝖼̧𝖺̃𝗈, 𝖺 𝖾𝗑𝗂𝗌𝗍𝗂𝗋, 𝖾𝗌𝗍𝖾𝗃𝖺 𝖾𝗇𝗏𝗈𝗅𝗍𝖺 𝖾𝗆 𝖼𝖺𝗆𝖺𝖽𝖺𝗌, 𝗉𝖾𝗅𝖺 𝗋𝖾𝖿𝖾𝗋𝖾̂𝗇𝖼𝗂𝖺 𝖺 𝗈𝗎𝗍𝗋𝖺𝗌 𝗈𝖻𝗋𝖺𝗌 𝖾 𝗆𝗂𝗍𝗈𝗅𝗈𝗀𝗂𝖺𝗌; 𝗍𝖺𝗇𝗍𝗈 𝖿𝖺𝗓 𝗊𝗎𝖾 𝖺 𝗆𝖾𝗇𝗌𝖺𝗀𝖾𝗆 𝖽𝗈 𝗉𝗋𝗈𝖿𝖾𝗍𝖺 𝗊𝗎𝖾 𝖺𝗅𝖾𝗀𝖺𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝗌𝖾 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝖾 𝖽𝖾𝖿𝖾𝗇𝖽𝖾𝗋 𝖼𝗁𝗈𝗊𝗎𝖾 𝖿𝗋𝗈𝗇𝗍𝖺𝗅𝗆𝖾𝗇𝗍𝖾, 𝖼𝗈𝗆 𝖺 𝗌𝗎𝖺 𝗉𝗋𝗈𝗉𝗈𝗌𝗍𝖺 𝖽𝖾 𝗂𝗇𝖼𝗅𝗎𝗌𝖺̃𝗈, 𝖽𝖾 𝗂𝗀𝗎𝖺𝗅𝖽𝖺𝖽𝖾 –“𝖭𝖺̃𝗈 𝗁𝖺́ 𝗃𝗎𝖽𝖾𝗎 𝗇𝖾𝗆 𝗀𝗋𝖾𝗀𝗈, 𝗇𝖾𝗆 𝖾𝗌𝖼𝗋𝖺𝗏𝗈 𝗇𝖾𝗆 𝗅𝗂𝗏𝗋𝖾, 𝗇𝖾𝗆 𝗁𝗈𝗆𝖾𝗆 𝗇𝖾𝗆 𝗆𝗎𝗅𝗁𝖾𝗋, 𝗉𝗈𝗂𝗌 𝗍𝗈𝖽𝗈𝗌 𝗌𝖺̃𝗈 𝗎𝗆 𝖾𝗆 𝖩𝖾𝗌𝗎𝗌”– 𝖼𝗈𝗆 𝗍𝖺𝗅 𝗆𝖺𝗇𝗂𝖿𝖾𝗌𝗍𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗉𝗋𝖾𝖼𝗈𝗇𝖼𝖾𝗂𝗍𝗈 𝖾 𝗈́𝖽𝗂𝗈. 𝖳𝖺𝗇𝗍𝗈 𝖿𝖺𝗓 𝗊𝗎𝖾 𝗌𝖾 𝖼𝗁𝖾𝗀𝗎𝖾 𝖺𝗈 𝗋𝗂𝖽𝗂́𝖼𝗎𝗅𝗈 𝖽𝖾 𝗍𝗋𝖺𝗍𝖺𝗋 𝖺 𝗈𝖻𝗋𝖺 𝖽𝖾 𝖣𝖺 𝖵𝗂𝗇𝖼𝗂 𝖼𝗈𝗆𝗈 𝗋𝖾𝗅𝗂́𝗊𝗎𝗂𝖺 𝖾 𝖽𝗈𝗀𝗆𝖺, 𝗊𝗎𝖺𝗅 𝗉𝗈𝗅𝖺𝗋𝗈𝗂𝖽 𝖺𝗎𝗍𝖾𝗇𝗍𝗂𝖼𝖺𝖽𝖺 𝖽𝖺 𝗏𝗂𝖽𝖺 𝖽𝗈 𝗉𝗋𝗈𝖿𝖾𝗍𝖺.

