{"id":2326,"date":"2012-12-22T12:16:12","date_gmt":"2012-12-22T12:16:12","guid":{"rendered":"http:\/\/www.errogrupo.com.br\/v4\/pt\/?p=2326"},"modified":"2018-11-20T10:52:51","modified_gmt":"2018-11-20T10:52:51","slug":"hasard-video","status":"publish","type":"post","link":"http:\/\/www.errogrupo.com.br\/v4\/pt\/2012\/12\/22\/hasard-video\/","title":{"rendered":"HASARD"},"content":{"rendered":"<p><span style=\"color: #ff0000;\">(ENGLSH BELOW)<\/span><\/p>\n<p>HASARD (2012)<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/vw9jSUo8WxI\" allowfullscreen=\"allowfullscreen\" width=\"610\" height=\"410\" frameborder=\"0\"><\/iframe><\/p>\n<p>Editado em dezembro de 2012, este v\u00eddeo \u00e9 o registro do processo de ensaios e apresenta\u00e7\u00f5es de HASARD, em Florian\u00f3polis, Bigua\u00e7u, S\u00e3o Jos\u00e9, Porto Alegre e S\u00e3o Paulo, ao longo desse ano.<\/p>\n<p>HASARD surgiu da pesquisa do ERRO Grupo, pelo Programa Petrobras Cultural, sobre a rela\u00e7\u00e3o de jogos na sociedade contempor\u00e2nea &#8212; assunto explorado em outros trabalhos do grupo e aprofundado nessa obra sob a \u00f3tica dos jogos financeiros e de reten\u00e7\u00e3o de poder. O trabalho se desenvolve sob a tr\u00edade: mercado, manuten\u00e7\u00e3o do poder e jogos de azar, em uma mir\u00edade de caminhos e proposi\u00e7\u00f5es que exploram a situa\u00e7\u00e3o de perda \u00e0 luz do controle e das leis do mercado em nosso cotidiano.<\/p>\n<p>ORIGEM DO JOGO<br \/>\nA palavra azzahr denominava o jogo e os ossos em cubos numerados de um dos primeiros jogos conhecidos na hist\u00f3ria da humanidade. Os \u00e1rabes jogavam azzahr durante o com\u00e9rcio com os europeus na Idade M\u00e9dia e na \u00e9poca disseminaram esse jogo de dados. Os franceses o chamaram de hasar ou hasard, significando aleatoriedade, chance, acaso, possibilidade de perda ou dano e risco, sendo registrado pela primeira vez como o sentido do verbo \u2018colocar algo em jogo\u2019, no caso, no jogo de azar. Durante as guerras entre a Fran\u00e7a e a Inglaterra nos s\u00e9c. XIII e XIV, os ingleses aprenderam o jogo e o chamaram de hazard, significando \u2018tirar a sorte ou o azar\u2019, al\u00e9m dos significados atuais: \u2018amea\u00e7a\u2019, \u2018perigo\u2019. Em \u00e1rabe, azzahr, az-Zahr ou al-Zahr s\u00e3o os nomes da pr\u00f3pria pe\u00e7a do jogo, o dado.<\/p>\n<p>A PESQUISA<br \/>\nHASARD surgiu da pesquisa do ERRO Grupo, pelo Programa Petrobras Cultural, sobre a rela\u00e7\u00e3o de jogos na sociedade contempor\u00e2nea \u2013 assunto explorado em outros trabalhos do grupo e aprofundado nessa obra sob a \u00f3tica dos jogos financeiros e de reten\u00e7\u00e3o de poder. O trabalho se desenvolve sob a tr\u00edade mercado, manuten\u00e7\u00e3o do poder e jogos de azar, em uma mir\u00edade de caminhos e proposi\u00e7\u00f5es que exploram a situa\u00e7\u00e3o de perda \u00e0 luz do controle e das leis do mercado em nosso cotidiano.<\/p>\n<p>Ao pesquisar sobre a origem dos jogos, o grupo se deparou com o racioc\u00ednio de que todo jogo nasce da profana\u00e7\u00e3o de um rito ou mito religioso. O jogo ignora a separa\u00e7\u00e3o entre humano e divino ou faz dela um uso particular, n\u00e3o se origina apenas de uma esfera do sagrado, mas como representa a sua invers\u00e3o e subvers\u00e3o.