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When he began to dance with me, I could have danced, danced, danced.

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To present the story of The Three Little Pigs.

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Music, please.

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This is the story of The Three Little Pigs.

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One, two, three little pigs.

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The Three Little Pigs all live together with their father and their mother.

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One, two, three little pigs

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All together, all together

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All together with their father and their mother

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One little, two little, three little pigs

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One, two, three little pigs

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One morning, mother and father pig

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Called her three sons and said

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Boys, boys, where are you?

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Yes, mother

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Listen to me, listen to what I have to say

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Yes, Mother Tia, we are listening

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You know that your mother loves you very much

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Yes, Mother Tia, we know that

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But now it is time for you to leave home

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And go out into the world alone

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Leave home, leave home, go out alone and leave home, leave home, leave home, go into the world alone.

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You're not babies anymore.

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That's right.

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Every seat I know, I hope you're ready for the war.

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We are, Father dear, we are.

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And I hope that the world is ready for you.

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Remember what I said about the wolf

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There was

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What I said about the wolf

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We will

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Let a wolf in your door

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Listen to your mama, listen to your mama

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Goodbye, goodbye my darling songs

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Don't cry mother dear

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Don't cry father dear

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Let's go sisters

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Goodbye

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Remember my words

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Watch out for the wolves

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Never let a wolf in your door

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Listen to your mama

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to the Gonzalo de Berceo school of Madrid for this great performance and for having won

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el primer premio de teatro en inglés en la categoría de educación primaria. Viceconsejera

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de Educación, Juventud y Deportes, Director General de Mejora de la Calidad de la Enseñanza

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y demás autoridades de la Consejería de Educación, Juventud y Deportes. Alumnos,

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familias, profesores, les damos la bienvenida a este acto conjunto de clausura de la vigésimo

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second edition of the School Theatre Certificate and second edition of the Oratory Competition

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in English of the Comunidad de Madrid.

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From here we want to thank the effort, the illusion, the creativity and generosity of

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all of you who have collaborated in all possible ways in any of these

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English Theatre and Oratory Certificates.

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Throughout all our visits to the centers, we have been able to appreciate that both

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Our students, teachers and other staff who are part of the educational community,

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offer their time in a disinterested way so that our students can enjoy other artistic and academic disciplines.

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This formative complement, we think, is directly reflected in our students,

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offering them a cooperative learning that stimulates their creativity, security and confidence.

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aspects that, from an art such as theatre or a discipline such as oratory, are worked on directly and rigorously.

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Thank you very much again for your dedication and dedication.

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Just like last year, we will divide the closing act into two parts.

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In the first, we will be able to see a broad sample of theatre and oratory performances in English,

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that have been selected with the aim that all those present here

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can share the creativity, talent and artistic sensitivity

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with which our students and teachers carry out their work.

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In a second part, we will deliver awards and honorary mentions

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to centers, teachers and students.

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Finally, we ask for a strong applause for all of you

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for all those faces, not visible, but present today.

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A big round of applause, please.

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Next, we welcome Doña Alicia de Líbez Liniers,

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Vice-Counselor of Education, Youth and Sports,

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who will give us a few words.

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Please, Doña Alicia.

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Good afternoon, ladies and gentlemen, dear friends.

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It is a great pleasure for me to be here today,

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in this Act of the Royal School of Dramatic Art,

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to preside over the closing act of the 22nd School Theater Certificate of the Community of Madrid.

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First of all, I want to thank the director of this center, Don Rafael Ruiz, for giving us this magnificent stage.

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In this new edition of the Theater Certificate, 57 centers have participated,

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among which there are concerted schools, public schools and institutes.

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To all of them, my most affectionate congratulations.

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From the Ministry of Education, we have been promoting the participation of schools and institutes in those artistic, cultural and sports activities that do not take place in the lesson time,

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but that we consider fundamental both for the development of the personality of children and adolescents and for the improvement of school coexistence.

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We believe that participation in a theater group, in a choir or in a sports team requires the student the discipline and the necessary effort to put the best of himself in the hands of a common good and, for this reason, contributes to the promotion of the sense of responsibility and the spirit of collaboration between our students.

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That is why each school course we take care not only of this competition, but also the chorus competition, the oratory competition, the narrative and poetry competition, the school sports championships or the chess tournament.

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The theater allows to develop the memory, the oral expression and the oral talent of children and young people.

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It is endearing to see children express themselves in a language that is not theirs, with the solitude and ease with which they usually do it.

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As for teenagers, often so jealous when it comes to showing their feelings, you will see how they are able to completely undress when they are protected by the disguise of the character they represent.

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Throughout the last ten years, more and more schools and institutes have been encouraged not only to form a theater group, but also to participate in this competition.

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A competition in which we have been incorporating modalities as we were implementing some programs aimed at improving the quality of teaching in our community.

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Thus, in the year 2004-2005, there was a theatre in English for primary school and since then there has always been that modality.

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We also introduced in 2011-2012 the modality of English in secondary school,

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since children were already finishing their primary school and started secondary school in institutes or in their schools.

94
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And finally, we also introduced that year the theatre of the Golden Age for secondary school.

95
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I must say that for this last model the collaboration of this School of Dramatic Arts has been essential,

96
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because they have trained teachers and also our students.

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The awarded groups in each model will represent this afternoon here a small sample of their work.

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From here, my most cordial congratulations to all of them.

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But I would also like them to take into account that all the centers that have participated in this competition

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they have had to make a representation of their work

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in front of the specialists that make up the jury.

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And for this, they have had to choose the work,

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distribute the characters,

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ideate and make the editing,

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take care of the costumes, the lights, the decorations,

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and then dedicate many hours during the trial course.

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A job that the students could hardly have done without their teachers.

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That is why my congratulations and thanks to the directors, teachers,

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and perhaps also to the parents who have directed and helped these almost 1,000 students who have participated in this contest.

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And without further ado, I wish you to really enjoy this new summer.