𝖳𝖺𝗇𝗍𝗈 𝖿𝖺𝗓 𝗍𝗎𝖽𝗈, 𝖺𝗀𝗈𝗋𝖺 𝗊𝗎𝖾 𝖾𝗌𝗍𝖺 𝖼𝗈𝗇𝗏𝖾𝗋𝗌𝖺 𝖽𝖾𝗆𝖾𝗇𝗍𝖾 𝗃𝖺́ 𝗋𝖾𝗌𝗎𝗅𝗍𝗈𝗎, 𝖼𝗈𝗆𝗈 𝖼𝗈𝗆𝗎𝗇𝗂𝖼𝗈𝗎 𝗇𝖺 𝗍𝖺𝗋𝖽𝖾 𝖽𝖾𝗌𝗍𝖺 𝗌𝖾𝗀𝗎𝗇𝖽𝖺-𝖿𝖾𝗂𝗋𝖺 𝗈 𝖺𝖽𝗏𝗈𝗀𝖺𝖽𝗈 𝖽𝖾 𝖡𝖺𝗋𝖻𝖺𝗋𝖺 𝖡𝗎𝗍𝖼𝗁, 𝖾𝗆 𝖺𝗆𝖾𝖺𝖼̧𝖺𝗌 𝖽𝖾 𝗆𝗈𝗋𝗍𝖾.

𝖤𝗌𝗍𝖺𝗆𝗈𝗌 𝗌𝖾𝗆𝗉𝗋𝖾 𝖺𝗊𝗎𝗂, 𝖾𝗌𝗍𝖺𝗆𝗈𝗌 𝗌𝖾𝗆𝗉𝗋𝖾 𝗇𝗂𝗌𝗍𝗈. 𝖤 𝖽𝗂𝗓𝗂𝖺 𝖩𝗈𝗅𝗅𝗒 𝗊𝗎𝖾 𝖺 𝗌𝗎𝖺 𝗂𝖽𝖾𝗂𝖺 𝖾𝗋𝖺 𝗏𝖾𝗂𝖼𝗎𝗅𝖺𝗋 𝗎𝗆𝖺 𝗆𝖾𝗇𝗌𝖺𝗀𝖾𝗆 𝖽𝖾 𝗂𝗇𝖼𝗅𝗎𝗌𝖺̃𝗈, 𝖺 𝖽𝖾 𝗎𝗆𝖺 𝖿𝖾𝗌𝗍𝖺 𝗉𝖺𝗋𝖺 𝗍𝗈𝖽𝗈𝗌. 𝖤 𝖽𝗂𝗓𝗂𝖺 𝗈 𝗉𝖺𝗉𝖺, 𝗇𝗎𝗆 𝗋𝖾𝖼𝖾𝗇𝗍𝖾 – 𝖾 𝖼𝗈́𝗆𝗂𝖼𝗈, 𝖽𝗂𝗀𝖺-𝗌𝖾 – 𝗁𝖺𝗉𝗉𝖾𝗇𝗂𝗇𝗀 𝗏𝖺𝗍𝗂𝖼𝖺𝗇𝗈 𝖼𝗈𝗆 𝗁𝗎𝗆𝗈𝗋𝗂𝗌𝗍𝖺𝗌, 𝗊𝗎𝖾 𝖾́ 𝗉𝗈𝗌𝗌𝗂́𝗏𝖾𝗅 𝗋𝗂𝗋 𝖽𝖾 𝗍𝗎𝖽𝗈, 𝖺𝗍𝖾́ 𝖽𝖺 𝖽𝗂𝗏𝗂𝗇𝖽𝖺𝖽𝖾 (𝖼𝗈𝗆 𝗆𝖺𝗂𝗎́𝗌𝖼𝗎𝗅𝖺, 𝗇𝗈 𝖼𝖺𝗌𝗈 𝖽𝖾𝗅𝖾). 𝖲𝗈́ 𝗌𝖾 𝖿𝗈𝗋 𝖽𝗈𝗌 𝖽𝖾𝗎𝗌𝖾𝗌 𝖽𝗈𝗌 𝗈𝗎𝗍𝗋𝗈𝗌, 𝖥𝗋𝖺𝗇𝖼𝗂𝗌𝖼𝗈. 𝖲𝖾, 𝖼𝗅𝖺𝗋𝗈, 𝖿𝗈𝗋𝗆𝗈𝗌 𝖼𝖺𝗉𝖺𝗓𝖾𝗌 𝖽𝖾 𝗈𝗌 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝖾𝗋.

* Jornalista, Grande repórter

IN "DIÁRIO DE NOTÍCIAS" -30/07/24 

NÓS ATÉ ZOMBÁMOS .