<\/p>\n<p>Qual seria o jogo sagrado da sociedade contempor\u00e2nea? Com esta indaga\u00e7\u00e3o, o ERRO Grupo se apoiou nas conclus\u00f5es do fil\u00f3sofo Walter Benjamin, quando afirma que o capitalismo \u00e9 uma religi\u00e3o e n\u00e3o apenas um sistema pol\u00edtico. Uma religi\u00e3o pag\u00e3 onde o utilitarismo ganha sua colora\u00e7\u00e3o religiosa. Investir, comprar, apostar, manobrar a bolsa de valores, vender, etc., s\u00e3o pr\u00e1ticas utilit\u00e1rias do culto ao capitalismo. O ineditismo hist\u00f3rico desta religi\u00e3o \u00e9 n\u00e3o buscar a reforma, mas a ru\u00edna do ser. Como coloca o estudioso Michael L\u00f6wy, a nossa culpa \u00e9 o nosso endividamento para com o capital, perp\u00e9tua e crescente, nenhuma esperan\u00e7a \u00e9 permitida. Segundo a religi\u00e3o do capital, a \u00fanica salva\u00e7\u00e3o reside na intensifica\u00e7\u00e3o do sistema, na expans\u00e3o capitalista, no ac\u00famulo de mercadorias, mas isso s\u00f3 agrava o nosso desespero.<\/p>\n<p>Tendo em vista que a regra \u00e9 a base para todo jogo, o grupo recorreu a informa\u00e7\u00f5es sobre quem controla e faz valer as regras deste jogo capitalista, aqueles que det\u00eam o poder de julgar e de manter a ordem. O jogo n\u00e3o pertence \u00e0 vida comum, se situa fora do mecanismo de satisfa\u00e7\u00e3o imediata das necessidades e dos desejos e, pelo contr\u00e1rio, interrompe este mecanismo. Ele se insinua como atividade tempor\u00e1ria, que tem uma finalidade aut\u00f4noma e se realiza tendo em vista uma satisfa\u00e7\u00e3o que consiste nessa pr\u00f3pria realiza\u00e7\u00e3o e se apresenta como um intervalo em nossa vida cotidiana. O jogo ornamenta a vida, ampliando-a, e torna-se uma necessidade tanto para o indiv\u00edduo, como fun\u00e7\u00e3o vital, quanto para a sociedade, devido ao sentido que encerra \u00e0 sua significa\u00e7\u00e3o, seu valor expressivo, suas associa\u00e7\u00f5es espirituais e sociais, em resumo, como fun\u00e7\u00e3o cultural, ao dom\u00ednio do ritual, do culto e do sagrado.<\/p>\n<p>Roger Caillois, te\u00f3rico do jogo, estabeleceu categorias claras que d\u00e3o conta das modalidades do ato de jogar, essas categorias est\u00e3o representadas em HASARD na forma de quatro situa\u00e7\u00f5es simult\u00e2neas em quatro ruas diferentes de um quarteir\u00e3o. A competi\u00e7\u00e3o (agon), a encena\u00e7\u00e3o ou simulacro (mimicry), o azar (alea) e a vertigem (ilinx), tais categorias podem combinar-se em face da complexidade do jogo.<\/p>\n<p>Sobre a dramaturgia da pe\u00e7a, a atriz e dramaturga Luana Raiter afirma que \u201cum dos objetivos do HASARD \u00e9 expandir a arte para al\u00e9m de sua posi\u00e7\u00e3o convencional, elitizada, intoc\u00e1vel, comercial para apresent\u00e1-la como algo em movimento, como um jogo, e fazer de nossos rituais cotidianos espa\u00e7os criativos e transformadores no espa\u00e7o urbano\u201d. O diretor e tamb\u00e9m dramaturgo Pedro Bennaton complementa: \u201cA dramaturgia de HASARD n\u00e3o s\u00f3 \u00e9 fragmentada como se prop\u00f5e fragmentar, dividir o p\u00fablico. Ainda estamos explorando esse aspecto, e continuaremos durante a temporada, pois \u00e9 o primeiro trabalho no qual dividimos as pessoas em m\u00faltiplos espa\u00e7os de forma t\u00e3o radical\u201d, ressalta.<\/p>\n<p>PROJETO MANUTEN\u00c7\u00c3O DO ERRO<br \/>\nO ERRO Grupo, atrav\u00e9s do Programa Petrobras Cultural com o patroc\u00ednio da Petrobras, iniciou o projeto Manuten\u00e7\u00e3o do ERRO, em outubro de 2010 e o desenvolver\u00e1 at\u00e9 novembro de 2012, nas cidades de Florian\u00f3polis e regi\u00e3o, Porto Alegre e S\u00e3o Paulo. O objetivo do Petrobras Cultural \u00e9 contemplar grupos de teatro dedicados \u00e0 produ\u00e7\u00e3o c\u00eanica contempor\u00e2nea, com o patroc\u00ednio \u00e0s a\u00e7\u00f5es continuadas de pesquisa, produ\u00e7\u00e3o e difus\u00e3o de seus trabalhos.