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Well, next we will be able to see the Infanta Leonor de Madrid School,

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which will show us a small fragment of its collective creation of specials.

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A big round of applause for all of them.

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And I think I'm special because I want the democracy for all the world around.

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Or that says my mom.

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Hello, my name is Andrea and I think I'm special because...

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I don't know.

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Hello, I'm Guillermo, and I think that I'm special because I like the size of the world, but it's strange.

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I think I'm special because I like to do silly things.

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Hello, I'm Amalia, and I'm 15, and I think I'm special because my dad said that I'm always like a monkey.

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I am Carmen and I am special because I think that the world is a place where people are crazy like me.

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Crazy, crazy, crazy!

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Hello, hello everyone!

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I'm very concerned because it turns out that we have gases making a hole in the ozone layer.

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And I'm very angry with all the gases, aren't you?

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Yes, if you're such an environmentalist, why have you thrown this use box?

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Who? Me?

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Yes, you.

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Super!

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Have you got in that bag?

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But this bag is empty!

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No, lady, it's full!

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Of course, it's full of air!

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Yes, but this...

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Air is at first on TV!

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Heroes!

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Who is your favorite superhero?

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Superman, because he's from the planet Krypton and also flies.

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and yours?

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Mine is my mother.

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Your mother?

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Models.

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What's wrong?

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Smile!

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Smile?

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I will never be a dog mom.

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She's crazy.

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Well, I don't see any us.

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Fighters.

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To achieve peace in the world

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But

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Peace

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Post

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I say no

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Yes

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No

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Yes

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No

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Yes

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Should I profit you?

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Of course

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Let's vote

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Another vote

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Today is gonna be the day that they're gonna throw it back to you

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By now you should have somehow realized what you gotta do

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But it feels the way I do about you now

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Backbeat, the word was on the street that the fire in your heart is out

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I'm sure you've heard it all before but you never really had it out

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I don't believe that anybody feels the way I do about you now

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Congratulations to the Infanta Leonor School for this wonderful performance.

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Next, we give way to the first three awards of the Theater Certamen in the Spanish Modality.

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This modality aims, as you know, at the recovery of the extraordinary tradition of our theater in verse of the Golden Age.

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The awarded centers will act one after the other, without interruptions.

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The first performance will be performed by the Rayuela de Móstoles Institute,

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which will be performed by Marta La Piadosa, from Tirso de Molina,

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for which she has obtained the third prize in this mode.

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In this scene, both Marta and her sister Lucia fall in love with the man who killed their brother.

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We are at the beginning of the work, at the moment when each sister discovers, or at least intuits, the feelings of the other.

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We are going to attend to the attempt to hide those feelings and the tense dialogue in which both cross the limits of fiction.

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The second performance will be performed by the Antonio Machado Institute of Alcalá de Henares,

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Por no hay burlas con el amor, de Calderón de la Barca,

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que ha obtenido el segundo premio.

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La escena que veremos es una divertida comedia de enredo.

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Beatriz, que vive entre libros y reniega de los hombres,

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se está lamentando de la incultura de su criada Inés,

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cuando aparece su hermana Leonor.

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Beatriz ha descubierto que el enamorado de su hermana

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acude por las noches a visitarla,

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Despite the fact that Leonor defends her honesty, Beatriz does not give in to her requests and leaves,

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determined to tell her sister before her father.

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Then comes Moscatel, the funny boy in love with Inés, who brings a letter from a gallant for Leonor.

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And finally, we will see the first class, the first prize of this mode of theater in Spanish,

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the Instituto San Mateo de Madrid, which will play a scene of the Devotion of the Cross, by Calderón de la Barca.

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Julia and Eusebio, who do not know that they are brothers, have married in secret.

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When his father discovers it, he locks Julia in a convent.

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But Eusebio, blinded by passion, breaks the laws of closure, willing to take her by force.

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Calderón addressed in his drama of the Devotion of the Cross the violence against women,

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a universal theme that continues to exist in our contemporary world.

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Now yes, from here we wish you good luck and a strong applause for them.

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El tardo buey atado a la coyunda, la noche espera y la cerviz levanta, y el que tiene el cuchillo a la garganta, en alguna esperanza el vivir funda, espera la bonanza aunque se hunda la nave, a quien el mar bate y quebranta.

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Sólo el infierno causa pena tanta porque de él la esperanza no redunda.

202
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Es común este bien a los mortales, pues quien más ha alcanzado más espera,

203
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y a veces el que espera al fin alcanza.

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Mas a mí la esperanza de mis males de tal modo me aflige y desespera

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que no puedo esperar ni aun esperanza.

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Que no puedo esperar ni a una esperanza

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Me dice la fortuna aunque inconstante

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Lloro un hermano muerto

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Y un amante de su vida omitida

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Y mi confianza

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Esperar vida o muerto, ¿quién lo alcanza?

212
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Esperar que en la ausencia sea constante amor es esperanza de ignorante que es huésped de la ausencia, la mudanza.

213
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Al homicida de mi hermano adoro, ven si se ecuala a mi tormento alguno, pues amo, aborreciendo juntamente.

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Two dead, although one lives.

215
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I cry that if the absence is death, everything is one.

216
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A dead brother and an absent lover.

217
00:24:02,160 --> 00:24:06,160
Who gives matter to your complaints that so many ways,

218
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without seeing that fear knows how to put to the walls ears?

219
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And for whom yours are?

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Que de escuchar tus patigas A llorar las mías me obligas

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Hermana, a tu imitación Falta me causa

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Es en vano la pena que me ha afligido No he de llorar si he perdido todo el bien

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Con una hermana Pues salgo del cuarto grado

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De ese parentesco yo O acaso no se murió para mí

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Que te ha pesado de que le llore mal muerto Cuando bien le quise vivo

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What a different reason, from weeping to your disconcert.

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Everything, sister, is enough for me.

