{"id":4258,"date":"2021-08-24T17:12:17","date_gmt":"2021-08-24T17:12:17","guid":{"rendered":"http:\/\/www.errogrupo.com.br\/v4\/pt\/?p=4258"},"modified":"2025-09-03T12:12:53","modified_gmt":"2025-09-03T12:12:53","slug":"desnonissea","status":"publish","type":"post","link":"http:\/\/www.errogrupo.com.br\/v4\/pt\/2021\/08\/24\/desnonissea\/","title":{"rendered":"Desnonissea"},"content":{"rendered":"

DESNONISSEA<\/span><\/strong><\/p>\n

(English Below)<\/p>\n

Muito felizes em poder anunciar esta obra que estreia dia 23\/09\/21 e ficar\u00e1 em cartaz at\u00e9 janeiro de 2022 no Arts Santa M\u00f3nica em Barcelona!<\/p>\n

Em 2020, quando est\u00e1vamos em processo de cria\u00e7\u00e3o de no hay citas disponibles.<\/em> encontramos em uma revista de bairro, a Revista Masala, uma reportagem sobre os despejos que ocorrem diariamente em Barcelona. A \u00faltima cena de no hay citas disponibles.<\/em> surgiu deste artigo, \u201cAnatomia de un Desahucio\u201d, publicado na Masala em junho de 2020. Quando o lemos fizemos uma piada imaginando que eram as instru\u00e7\u00f5es para realizar uma obra de Roger Bernat. A cartografia descrita pela equipe Masala, com ilustra\u00e7\u00f5es de @biksakura, nos convida a brincar – ou pelo menos observar um despejo – com um olhar mais treinado, ou melhor, nos treina a participar desta situa\u00e7\u00e3o de uma forma muito particular, instigante e pedag\u00f3gica. Poucos meses depois, a piada se revelou cheia de verdade, como todas as piadas: Bernat, ap\u00f3s participar de no hay citas disponibles.<\/em>, nos prop\u00f5e a dar continuidade a essa cena final para a exposi\u00e7\u00e3o no Arts Santa M\u00f3nica, em Barcelona, como um teatro de spin off<\/em>, ou de bonus track<\/em>.<\/p>\n

O texto abaixo, de Luana Raiter e Pedro Bennaton, \u00e9 um curto artigo sobre esse processo de cria\u00e7\u00e3o em colabora\u00e7\u00e3o entre ERRO Grupo e Roger Bernat:<\/p>\n

\"\"<\/a> Il\u00b7lustraci\u00f3: @biksakura, Revista Masala n\u00fam. 80, juny 2020.<\/span><\/p>\n

 <\/strong><\/p>\n

UN D\u00c9TOURNEMENT<\/em> PARA EL DESNONAMENT DE LA DESNONISSEA<\/em><\/strong><\/p>\n

De Pedro Bennaton y Luana Raiter (ERRO Grupo)<\/p>\n

La cuesti\u00f3n que suena desde mayo de 2021, \u00bfc\u00f3mo representar un desahucio?, es el gran problema y desaf\u00edo de la Desnonissea <\/em>(Roger Bernat y ERRO Grupo). Spin off de la escena final (o bonus track<\/em>) de no hay citas disponibles. (ERRO, 2020), una pieza que, como dijo Manuel Delgado, funcionaba como una pel\u00edcula sueca: aunque tuviera un final esperado y deseado, acababa en suspensi\u00f3n. Ahora la escena final gana vida propia por el impulso de un Dungeon Master<\/em> del teatro contempor\u00e1neo. Un director que, con decenas de dispositivos sencillos y ultra complejos a la vez, consigue poner al p\u00fablico a hacer teatro.<\/p>\n