<\/p>\n<p>O projeto Manuten\u00e7\u00e3o do ERRO \u00e9 dividido em duas etapas ao longo destes dois anos. S\u00f3 em 2011, foram 33 apresenta\u00e7\u00f5es na Grande Florian\u00f3polis com mostras do repert\u00f3rio do grupo, totalizando 25 mil espectadores, atrav\u00e9s das temporadas que o ERRO realizou dos espet\u00e1culos do repert\u00f3rio do grupo: Adelaide Fontana, Buzkashi, Escaparate, Desvio, Carga Viva, e Enfim um L\u00edder, as oficinas Aberta ao ERRO, realizadas em 2010 e 2011, a oficina com o diretor argentino Em\u00edlio Garcia Wehbi, o interc\u00e2mbio art\u00edstico do ERRO com o Grupo Empreza\/GO, assim como conversas com os profissionais convidados realizadas na sede do grupo e na Funda\u00e7\u00e3o Franklin Cascaes gratuitas e abertas ao p\u00fablico, e que se complementam nesse ano com as pesquisas e temporadas de HASARD, somando 55 apresenta\u00e7\u00f5es em dois anos e cinco oficinas formativas.<\/p>\n<p>PETROBRAS CULTURAL<br \/>\nO Projeto Manuten\u00e7\u00e3o do ERRO \u00e9 um dos projetos selecionados pelo Programa Petrobras Cultural que \u00e9 destinado \u00e0 sele\u00e7\u00e3o p\u00fablica de projetos em 19 \u00e1reas culturais, dentro das tr\u00eas linhas de atua\u00e7\u00e3o: Forma\u00e7\u00e3o; Preserva\u00e7\u00e3o e Mem\u00f3ria; e Produ\u00e7\u00e3o e Difus\u00e3o. Criado em 2003, o PPC baliza as a\u00e7\u00f5es de patroc\u00ednio da Petrobras em torno de uma pol\u00edtica cultural de alcance social e de afirma\u00e7\u00e3o da identidade brasileira. Desde sua primeira edi\u00e7\u00e3o, as sele\u00e7\u00f5es p\u00fablicas j\u00e1 destinaram R$ 250 milh\u00f5es a mais de mil projetos em todos os estados do pa\u00eds atrav\u00e9s da Lei Rouanet. Obtenha mais informa\u00e7\u00f5es em http:\/\/www.hotsitespetrobras.com.br\/ppc\/.<\/p>\n<p>HASARD<br \/>\nFicha T\u00e9cnica<br \/>\nConcep\u00e7\u00e3o e dramaturgia: Luana Raiter e Pedro Bennaton<br \/>\nDire\u00e7\u00e3o: Pedro Bennaton<br \/>\nAtores: Luana Raiter, Luiz Henrique Cudo, Michel Marques e Sarah Ferreira<br \/>\nPerformers: Rodrigo Ramos, Dilmo Nunes, Robison Soletti e Crica Gadotti<br \/>\nDire\u00e7\u00e3o de Arte: ERRO Grupo<br \/>\nSonoplastia: Isaac Varzim<br \/>\nT\u00e9cnicos de som e v\u00eddeo: Michel Marques, Rodrigo Ramos e Robison Soletti<br \/>\nCenot\u00e9cnica: Crica Gadotti<br \/>\nContra-regra: \u00c2ngelo Giotto<br \/>\nDesign-gr\u00e1fico: Fabr\u00edcio Faustin Rezende e Rafael Amaral<br \/>\nBaralho: Leandro Pitz<br \/>\nTextos baralho: Luana Raiter e Pedro Bennaton<br \/>\nFotografia: Larissa Nowak, Ana Carolina Von Hertwig, Pedro Bennaton e Rafael Schlichting<br \/>\nFilmagem: Rafael Schlichting, Ana Carolina Von Hertwig, Pedro Bennaton e Sarah Ferreira<br \/>\nEdi\u00e7\u00e3o de v\u00eddeo: Rafael Schlichting e Sarah Ferreira<br \/>\nAssessoria de imprensa: Juliana Bassetti<br \/>\nWeb-designer: Henrique Palazzo \u2013 Est\u00fadio Obra<br \/>\nContabilidade: Cultura Cont\u00e1bil<br \/>\nCria\u00e7\u00e3o, realiza\u00e7\u00e3o e produ\u00e7\u00e3o: ERRO Grupo<\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-content\/uploads\/2012\/08\/hasard-flyer-01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-2150\" src=\"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-content\/uploads\/2012\/08\/hasard-flyer-01-716x1024.jpg\" alt=\"hasard