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They do not give your eyes tribute to the dead, nor are they tears of mourning with hope,

229
00:24:54,759 --> 00:24:58,759
because they themselves publish, no matter how much you have covered it,

230
00:24:58,759 --> 00:25:02,160
that bending for a dead, for another alive they repique.

231
00:25:02,160 --> 00:25:04,759
I know who the weeping is for.

232
00:25:04,759 --> 00:25:09,759
And as the thief believes they are of his condition, you believe it too.

233
00:25:09,759 --> 00:25:15,759
I'm not scared that you imagine nonsense that has so much going on in you.

234
00:25:15,759 --> 00:25:19,759
I thought you were so silly, no matter how much you try to cover yourself,

235
00:25:19,759 --> 00:25:23,759
that you never show what Don Felipe wants.

236
00:25:23,759 --> 00:25:27,759
We are always women, if you want to know,

237
00:25:27,759 --> 00:25:30,759
much longer than men.

238
00:25:30,759 --> 00:25:33,759
We penetrate souls when we look,

239
00:25:33,759 --> 00:25:35,700
sin que el cuerpo lo resista.

240
00:25:37,079 --> 00:25:39,539
A Eva crió después Dios que Adán,

241
00:25:40,180 --> 00:25:43,259
y aunque postrera fue en ver la fruta primera

242
00:25:43,259 --> 00:25:45,480
de tan costoso interés.

243
00:25:46,220 --> 00:25:48,279
No pienses, Doña Lucía,

244
00:25:48,900 --> 00:25:50,640
que has de poder esconder tu amor,

245
00:25:51,099 --> 00:25:53,480
porque soy mujer y veo mucho.

246
00:25:53,740 --> 00:25:57,460
Hermana mía, ¿tienesme por hombre a mí

247
00:25:57,460 --> 00:25:59,980
o miro con cataratas

248
00:25:59,980 --> 00:26:03,660
que por lince te retratas y a mí por topo?

249
00:26:03,759 --> 00:26:12,759
If it seems to you that you penetrate hearts, I also believe that my eyes see the most hidden letters.

250
00:26:12,759 --> 00:26:19,759
Do not blame your sister for the dead, for it is only this actor, Don Felipe, the killer of that cry.

251
00:26:19,759 --> 00:26:25,759
Well, by the way, then I never wanted Don Felipe, Jesus, to want ...

252
00:26:25,759 --> 00:26:27,759
You are beautiful.

253
00:26:27,759 --> 00:26:31,759
You have adored her more than the bulldozer of Las Quintas.

254
00:26:31,759 --> 00:26:33,759
Isn't that clear?

255
00:26:33,759 --> 00:26:36,759
You are the woman that no one had to love.

256
00:26:36,759 --> 00:26:39,759
You are not flesh and blood.

257
00:26:39,759 --> 00:26:42,759
At least it was an affront that I will love,

258
00:26:42,759 --> 00:26:44,759
to whom you are loved.

259
00:26:44,759 --> 00:26:45,759
How so?

260
00:26:45,759 --> 00:26:48,759
Because he is not a man of account in whom you put your eyes.

261
00:26:48,759 --> 00:26:52,759
And when he has courage, just because you love her, you lose him.

262
00:26:52,759 --> 00:26:54,759
A thousand reasons are left over you.

263
00:26:54,759 --> 00:27:09,579
Y en conclusión, ya sabes lo que perdiera si elección de amor hiciera de quien tú haces elección, porque dijeran de mí, teniéndote, a un quien te precia y sirve, por fría inercia que me parecía a ti.

264
00:27:10,519 --> 00:27:21,799
Soy yo la misma frialdad, y eres tú el mismo calor. Andan perdidos de amor los hombres por tu beldad.

265
00:27:21,799 --> 00:27:33,039
Eres un sol en el talle, y hazle parecido en todo, de tal suerte que del modo, que ninguno os amiralle, porque ciega el resplandor que viste en sus rayos rojos.

266
00:27:33,039 --> 00:27:38,210
I lied to your eyes because you are blind to love.

267
00:27:38,769 --> 00:27:43,990
And so, although you embrace and admire your beauty in a thousand ways,

268
00:27:44,630 --> 00:27:50,490
like the sun, everyone praises you, but no one looks at you

269
00:27:50,490 --> 00:27:53,509
because no one even now makes you serve.

270
00:27:54,650 --> 00:28:00,809
I, who neither burn nor embrace, nor am I sun, nor am I aurora,

271
00:28:00,809 --> 00:28:02,869
De tu discreción me río

272
00:28:02,869 --> 00:28:06,309
Pues con ser menos perfecta

273
00:28:06,309 --> 00:28:09,109
No tan hermosa y discreta

274
00:28:09,109 --> 00:28:11,470
Por más que hielo y en frío

275
00:28:11,470 --> 00:28:13,309
Tengo muchos pretendientes

276
00:28:13,309 --> 00:28:16,250
Que a pesar de tu beldad

277
00:28:16,250 --> 00:28:18,390
Estima más mi frialdad

278
00:28:18,390 --> 00:28:20,509
Que no tus rayos ardientes

279
00:28:20,509 --> 00:28:22,450
Serán amantes felpados

280
00:28:22,450 --> 00:28:24,410
De estos rubios moscateles

281
00:28:24,410 --> 00:28:26,210
Que para que no los hieles

282
00:28:26,210 --> 00:28:28,230
Irán a verte forrados

283
00:28:28,230 --> 00:28:29,809
Porque como cada día

284
00:28:29,809 --> 00:28:33,809
The skies are shivering, and the ice is falling.

285
00:28:33,809 --> 00:28:35,809
They'll estimate it to be cold.

286
00:28:35,809 --> 00:28:37,809
But what do you say?

287
00:28:37,809 --> 00:28:41,809
That also Don Felipe adored you, and with your snow he tempered his fire.

288
00:28:41,809 --> 00:28:43,809
He loved you well.

289
00:28:43,809 --> 00:28:45,809
That's how I would love him.

290
00:28:45,809 --> 00:28:47,809
You don't love him.