En una de las presentaciones de no hay citas disponibles., una persona que pasaba por la calle durante la \u00faltima escena solicit\u00f3 un rol en el desahucio que se estaba a punto de representar. Esa persona fue designada para hacer de abogado de la inquilina. Los otros participantes, que hab\u00edan visto el espect\u00e1culo completo y entendido que no hab\u00eda nada que representar porque el espect\u00e1culo hab\u00eda acabado, dejaron al espont\u00e1neo espectador sin poder representar su rol. Frustrado, vino a pedirnos explicaciones por la ese abrupto final precisamente en el momento en el que \u00e9l hab\u00eda llegado, quej\u00e1ndose de no poder representar el papel que le hab\u00eda sido asignado. Lo mismo pens\u00f3 Roger Bernat, que estaba en el estreno de la obra y que nos sugiri\u00f3 llevar la \u00faltima escena m\u00e1s all\u00e1 y crear una \u201cconstelaci\u00f3n familiar\u201d del desahucio. Pero ERRO hab\u00eda resuelto ya representar la tragedia suspendi\u00e9ndola y dando fin al espect\u00e1culo. Entregar los diferentes roles que participan de un desahucio y, en ese preciso momento, abandonar al p\u00fablico a su destino. Dado que la pieza trataba de inmigraci\u00f3n y burocracia, el desahucio no pod\u00eda ser m\u00e1s que un bonus track<\/em> o anuncio de un nuevo cap\u00edtulo del drama representado.<\/p>\n

Esa \u00faltima escena de no hay citas disponibles. surge del art\u00edculo \u201cAnatom\u00eda de un Desahucio\u201d, publicado en la revista Masala en Junio del 2020. Al leerlo, bromeamos imaginando que se trataba de las instrucciones para realizar una obra de Roger Bernat. La cartograf\u00eda descrita por el equipo de Masala, con ilustraciones de @biksakura, invita a jugar \u2013o al menos a observar el desahucio\u2013 con una mirada m\u00e1s entrenada, o mejor, nos entrena a participar de la situaci\u00f3n con una pedagog\u00eda muy particular e incitativa. Unos meses m\u00e1s tarde, la broma revel\u00f3 estar llena de verdad, como todas las bromas. Bernat nos propone dar continuidad a la escena para la exposici\u00f3n en el Arts Santa M\u00f3nica. Uno de las mejores cosas que le ha ocurrido a ERRO es que alguien se tomara en serio una provocaci\u00f3n e intentara concretarla en una nueva obra. Bernat nos desaf\u00eda y se desaf\u00eda a pensar en c\u00f3mo representar un desahucio. En primer lugar nos propone una investigaci\u00f3n etnogr\u00e1fica con las personas que tienen funciones importantes en los desahucios y m\u00e1s tarde inicia junto con N\u00faria Mart\u00ednez-Vernis y Oriol Sauleda la redacci\u00f3n de un poema dram\u00e1tico que conduzca a los participantes en el camino de representar la tragedia.<\/p>\n

Los teatros tienen vacaciones, los museos tambi\u00e9n, pero el desahucio nunca se acaba en esta ciudad. Como el espect\u00e1culo del drama social, el desahucio es constante. Es el espect\u00e1culo m\u00e1s repetido que uno puede experimentar aqu\u00ed. Incluso en ciudades de las afueras, como Vilafranca, l\u2019Hospitalet o Sant Celoni, hay desahucios todos los d\u00edas. El desahucio es un drama que no acaba. Una performance en sesi\u00f3n continua que se traslada de una calle a otra, de un piso a otro, de una persona sin casa a otra. Cada nuevo desahucio se conecta con el pr\u00f3ximo y viene del anterior. Los desahucios involucran a la ciudad entera. Imaginamos que un desahucio se acaba cuando una vecina es lanzada a la calle, o cuando un vecino se suicida, o cuando la pe\u00f1a consigue pararlo. Pero un desahucio es lo que vivimos cada d\u00eda en la ciudad. Un desahucio continuado que atraviesa todos los desahucios.<\/p>\n

Arts Santa M\u00f3nica es un museo, no un teatro (aunque hoy en d\u00eda los teatros cada vez se parecen m\u00e1s a museos y los museos a teatros). En este museo ubicado en La Rambla, justo delante a las estatuas humanas y de los monumentos al teatro y Col\u00f3n, se plantea la posibilidad de representar un desahucio, y para ello dar las herramientas al p\u00fablico para convertirse en actores y actrices de este hom\u00e9rico viaje. Para ello se invita al p\u00fablico a encarnar las estatuas y, con sencillas poses, evocar el potencial dramat\u00fargico de la quietud. Trasladar al interior del museo la po\u00e9tica de las estatuas que hay a las puertas del museo y mostrar en el cuerpo de los visitantes las huellas de un drama, el del desahucio, que es una performance que todos llevamos largo tiempo aprendiendo.<\/p>\n