flyer-01\" width=\"576\" height=\"824\" srcset=\"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-content\/uploads\/2012\/08\/hasard-flyer-01-716x1024.jpg 716w, http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-content\/uploads\/2012\/08\/hasard-flyer-01-209x300.jpg 209w, http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-content\/uploads\/2012\/08\/hasard-flyer-01.jpg 1240w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\" \/><\/a><\/p>\n<p>Four streets. Four situations. Choose your position.In HASARD, four situations contaminate each other, using randomness as an operation, allowing different actions to unfold through the different forms of game that the group proposes to passers-by during the intervention. The actions make a path thru out a whole block and the public will always have to position itself to follow the outcomes of the proposed plots.<\/p>\n<p>Edited in December 2012, this video is records HASARD\u00b4s rehearsals and presentations process, in Florian\u00f3polis, Bigua\u00e7u, S\u00e3o Jos\u00e9, Porto Alegre and S\u00e3o Paulo, during that year.&nbsp;HASARD emerged from the ERRO Grupo&#8217;s research, sponsored by Programa Petrobas Cultural, on the relation of games in contemporary society &#8211; a subject explored in other works of the group and deepened in this work from the perspective of financial games and retention of power. The work develops under the triad: market, maintenance of power and games of chance, in a myriad of ways and propositions that exploit the situation of loss in the light of control and the laws of the market in our daily life.<\/p>\n<p>ORIGIN OF THE GAME<\/p>\n<p>The word azzahr refers to the game played with numbered bones sculpted in cubes in one of the first known games in the history of humanity. The Arabs played azzahr during trade with the Europeans in the Middle Ages and in that period, disseminated the game of dices. The French have called it hasar or hasard, meaning randomness, chance,&nbsp; chance being, the possibility of loss or damage and risk, being first recorded as the meaning of the verb &#8216;put something into play&#8217;, in this case, in a game of chance.<\/p>\n<p>During the wars between France and England in the 18th century, XIII and XIV, the English learned the game and called it a hazard, meaning &#8216;to take luck or chance&#8217;, in addition to the current meanings: &#8216;threat&#8217;, &#8216;danger&#8217;. In Arabic, azzahr, az-Zahr or al-Zahr are the names of the game pieces itself, the dices.<\/p>\n<p>THE RESEARCH<\/p>\n<p>When researching on the origin of games, the group was faced with the reasoning that every game arises from the desecration of a religious rite or myth. The game ignores the separation between human and divine or makes of it a particular use; it is not only originated from a sacred sphere, but is it also represents its inversion and subversion.&nbsp;What would be contemporary society sacred game?<\/p>\n<p>With this inquiry, ERRO Grupo relied on the conclusions of the philosopher Walter Benjamin, when he affirms that capitalism is a religion and not just a political system. A pagan religion where utilitarianism gains its religious coloring. Investing, buying, betting, maneuvering the stock exchange, selling, etc., are utilitarian practices of the cult to capitalism. The historical debut of this religion is not to seek reform, but the ruin of the being. As the scholar Michael L\u00f6wy puts it, our fault is our indebtedness to capital, that its perpetual and growing, and here, no hope is allowed.