291
00:28:47,809 --> 00:28:53,809
And it's fair to waste time and pleasure with someone you know who killed my brother.

292
00:28:53,809 --> 00:28:57,809
Before that, I wish that justice punishes its cruelty,

293
00:28:57,809 --> 00:29:01,809
because it mitigates the grief that I never think

294
00:29:01,809 --> 00:29:04,809
has to end in me.

295
00:29:04,809 --> 00:30:11,220
What do you command?

296
00:30:11,220 --> 00:30:14,220
That you abstract from my liberal right

297
00:30:14,220 --> 00:30:18,220
this crystal spell and bring the kiosks.

298
00:30:18,220 --> 00:30:20,220
What are kiosks?

299
00:30:20,220 --> 00:30:22,220
What? The gloves?

300
00:30:22,220 --> 00:30:25,220
That I must speak by force in pro sepulchre?

301
00:30:25,220 --> 00:30:27,220
I'll open them again. They're already here.

302
00:30:27,220 --> 00:30:31,809
Quanto lidio con la ignoran...

303
00:30:31,809 --> 00:30:33,529
Hola, Inés.

304
00:30:33,910 --> 00:30:34,710
Señora.

305
00:30:35,410 --> 00:30:36,029
Fray.

306
00:30:36,569 --> 00:30:38,769
De mi biblioteca a Ovidio.

307
00:30:39,349 --> 00:30:41,170
No el metamorfosis, no.

308
00:30:41,710 --> 00:30:43,730
Ni el arsamandi pedí.

309
00:30:44,109 --> 00:30:45,250
El remedio morisi.

310
00:30:45,869 --> 00:30:48,640
Que se le...

311
00:30:48,640 --> 00:30:52,039
Pues cómo he de encontrar libros si es que eso me has pedido.

312
00:30:52,339 --> 00:30:55,359
Si aún el cartel no he sabido de una comedia leer.

313
00:30:55,720 --> 00:30:58,039
Oscura, idiota, ilegal.

314
00:30:58,039 --> 00:31:00,099
No temedra cada día.

315
00:31:00,099 --> 00:31:02,180
La concomitancia mía.

316
00:31:03,240 --> 00:31:04,539
Ahora mi papel llega.

317
00:31:05,940 --> 00:31:07,839
Hermana, ¿quién me habla así?

318
00:31:07,940 --> 00:31:10,059
Tienes tus pies sobre dientes y bien arrojarte.

319
00:31:10,240 --> 00:31:12,240
Detente, no te apropie un cuece a mí.

320
00:31:13,000 --> 00:31:16,960
¿Que empañarás el candor de mi castísimo bulto

321
00:31:16,960 --> 00:31:20,599
y profanarás el culto de las aras de mi honor?

322
00:31:22,119 --> 00:31:26,140
Porque mujer que fío del caos de la sombra fría

323
00:31:26,140 --> 00:31:31,140
And in the discredit of the day I do not accept love.

324
00:31:31,140 --> 00:31:34,140
I do not look, I get acceptance,

325
00:31:34,140 --> 00:31:36,140
I pretend to be a profane voice,

326
00:31:36,140 --> 00:31:39,140
Well, Bebora will be human,

327
00:31:39,140 --> 00:31:42,140
That with her effusion I breathe.

328
00:31:44,140 --> 00:31:47,140
Beatriz, discreet and beautiful,

329
00:31:47,140 --> 00:31:48,140
You are my sister.

330
00:31:48,140 --> 00:31:49,140
Not that.

331
00:31:49,140 --> 00:31:52,140
What can I have, lividinous sister?

332
00:31:52,140 --> 00:31:54,140
What is lividinous, sister?

333
00:31:54,140 --> 00:32:13,470
Que al farol trébulo, mi rey del sol, os abrir una ventana, y susurrando por ella voz media y labio entero, da que decir a un lucero, da que callar a una estrella.

334
00:32:14,410 --> 00:32:21,289
Pero yo, minora del escándalo que has hecho, diciendo al paterno pecho, sacrilegios de tu fe.

335
00:32:21,289 --> 00:32:24,450
Un devoto anoche vi...

336
00:32:24,450 --> 00:32:25,230
¿Y conocístele?

337
00:32:25,609 --> 00:32:25,930
¡No!

338
00:32:26,589 --> 00:32:27,509
¡Ni pudo ser!

339
00:32:27,630 --> 00:32:28,109
¿Por qué yo?

340
00:32:28,589 --> 00:32:29,910
¿Qué másculo conocí?

341
00:32:29,950 --> 00:32:32,490
Pues yo te quiero decir quién era y con el intento que me habló.

342
00:32:32,930 --> 00:32:33,890
¡Qué atrevimiento!

343
00:32:34,309 --> 00:32:35,529
¿Tal insulto había de él?

344
00:32:35,569 --> 00:32:41,500
Pues a las quimeras.

345
00:32:41,819 --> 00:32:45,019
Te persuadas a que ha sido livianad lo que honor fue.

346
00:32:45,160 --> 00:32:45,640
¡Honor!

347
00:32:45,839 --> 00:32:46,279
¡Oye!

348
00:32:46,579 --> 00:32:48,359
No daré directo a tu voz mi oído.

349
00:32:48,460 --> 00:32:49,460
Pues directo no directo.

350
00:32:49,579 --> 00:32:50,579
Todo ha de escucharlo ya.

351
00:32:50,720 --> 00:32:51,619
Oído por fuera.

352
00:32:51,759 --> 00:32:53,259
Será clandestino tu secreto.

353
00:32:53,480 --> 00:32:55,200
Y no puedo ahorrarte mucho comentar.

354
00:32:55,200 --> 00:32:55,880
Si hablo no estoy.

355
00:32:55,880 --> 00:32:58,980
Aspiza el cojoneso y no lo escucho, no lo escucho.

356
00:32:59,000 --> 00:32:59,359
¡Oye!

357
00:33:01,259 --> 00:33:01,819
¡Más!