\u00bfPero c\u00f3mo formar al p\u00fablico? \u00bfC\u00f3mo actualizar lo que el visitante ya sabe para convertirlo en un drama estatuario, un drama de estatuas vivas? Rebeca Schneider nos recuerda en Performance Remains<\/em> (2001) que las estatuas son la performance de m\u00e1s larga duraci\u00f3n. Los monumentos a Col\u00f3n en las plazas p\u00fablicas de las ciudades espa\u00f1olas y latinoamericanas eternizan la performance de la colonizaci\u00f3n. La humanidad est\u00e1 hecha de un desplazamiento constante a partir de la invasi\u00f3n de quien tiene m\u00e1s poder en los espacios de quien tiene menos.<\/p>\n

La estatua es la continuaci\u00f3n de la performance del hecho hist\u00f3rico que permanece en el presente. Una performance eterna que act\u00faa en nuestra vida cotidiana. El cartel de \u201cpiso disponible\u201d es un desahucio que est\u00e1 ocurriendo, aunque parezca que ya haya acabado. Lo que plantea Schneider no es solamente que las estatuas contin\u00faan las performances pol\u00edticas y sociales del pasado, sino que las proyectan hacia el futuro y act\u00faan en el presente. Una estatua muestra un gesto que va m\u00e1s all\u00e1 del instante representado: ense\u00f1a tambi\u00e9n la posici\u00f3n en la que estaba antes y hacia la que se dirige despu\u00e9s.<\/p>\n

\u00bfC\u00f3mo se posicionan las estatuas en la Desnonissea<\/em>? Augusto Boal, en su Teatro del Oprimido (1973), propone como una de las categor\u00edas de su teatro, el Teatro Imagen. Este tipo de teatro social se hace para que las personas transformen en im\u00e1genes est\u00e1ticas las situaciones de opresi\u00f3n a las que est\u00e1n sometidas. A partir de un ritmo muy pausado, los participantes del Teatro Imagen crean im\u00e1genes clave de su pasado, presente y futuro.<\/p>\n

Hoy en d\u00eda, incluso un turista ser\u00eda capaz de mostrar el Teatro Imagen de un desahucio. Las im\u00e1genes del desnonament se han convertido en postales tan reconocibles de la ciudad como las que fueron selladas con el logotipo de la Marca Barcelona.<\/p>\n

Sin embargo, el Teatro Imagen es una de las categor\u00edas menos practicadas del Teatro del Oprimido. El Teatro F\u00f3rum, por ejemplo, tiene mucha m\u00e1s difusi\u00f3n, hasta el punto de que el Teatro Imagen es a veces considerado como un calentamiento para el Teatro F\u00f3rum. Aunque en las redes sociales practiquemos un cotidiano Teatro Imagen hecho a base de selfies<\/em> y likes<\/em> en las selfies <\/em>de otros, en una perpetua representaci\u00f3n est\u00e1tica de nuestra vida cotidiana.<\/p>\n

Desnonissea <\/em>da las herramientas necesarias para dotar de autonom\u00eda al visitante del museo para que pueda representar el poema \u00e9pico, la tragedia contempor\u00e1nea, la cruel postal de Barcelona que, sin embargo, es un drama que viene de antiguo y se proyecta, como las estatuas, en el futuro. Especialistas en direcci\u00f3n esc\u00e9nica, declamaci\u00f3n, mimo y Teatro Imagen, pero tambi\u00e9n personas que han vivido en primera persona el drama del desahucio, dirigen una acci\u00f3n que, de todos modos, llevamos aprendiendo desde hace siglos. Espa\u00f1a debe su riqueza al desahucio de la colonizaci\u00f3n. El sistema capitalista no deja de ser un mecanismo que funciona precisamente gracias al desahucio de poblaciones que son exterminadas u obligadas a migrar. Desnonissea<\/em> es la re-escenificaci\u00f3n de este sistema.<\/p>\n