<\/p>\n<p>According to the religion of capital, the only salvation lies in the intensification of the system, in the capitalist expansion, in the accumulation of commodities, but this only exacerbates our despair.&nbsp;Given that the rule is the basis for every game, the group tried to sketch out information on who controls and enforces the rules of this capitalist game, those who hold the power to judge and maintain the order. The game does not belong to common life, it is outside the mechanism of immediate satisfaction of needs and desires and, on the contrary, it interrupts this mechanism. It insinuates itself as a temporary activity, which has an autonomous purpose and is realized in view of satisfaction that consists in this very realization and presents itself as an break in our daily life.<\/p>\n<p>The game adorns life, enlarging it, and becomes a necessity both for the individual, as a vital function, and for society, because it enclosures de significance it contains to its own meaning, its expressive value, its spiritual and social associations, in as a cultural function, to the domain of ritual, worship and the of the sacred.&nbsp;Game&#8217;s theoretician Roger Caillois, established clear categories that account for the modalities of the act of playing, these categories are represented in HASARD in the form of four simultaneous situations in four different streets of a block. Competition (agon), staging (mimicry), chance (alea) and vertigo (ilinx), such categories can be combined in the face of the complexity of the game.&nbsp;<\/p>\n<p>The dramaturgy of the play, the actress and playwright Luana Raiter states that &#8220;one of HASARD&#8217;s goals is to expand art beyond its conventional, elitist, untouchable, commercial position to present it as something in motion, as a game, and make our daily rituals creative and transforming spaces in urban space&#8221;. The director and also playwright Pedro Bennaton completes: &#8220;The dramaturgy of HASARD is not only fragmented as it is proposed to fragment, divide the public. We are still exploring this, and we will continue during the season, because it is the first work in which we divide people in multiple spaces so radically &#8220;he points out.<\/p>\n<p>PROJECT MANUTEN\u00c7\u00c3O DO ERRO<\/p>\n<p>ERRO Grupo, through the Programa Petrobras Cultural, sponsored by Petrobras, started MANUTEN\u00c7\u00c3O DO ERRO in October 2010 and will develop it until November 2012 in the cities of Florian\u00f3polis and region, Porto Alegre and S\u00e3o Paulo. The objective of Petrobras Cultural is to contemplate theater groups dedicated to contemporary scenic production, with the sponsorship of continuous research, production and diffusion of their works.<\/p>\n<p>The project MANUTEN\u00c7\u00c3O DO ERRO is divided into two phases over the course of these two years. In 2011 we made 33 presentations in the Grande Florian\u00f3polis with shows from the repertoire of the group, reaching a total of 25 thousand spectators, through the seasons that the ERRO realized of the spectacles of the group\u00b4s repertoire: Adelaide Fontana, Buzkashi, Escaparate, Desvio, Carga Viva, and finally the ERRO workshops, held in 2010 and 2011, the workshop with Argentine director Emilio Garcia Wehbi, with an artistic exchange with Grupo Empreza \/ GO, as well as conversations with invited professionals held at the group&#8217;s space and in the Franklin Cascaes Foundation, which were all free and open to the public, and complement that year with HASARD&#8217;s researches and seasons, with 55 presentations in two years and five training workshops.