358
00:33:02,259 --> 00:33:03,119
¿Quién ha entrado?

359
00:33:03,599 --> 00:33:03,920
¡Oh!

360
00:33:04,940 --> 00:33:06,079
A mi señor Buscara.

361
00:33:06,900 --> 00:33:07,619
Mira quién es.

362
00:33:08,119 --> 00:33:10,680
Mientras domine su dicha y mi cuidado, siguiendo una fiera.

363
00:33:13,079 --> 00:33:19,180
Amor, qué cobarde eres conmigo, pues aún no valen contigo las leyes de embajadores.

364
00:33:19,400 --> 00:33:23,599
Es posible que has tenido, Moscate, el atrevimiento de entrar hasta este aposento.

365
00:33:23,599 --> 00:33:26,420
Without knowing what has moved me to have entered here,

366
00:33:26,420 --> 00:33:27,740
rigors anticipated...

367
00:33:27,740 --> 00:33:28,940
Well, not until I have entered!

368
00:33:28,940 --> 00:33:30,940
Yes... and no?

369
00:33:30,940 --> 00:33:32,579
Well, how no? And yes?

370
00:33:32,579 --> 00:33:35,759
No, well, you do not know what? Yes, well, you will be angry.

371
00:33:35,759 --> 00:33:39,400
No, well, but you will know this. Yes, well, I'll tell you later.

372
00:33:39,400 --> 00:33:43,059
And although I could have come from your beauty called,

373
00:33:43,059 --> 00:33:46,240
brought from my care and distracted by yours,

374
00:33:46,240 --> 00:33:48,240
to give you this paper I come,

375
00:33:48,240 --> 00:33:51,160
that Don Juan sends me, and to whom my care trusts,

376
00:33:51,160 --> 00:33:53,160
what Eleonor says in it.

377
00:33:53,160 --> 00:33:58,160
That for not being known by his own child, I sent myself with the paper.

378
00:34:00,160 --> 00:34:04,160
If the cause has not been to know of my pain, to know of my severe evil,

379
00:34:04,160 --> 00:34:08,159
that the one who does not know of love is not a good third party.

380
00:34:09,159 --> 00:34:10,159
Ah!

381
00:34:10,159 --> 00:34:13,159
Then tell me that you gave me the paper, and that I will give it to Leonor, and go away,

382
00:34:13,159 --> 00:34:16,159
because you are fearful of me and sad that I see you.

383
00:34:16,159 --> 00:34:17,159
I will go.

384
00:34:17,159 --> 00:34:22,159
That although I adore your presence, I will observe the laws of your constant obedience.

385
00:34:22,159 --> 00:34:28,119
That at the price of his rigor I will buy my contempt, and at the cost of your deviation, I will deserve your favor.

386
00:34:28,719 --> 00:34:32,360
I could well answer you that I have not been as ungrateful as I would have seemed to you,

387
00:34:32,719 --> 00:34:36,460
but I am lucky to have the fear of seeing you here, that I leave the answer for later.

388
00:34:36,900 --> 00:34:39,599
Go away, you...

389
00:34:39,599 --> 00:34:41,639
Oh, my God, my Lord, go up the stairs.

390
00:34:43,079 --> 00:34:44,780
Here I do not have to find you, come with me.

391
00:35:44,929 --> 00:35:51,130
Planes, nueva casa, ella es la reina, ella es el ama, ella le ama, ella le aguanta

392
00:35:51,130 --> 00:35:52,949
Quizás no deberías beber tanto

393
00:35:52,949 --> 00:35:54,869
¿Me estás llamando borracho?

394
00:35:55,010 --> 00:35:55,610
No, no, claro

395
00:35:55,610 --> 00:35:58,070
Pues cállate mujer, que yo sé bien lo que hago

396
00:35:58,070 --> 00:36:00,949
Anda, sube al coche y borra esa cara de inmediato

397
00:36:00,949 --> 00:36:04,710
Ella y él se casan, el tiempo pasa, una llamada

398
00:36:04,710 --> 00:36:06,329
Mamá, estoy embarazada

399
00:36:06,329 --> 00:36:11,010
No hay mayor motivo para ser feliz que un niño, él lo celebra saliendo con sus amigos

400
00:36:11,010 --> 00:36:13,250
¿Dónde has estado? Me tenías muy preocupada

401
00:36:13,250 --> 00:36:14,030
No empieces

402
00:36:14,030 --> 00:36:15,230
¿Por qué no coges mis llamadas?

403
00:36:15,250 --> 00:36:16,030
No empieces

404
00:36:16,030 --> 00:36:17,690
Es que siempre me dejas sola en casa

405
00:36:17,690 --> 00:36:19,070
Y vuelves a las tantas

406
00:36:19,070 --> 00:36:20,769
Además, ¿hueles a Colonia Barata?

407
00:36:20,889 --> 00:36:21,130
¡Calla!

408
00:36:21,349 --> 00:36:22,690
El primer golpe fue el peor

409
00:36:22,690 --> 00:36:24,250
No tanto por el dolor

410
00:36:24,250 --> 00:36:26,110
Como por el shock de la situación

411
00:36:26,110 --> 00:36:28,309
Esa noche él duerme en el sofá

412
00:36:28,309 --> 00:36:29,250
Y ya no duerme nada

413
00:36:29,250 --> 00:36:31,269
Sueños rotos, lágrimas en la almohada

414
00:36:31,269 --> 00:36:33,210
¿Quién iba a decir que sería así?

415
00:36:33,389 --> 00:36:35,630
El final del cuento de Adán

416
00:36:35,630 --> 00:36:37,989
Todo iba bien hasta que llegó

417
00:36:37,989 --> 00:36:40,530
El final del cuento de Adán

418
00:36:40,530 --> 00:37:12,210
Por todo el convento he andado

419
00:37:12,210 --> 00:37:13,530
Sin ser de nadie sentir

420
00:37:13,530 --> 00:37:33,679
Y por cuanto he discurrido de mi destino guiado, a mil celdas he llegado de religiosas, que abiertas tienen las estrechas puertas, y en ninguna a Julia vi.