(continuar\u00e1)<\/p>\n

 <\/p>\n

DESNONISSEA<\/em><\/strong><\/p>\n

EQUIP: Roger Bernat amb la col\u00b7laboraci\u00f3 d\u2019ERRO Grupo (Luana Raiter i Pedro Bennaton). Poema \u00e8pic de N\u00faria Mart\u00ednez-Vernis i Oriol Sauleda. Testimonis i indicacions de Walter San Joaqu\u00edn (mim i est\u00e0tua viva), entre d\u2019altres. Agra\u00efments: MNAC. Producci\u00f3: Arts Santa M\u00f2nica.<\/p>\n

 <\/p>\n

Sinopsis em https:\/\/rogerbernat.info\/en-gira\/desnonissea-2021\/<\/a>:<\/p>\n

La Desnonissea<\/em> \u00e9s un enc\u00e0rrec d\u2019Enric Puig, nou director de l\u2019Arts Santa M\u00f2nica de Barcelona que es podr\u00e0 veure entre el 23 de setembre i principis de gener del 2022.<\/p>\n

Aqu\u00ed l\u2019explicaci\u00f3 la descripci\u00f3 de la pe\u00e7a a principis d\u2019agost:<\/p>\n

1) A l\u2019entrada del claustre del Centre d\u2019Art Santa M\u00f2nica hi ha un camerino on el p\u00fablic \u00e9s convidat a emblanquinar-se la cara i les mans. En una altra taula, hi ha els llibrets amb el poema dram\u00e0tic de la N\u00faria Mart\u00ednez-Vernis i l\u2019Oriol Sauleda, que s\u2019ha de representar.<\/p>\n

2) Al claustre hi ha diferents peanyes que, pel seu tamany, s\u00f3n tamb\u00e9 escenaris a diferents nivells. A sobre de cadascun d\u2019aquest escenaris hi ha escultures d\u2019inspiraci\u00f3 cl\u00e0ssica i de tamany natural que representen: una fera portant entre les dents el cad\u00e0ver d\u2019un \u00e9sser hum\u00e0, una venus estirada sobre uns coixins, una mare protegint un nad\u00f3 i un gladiador.<\/p>\n

3) Entre les escultures tamb\u00e9 hi ha televisors on Walter San Joaqu\u00edn, president de la Rep\u00fablica de les Est\u00e0tues Humanes de La Rambla i d\u2019altres persones expliquen com representar els diferents personatges des dels seus particulars \u00e0mbits de saber.<\/p>\n

4) A part d\u2019escultures, escenaris i videos, davant de cada escenari hi ha un faristol que indica quins personatges han d\u2019ocupar cada escenari. Aix\u00ed el p\u00fablic emblanquinat, acompanya les escultures sobre les diferents peanyes i representa el drama com si fossin est\u00e0tues humanes.<\/p>\n

El p\u00fablic que ve a representar el drama pot fer-ho despr\u00e9s d\u2019haver vist l\u2019exposici\u00f3, despr\u00e9s d\u2019haver-se descarregat el text al web del museu o sense haver-se preparat gens ni mica.<\/p>\n

 <\/p>\n

(English)<\/p>\n

A <\/strong>D\u00c9TOURNEMENT<\/strong><\/em> FOR THE <\/strong>DESNONAMENT<\/strong><\/em> OF THE <\/strong>DESNONISSEA<\/strong><\/em>.<\/strong><\/p>\n

By Pedro Bennaton and Luana Raiter (ERRO Grupo)<\/p>\n

The question that has been ringing since May 2021 \u201chow to represent an eviction?\u201d is the great problem and challenge of the Desnonissea<\/strong><\/em> (Roger Bernat and ERRO Grupo). Desnonissea<\/strong> is a spin-off of the final scene (or bonus track) of no hay citas disponibles. <\/strong><\/em>(ERRO, 2020), a piece that, as Manuel Delgado<\/strong> said, worked like a Swedish film: although it had an expected and desired ending, it ended in suspension. Now the final scene gains a life of its own by the impulse of a Dungeon Master of contemporary theater. A director who, with dozens of simple and ultra-complex devices at the same time, manages to get the audience to act.<\/p>\n