<\/p>\n<p>PETROBRAS CULTURALThe project MANUTEN\u00c7\u00c3O DO ERRO Maintenance Project is one of the projects selected by the Petrobras Cultural Program that is destined to the public selection of projects in 19 cultural areas, within the three lines of action: Training; Preservation and Memory; and Production and Diffusion. Created in 2003, the PPC targets to sponsorship actions of Petrobras around a cultural policy of social reach and affirmation of the Brazilian identity. Since its first edition, public selections have already allocated R$ 250 million to more than one thousand projects in all the states of the country through the Rouanet Law. Get more information at http:\/\/www.hotsitespetrobras.com.br\/ppc\/.<\/p>\n<p>HASARD<\/p>\n<p>Credits<\/p>\n<p>Conception and dramaturgy: Luana Raiter and Pedro Bennaton<\/p>\n<p>Direction: Pedro Bennaton<\/p>\n<p>Actors: Luana Raiter, Luiz Henrique Cudo, Michel Marques and Sarah Ferreira<\/p>\n<p>Performers: Rodrigo Ramos, Dilmo Nunes, Robison Soletti and Crica Gadotti<\/p>\n<p>Art Direction: ERRO Grupo<\/p>\n<p>Sound designer: Isaac Varzim<\/p>\n<p>Sound and video technicians: Michel Marques, Rodrigo Ramos and Robison Soletti<\/p>\n<p>Escenery technician: Crica Gadotti<\/p>\n<p>Counter-rule: \u00c2ngelo Giotto<\/p>\n<p>Graphic Design: Fabr\u00edcio Faustin Rezende and Rafael Amaral<\/p>\n<p>Cards art: Leandro Pitz<\/p>\n<p>Texts: Luana Raiter and Pedro Bennaton<\/p>\n<p>Photography: Larissa Nowak, Ana Carolina Von Hertwig, Pedro Bennaton and Rafael Schlichting<\/p>\n<p>Filming: Rafael Schlichting, Ana Carolina Von Hertwig, Pedro Bennaton and Sarah Ferreira<\/p>\n<p>Video editing: Rafael Schlichting and Sarah Ferreira<\/p>\n<p>Press Assistant: Juliana Bassetti<\/p>\n<p>Web-designer: Henrique Palazzo &#8211; Studio Work<\/p>\n<p>Accounting: Accounting Culture<\/p>\n<p>Creation, production and production: ERRO Grupo<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Quatro ruas. Quatro situa\u00e7\u00f5es. Escolha a sua posi\u00e7\u00e3o.<br \/>\nEm HASARD quatro situa\u00e7\u00f5es contaminam umas \u00e0s outras, utilizando a aleatoriedade como opera\u00e7\u00e3o, possibilitando diferentes desdobramentos das a\u00e7\u00f5es, atrav\u00e9s das diferentes formas de jogo que o grupo prop\u00f5e aos transeuntes durante a interven\u00e7\u00e3o. As a\u00e7\u00f5es percorrem todo um quarteir\u00e3o e o p\u00fablico ter\u00e1 sempre que se posicionar para acompanhar os desenlaces das tramas propostas. <a href=\"http:\/\/www.errogrupo.com.br\/v4\/pt\/2012\/12\/22\/hasard-video\/\"><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[63,7],"tags":[],"class_list":["post-2326","post","type-post","status-publish","format-standard","hentry","category-hasard","category-obras","apoio-destaque-coluna-projetos","apoio-pagina-principal-de-projeto"],"_links":{"self":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/2326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/comments?post=2326"}],"version-history":[{"count":21,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/2326\/revisions"}],"predecessor-version":[{"id":3752,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/2326\/revisions\/3752"}],"wp:attachment":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/media?parent=2326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/categories?post=2326"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/tags?post=2326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}