421
00:37:34,420 --> 00:37:39,320
¿Dónde me lleváis así, esperanzas siempre infiertas?

422
00:37:41,119 --> 00:37:47,099
¡Qué horror! ¡Qué silencio mudo! ¡Qué oscuridad tan funesta!

423
00:37:47,099 --> 00:37:53,099
The light is here, it is the sixth, and in it there is light.

424
00:37:53,099 --> 00:37:59,099
What doubt! Nor the value of help, that now, in speaking, it is too late.

425
00:37:59,099 --> 00:38:01,099
What do I expect?

426
00:38:01,099 --> 00:38:03,099
What do I remember?

427
00:38:03,099 --> 00:38:10,659
But with impulsive impulse, if I am encouraged, I am timid, I am courageous, I am cowardly.

428
00:38:10,659 --> 00:38:17,130
More beauty to the beauty of this dress, I assure you,

429
00:38:17,130 --> 00:38:21,130
That in woman beauty is the same honesty,

430
00:38:21,130 --> 00:38:26,130
Her peregrine truth, of my crooked object love,

431
00:38:26,130 --> 00:38:30,130
Makes me more effect than at a time my love incite,

432
00:38:30,130 --> 00:38:39,489
With beauty, appetite, with honesty, respect.

433
00:38:39,489 --> 00:38:44,489
Julia! Ah, Julia!

434
00:38:44,489 --> 00:38:46,489
Who names me?

435
00:38:46,489 --> 00:39:05,769
But, dears, what is it that I see? Are you the shadow of desire or the shadow of thought?

436
00:39:05,769 --> 00:39:07,769
So much in looking at me as a shadow.

437
00:39:07,769 --> 00:39:09,769
Well, who will have to invent it and receive it?

438
00:39:09,769 --> 00:39:11,769
Julia, stop!

439
00:39:11,769 --> 00:39:17,769
What do you want, faked form of the idea repeated only in the apparent sight?

440
00:39:17,769 --> 00:39:23,769
You are, for pity's sake, a drop of imagination.

441
00:39:23,769 --> 00:39:30,079
The portrait of illusion, the body of fantasy.

442
00:39:30,079 --> 00:39:34,079
You sing, you sing, Maria Luisa Díaz.

443
00:39:35,079 --> 00:39:38,079
Julia, listen to Eusebio today, that I am alive at your feet,

444
00:39:38,079 --> 00:39:41,079
that this thought should always be with you.

445
00:39:41,079 --> 00:39:46,079
Deceiving me, I go with hearing you, and I consider that my offended message

446
00:39:46,079 --> 00:39:51,079
more than I would like to pretend, Eusebio, than true.

447
00:39:51,079 --> 00:39:59,500
Donde yo llorando muero. Donde yo vivo penando.

448
00:39:59,500 --> 00:40:04,500
¿Qué quieres? Estoy temblando.

449
00:40:04,500 --> 00:40:07,500
¿Qué buscas? Estoy muriendo.

450
00:40:07,500 --> 00:40:11,500
¿Qué emprendes? Estoy temiendo.

451
00:40:11,500 --> 00:40:16,500
¿Qué intentas? Estoy dudando.

452
00:40:16,500 --> 00:40:42,079
Todo ese extremo sabor y mi pena y tu rigor hoy han de triunfar de mí.

453
00:40:42,079 --> 00:40:54,090
Until I saw you here, I suffered with certain hope.

454
00:40:54,090 --> 00:41:02,090
But seeing your lost beauty, I have run over the respect of the sacred and the law of the clause.

455
00:41:02,090 --> 00:41:12,519
We are both guilty of what is true or of what is unfair.

456
00:41:12,519 --> 00:41:16,519
In me there are two extremes, which are strength and pleasure.

457
00:41:16,519 --> 00:41:22,150
Can't you give my pretension unfair to heaven?

458
00:41:22,150 --> 00:41:26,150
Before this execution, you were secretly married.

459
00:41:26,150 --> 00:41:29,150
And there is no such thing as marriage and religion.

460
00:41:31,150 --> 00:41:33,150
I do not deny the loving bond

461
00:41:34,150 --> 00:41:37,150
that made two wills come together with happiness.

462
00:41:39,150 --> 00:41:41,150
That it was its forceful effect

463
00:41:41,150 --> 00:41:43,150
that I called you my beloved husband

464
00:41:44,150 --> 00:41:46,150
and that all that was like that.

465
00:41:47,150 --> 00:41:48,150
I confess.

466
00:41:48,150 --> 00:41:54,059
But now here, with a religious vow,

467
00:41:55,059 --> 00:41:58,059
I tell Christ to be his wife, hand and word.

468
00:41:58,059 --> 00:42:01,059
I am already yours, what do you want from me?

469
00:42:01,059 --> 00:42:14,599
Go, for the world is men's, where men are killed, where women are strong.

470
00:42:14,599 --> 00:42:21,599
Go, Eusebius, and let us bear fruit of your mad love, so that you may be filled with honour.

471
00:42:21,599 --> 00:42:24,599
What a foolish story you think!

472
00:42:24,599 --> 00:42:28,599
As much as you are older, your defence is my bigger appetite.

473
00:42:28,599 --> 00:42:48,380
I saw you. It is not love that lives in me. The most hidden cause was. I bought it, I liked it, I will say, that you yourself have called me, that you have kept me locked in your cell for many days.

474
00:42:48,380 --> 00:42:52,699
And because my besties have me desperate, I'll give you votes.

475
00:42:53,159 --> 00:42:53,699
Sepan!

476
00:42:53,900 --> 00:42:54,440
Get out!

477
00:42:54,599 --> 00:42:54,960
I'm sorry!

478
00:42:55,699 --> 00:43:01,880
I'm sorry for you.

479
00:43:03,780 --> 00:43:04,960
I'm sorry for you.