In one of the performances of no hay citas disponibles.<\/em><\/strong>, a person passing by on the street during the last scene requested a role in the eviction that was about to be staged. That person was designated to play the tenant\u2019s lawyer. The other participants, who had seen the whole performance and understood that there was nothing to play because the show was over, left the spontaneous spectator unable to play his role. Frustrated, he questioned us about this abrupt end precisely at the moment when he had arrived and thought things would start, complaining about not being able to play the role that had been assigned to him. Roger Bernat<\/strong>, who was at the premiere of the play, thought the same thing and suggested that we take the last scene further and create a \u201cfamily constellation\u201d of the eviction. However, ERRO<\/strong> had already decided to represent the tragedy by suspending it and ending the show. Delivering the different roles involved in an eviction and, at that precise moment, abandoning the audience to their fate. Since the piece was about immigration and bureaucracy, the eviction could only be a bonus track or an announcement of a new chapter of the represented drama.<\/p>\n

That last scene of no hay citas<\/em><\/strong>\u2026 was created from the article \u201cAnatom\u00eda de un Desahucio\u201d (Anatomy of an Eviction),<\/strong> published in the Revista Masala in June 2020. When we read it, we jokingly imagined that it was the instructions to perform a Roger Bernat<\/strong>\u2019s play. The cartography described by the Masala team, with illustrations by @biksakura<\/strong>, invites us to play \u2013 or at least to observe the eviction \u2013 with a more trained eye, or better, it trains us to participate in the situation with a very particular and inciting pedagogy. A few months later, the joke revealed to be full of truth, like all jokes. Roger Bernat<\/strong> proposes us to think further the possibilities of that situation, for the exhibition at the Arts Santa Monica<\/strong>. One of the best things that ever happened to ERRO<\/strong> is that someone took a provocation seriously and tried to turn it into a new work. Bernat challenges us and challenges himself to think about how to represent an eviction. First, he proposes an ethnographic research with the people who have important roles in the evictions and later he initiates with N\u00faria Mart\u00ednez-Vernis<\/strong> and Oriol Sauleda<\/strong> the writing of a dramatic poem that leads the participants on the way to represent the tragedy.<\/p>\n

Theaters close for vacations, museums too, but the eviction never ends in this city. As the spectacle of social drama, the evictions are frequent, constant. It is the most repeated spectacle one can experience here. Even in suburban towns like Vilafranca<\/strong>, l\u2019Hospitalet<\/strong> or Sant Celoni<\/strong>, there are evictions every day. The eviction is a drama that never ends. A performance in looping that moves from one street to another, from one apartment to another, from one homeless person to another. Each new eviction connects with the next and comes from the previous one. Evictions involve the whole city. We imagine that an eviction is over when a neighbor is thrown into the street, or when a neighbor commits suicide, or when people manage to stop it. Nevertheless, an eviction is what we experience every day in the city. A continuous eviction that crosses all evictions.<\/p>\n

Arts Santa Monica<\/strong> is a museum, not a theater (although nowadays theaters increasingly resemble museums and museums resemble theaters). In this museum located on La Rambla<\/strong>, just in front of the human statues and the monuments to the theater and Columbus<\/strong>, the possibility of representing an eviction is proposed, and to do so, give the audience the tools to become actors of this Homeric journey. The audience is invited to embody the statues and, with simple poses, evoke the dramaturgical potential of stillness. Transferring the poetics of the statues at the museum\u2019s doors to the interior of the museum and showing on the visitors\u2019 bodies the traces of a drama, that of eviction, which is a performance that we have all been learning for a long time.<\/p>\n

However, how to educate the public, how to update what the visitor already knows and turn it into a drama of statues, a drama of living statues? Rebecca Schneider<\/strong> reminds us in Performance Remains<\/em><\/strong> (2001) that statues are the longest lasting performance. The monuments to Columbus<\/strong> in the public squares of Spanish and Latin American cities eternalize the performance of colonization. Humanity is made of a constant displacement from the invasion of those who have more power in the spaces of those who have less.<\/p>\n

The statue is the continuation of the performance of the historical fact that remains in the present. An eternal performance that acts in our daily life. The \u201capartment available\u201d sign is an eviction that is happening, even if it seems to be over. Schneider\u2019s<\/strong> point is not only that statues continue the political and social performances of the past, but that they project them into the future and reenact in the present. A statue shows a gesture that goes beyond the instant represented: it also shows the position in which it was before and towards which it is heading afterwards.<\/p>\n