480
00:43:09,440 --> 00:43:11,039
You are Christ.

481
00:43:11,800 --> 00:43:20,659
You are Christ.

482
00:43:21,079 --> 00:43:22,039
You are Christ.

483
00:43:22,039 --> 00:43:24,900
I'm afraid of another fear.

484
00:43:27,860 --> 00:43:29,760
How powerful is my love!

485
00:43:31,579 --> 00:43:34,559
How rigorous is my star.

486
00:43:36,179 --> 00:43:50,989
62 million women in Europe have suffered physical or sexual aggression during their adult life.

487
00:43:50,989 --> 00:43:56,750
At the end of the story of Hadas.

488
00:43:56,750 --> 00:44:01,750
Who would have thought it would be like this?

489
00:44:01,750 --> 00:44:05,750
At the end of the story of Hadas.

490
00:44:05,750 --> 00:44:07,750
Who would have thought it would be like this?

491
00:44:07,750 --> 00:45:06,030
At the end of the story of Hadas.

492
00:45:06,030 --> 00:45:14,030
Well, congratulations to these three centers for these wonderful interpretations, full of so much talent, really.

493
00:45:14,030 --> 00:45:18,030
It is surprising the quality of our high school students.

494
00:45:18,030 --> 00:45:23,030
Next, we move on to the oratory contest in English.

495
00:45:23,030 --> 00:45:28,030
This contest is organized by teams of five components each,

496
00:45:28,030 --> 00:45:32,030
who must submit to various tests of communication skills.

497
00:45:32,030 --> 00:45:37,030
In order not to extend ourselves too much, each team has selected a representative

498
00:45:37,030 --> 00:45:41,030
who will offer us a small sample of their interventions.

499
00:45:41,030 --> 00:45:44,730
A continuación, irán saliendo los siguientes centros.

500
00:45:45,429 --> 00:45:48,389
Cuarto premio, Colegio San Patricio de Madrid.

501
00:45:49,010 --> 00:45:52,349
Segundo premio, Colegio Las Tablas Valverde de Madrid.

502
00:45:53,110 --> 00:45:56,650
Tercer premio, Madres Concepcionistas de Madrid.

503
00:45:57,309 --> 00:46:00,889
Y primer premio, Colegio San Patricio de Alcobendas.

504
00:46:01,050 --> 00:46:02,429
Un fuerte aplauso para ellos.

505
00:46:24,500 --> 00:46:29,059
But teaching also that for every scoundrel there's a hero

506
00:46:29,059 --> 00:46:33,619
That for every selfish politician there's a dedicated leader

507
00:46:33,619 --> 00:46:37,280
Teaching for every enemy there is a friend

508
00:46:37,280 --> 00:46:41,019
Staying away from envy, if you can

509
00:46:41,019 --> 00:46:43,760
Teaching the secret of quiet laughter

510
00:46:43,760 --> 00:46:48,840
Letting learn early that the bullets are the easiest to leak

511
00:46:49,840 --> 00:46:53,099
Teaching, if you can, the wonder of goods

512
00:46:53,099 --> 00:47:04,099
but also giving quite time to ponder the eternal mystery of birds in the sky, bees in the sun, and the flowers on a green hillside.

513
00:47:04,099 --> 00:47:10,099
In the school, teach him it is far more honorable to fail than to cheat.

514
00:47:10,099 --> 00:47:17,099
Teach him to have faith in his own ideas, even if everyone tells him they are wrong.

515
00:47:17,099 --> 00:47:23,099
Teach him to be gentle with gentle people and tough with the tough.

516
00:47:23,099 --> 00:47:29,099
Try to give my son the strength not to follow the crowd when everyone is getting on the bandwagon.

517
00:47:29,099 --> 00:47:33,099
Teach him to listen to all men.

518
00:47:33,099 --> 00:47:41,099
But teach him also to filter all he hears on a spin of truth and to take only the good that comes through.

519
00:47:41,099 --> 00:47:45,099
Teach him, if he can, how to laugh when he's sad.

520
00:47:45,840 --> 00:47:47,800
Teach him there is no shame in tears.

521
00:47:49,159 --> 00:47:53,139
Teach him to scoff at cynics and to beware of too much sweetness.

522
00:47:54,639 --> 00:47:57,900
Teach him to set his brunette brain to the highest beaters,

523
00:47:58,300 --> 00:48:01,800
but never to put a price tag on his heart and soul.

524
00:48:03,039 --> 00:48:09,400
Teach him to close his ears to a holy mob and to stand and fight if he thinks he's right.

525
00:48:10,360 --> 00:48:16,599
Treat him gently, but do not cuddle him, because only the dust of fire makes fine steel.

526
00:48:18,079 --> 00:48:20,039
Let him have the courage to be impatient.

527
00:48:20,699 --> 00:48:22,519
Let him have the patience to be brave.

528
00:48:23,579 --> 00:48:29,920
Teach him always to have sublime faith in himself, because then he will have sublime faith in mankind.

529
00:48:31,159 --> 00:48:33,679
This is a big quarter, but see what you can do.

530
00:48:34,380 --> 00:48:36,980
He's such a fine little fellow, my son.

531
00:48:37,760 --> 00:48:54,880
Let us thank God for the opportunity that we all have together today.

532
00:48:55,719 --> 00:49:01,820
For this gift of peace that reminds us that we have been created to live that peace.

533
00:49:02,519 --> 00:49:07,260
And Jesus became man to bring that goodness here to you.

534
00:49:07,739 --> 00:49:13,719
The news was peace to all of Goodwill, and this is something that we all want.

535
00:49:14,079 --> 00:49:17,579
So, here I am, talking with you.

536
00:49:17,579 --> 00:49:24,760
I want you to find the poor here, right in your own home first, and begin love there.

537
00:49:25,340 --> 00:49:30,039
Be the good news to your own people, and find out about your next door neighbour.

538
00:49:30,760 --> 00:49:31,980
Do you know who they are?