How are the statues positioned in the Desnonissea<\/em><\/strong>? Augusto Boal<\/strong>, in his Theater of the Oppressed<\/strong> (1973), proposes as one of the categories of his theater, the Image Theater. This type of social theater is made for people to transform into static images the situations of oppression to which they are subjected. In a very slow rhythm, the participants of Image Theater create key images of their past, present and future.<\/p>\n

Today, even a tourist would be able to show an Image Theater of an eviction. The images of the desnonament<\/em> have become as recognizable postcards of the city as those that were stamped with the Barcelona Brand logo.<\/p>\n

However, Image Theater<\/strong> is one of the least practiced categories of Theater of the Oppressed<\/strong>. The Forum Theater, for example, has much more diffusion, to the point that the Image Theater is sometimes considered a warm-up for the Forum Theater. Although in social networks, we practice a daily Image Theater <\/strong>based on selfies and likes on the selfies of others, in a perpetual static representation of our daily life.<\/p>\n

Desnonissea<\/em><\/strong> gives the necessary tools to give autonomy to the museum`s visitors so that they can represent the epic poem, the contemporary tragedy, the cruel postcard of Barcelona<\/strong> that, however, is a drama that comes from ancient times and is projected, like the statues, in the future. Specialists in stage direction, declamation, mime and Image Theater, but also people who have lived in first person the drama of eviction, help to direct the public to this action that, definitely, we have been learning for centuries. Spain owes its wealth to the eviction of colonization. The capitalist system is a mechanism that works precisely thanks to the eviction of populations that are exterminated or forced to migrate. Desnonissea<\/em><\/strong> is the reenactment of this system.<\/p>\n

(To be continued)<\/p>\n

 <\/p>\n

Desnonissea is a commission by Enric Puig, new director of the Arts Santa M\u00f2nica in Barcelona that can be seen between September 23 and the beginning of January 2022.<\/p>\n

Here is the description of the piece at the beginning of August:<\/p>\n

1) At the entrance of the cloister of the Centre d\u2019Art Santa M\u00f2nica there is a dressing room where the public is invited to paint in white their faces and hands. In another table, there are copies of the dramatic poem to be performed, by N\u00faria Mart\u00ednez-Vernis and Oriol Sauleda.<\/p>\n

2) In the cloister, there are different pedestals that, due to their size, are also stages at different levels. On top of each of these, there are sculptures of classical inspiration and natural size representing: a beast carrying in its teeth the corpse of a human being, a venus stretched on a cushion, a mother protecting a newborn baby and a gladiator.<\/p>\n

3) Among the sculptures, there are also televisions, where people such as Walter San Joaqu\u00edn, president of the Republic of Human Statues of La Rambla, among others, explain how to represent the different characters from their particular fields of knowledge.<\/p>\n

4) In addition to sculptures, stages and videos, in front of each stage there is a sign indicating which characters are to occupy each stage. In this way, the public dressed in white accompany the sculptures on the different pedestals and represents the drama as if they were human statues.<\/p>\n

The public that comes to represent the drama can do so after having seen the exhibition, after having downloaded the text from the museum\u2019s website or without any preparation at all to do the performance.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

DESNONISSEA estreia no dia 23\/09\/21 e fica em cartaz at\u00e9 janeiro de 2022 no Arts Santa M\u00f3nica em Barcelona. O texto a seguir descreve esse processo de cria\u00e7\u00e3o em colabora\u00e7\u00e3o entre ERRO Grupo e Roger Bernat. <\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[45,5,7],"tags":[],"class_list":["post-4258","post","type-post","status-publish","format-standard","hentry","category-apresentacoes","category-noticias","category-obras"],"_links":{"self":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/4258","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\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/comments?post=4258"}],"version-history":[{"count":10,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/4258\/revisions"}],"predecessor-version":[{"id":4271,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/posts\/4258\/revisions\/4271"}],"wp:attachment":[{"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/media?parent=4258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/categories?post=4258"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.errogrupo.com.br\/v4\/pt\/wp-json\/wp\/v2\/tags?post=4258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}