539
00:49:32,679 --> 00:49:37,800
I had the most extraordinary experience with a Hindu family who had children.

540
00:49:38,559 --> 00:49:41,400
A gentleman came to our house and said,

541
00:49:42,079 --> 00:49:48,099
Mother Teresa, there is a family with their children who had not eaten for so long.

542
00:49:48,760 --> 00:49:49,360
Do something.

543
00:49:50,039 --> 00:49:53,659
So I took some rice and I went there immediately.

544
00:49:54,440 --> 00:49:58,800
When I saw the children, their eyes were shining with hunger.

545
00:49:59,420 --> 00:50:03,260
I don't know if you have ever seen hunger, but I've seen it very often.

546
00:50:04,039 --> 00:50:07,960
And she took the rice, she divided the rice, and she went out.

547
00:50:07,960 --> 00:50:26,440
When she came back, I asked her, where did you go? And what did you do? And she gave me a very simple answer. They are hungry also. What struck me most was that she knew. And who are they? A Muslim family. And she knew.

548
00:50:26,440 --> 00:50:32,940
I didn't bring more rice that evening, because I wanted them to enjoy the joy of sharing.

549
00:50:32,940 --> 00:50:38,440
But they were those children, radiating joy, sharing the joy with their mother, because

550
00:50:38,440 --> 00:50:40,440
she had the love to give.

551
00:50:40,440 --> 00:50:45,440
And you see, this is where love begins, at home.

552
00:50:45,440 --> 00:50:51,440
If we can create a home for the poor, I think that more and more love will spread, and we'll

553
00:50:51,440 --> 00:50:55,440
be able, through this understanding of love, to bring peace.

554
00:50:55,440 --> 00:51:01,940
Be the good news to the poor. The poor in our family first, in our country, and in the world.

555
00:51:02,780 --> 00:51:11,360
If you become a burning light in the world of peace, then really the Nobel Peace Prize is a gift from the Norwegian people.

556
00:51:11,840 --> 00:51:12,539
God bless you.

557
00:51:23,699 --> 00:51:26,260
Bullying. Cyberbullying.

558
00:51:27,679 --> 00:51:30,340
Everybody speaks about these terms nowadays.

559
00:51:31,239 --> 00:51:37,559
And two people really know how it feels when you wake up in the morning and you feel real terror.

560
00:51:38,380 --> 00:51:41,900
And you just give anything to stay at home and forget about the school.

561
00:51:42,980 --> 00:51:45,940
When the teacher asks the students to work in a breathing purse,

562
00:51:46,420 --> 00:51:51,579
and you just feel miserable because you know nobody is going to sit next to you.

563
00:51:52,320 --> 00:51:59,320
When you go on a school trip and you can see how the rest of the girls are chatting in groups and laughing and you are there.

564
00:51:59,320 --> 00:52:06,420
And low, praying that they are not laughing at you, not this time anyway, for a change.

565
00:52:07,420 --> 00:52:15,500
Do people really understand how it feels when you just cry, day after day, asking yourself what to have done to deserve this?

566
00:52:16,159 --> 00:52:20,119
And feeling helpless because you truly believe there is no way out.

567
00:52:21,480 --> 00:52:24,559
Maybe that is what people need to know.

568
00:52:24,559 --> 00:52:34,280
That's how it feels because maybe it is the only true way of preventing this nightmare to ever happen to you anywhere, anywhere.

569
00:52:34,920 --> 00:52:38,199
We really need to speak about it in schools and also at home.

570
00:52:38,840 --> 00:52:44,559
We need to know that that was not a joke, that was a broken heart.

571
00:52:45,400 --> 00:52:53,880
We need to know that we cannot see someone suffering by our side and pretend not to realize and then just keep living our lives happily.

572
00:52:54,559 --> 00:53:10,000
We need to know that staying quiet is simply not acceptable. We need to know about compassion. And we need to feel ashamed when we see these things happen to a classmate and choose to do nothing.

573
00:53:10,000 --> 00:53:20,000
So classmates, teachers, parents, politicians, here we have the solution to bullying.

574
00:53:20,000 --> 00:53:24,000
We just need to know. Thank you.

575
00:53:24,000 --> 00:53:36,679
Have you ever wondered how people celebrate birthdays in China?

576
00:53:36,679 --> 00:53:39,679
Or what French kids eat for lunch?

577
00:53:39,679 --> 00:53:43,679
I even wondered if they celebrate Christmas in Sweden.

578
00:53:43,679 --> 00:53:46,679
Exploring the world and learning about different cultures

579
00:53:46,679 --> 00:53:53,800
opens you to a world of possibilities so i'm gonna tell you my top three reasons why you should

580
00:53:53,800 --> 00:54:02,280
travel and learn different cultures number three food even though i've been accused of only having

581
00:54:02,280 --> 00:54:09,559
one thing in my mind which is where are we going for lunch well i can teach you what is important

582
00:54:09,559 --> 00:54:15,559
part of culture by traveling and testing your food discover the place the history and social

583
00:54:15,559 --> 00:54:23,059
aspect of a land. I remember one time I was in a camp in the USA and we sat on the campfire

584
00:54:23,059 --> 00:54:30,059
and toasted marshmallows. Nowhere only I did this, but I also learned about Americans and

585
00:54:30,059 --> 00:54:37,059
their culture. Number two reason to travel and learn about different cultures is because

586
00:54:37,059 --> 00:54:42,559
they give you a new perspective on life. When you travel to exotic places, many cultures

587
00:54:42,559 --> 00:54:44,559
teach you to look at the world differently.

588
00:54:45,440 --> 00:54:47,960
Singing in the tip of the Spanish tomato festival,

589
00:54:48,460 --> 00:54:49,059
La Tomatina,

590
00:54:49,519 --> 00:54:52,139
is much more different than experiencing yourself.

591
00:54:53,340 --> 00:54:54,019
And finally,

592
00:54:54,639 --> 00:54:56,159
number one reason to travel

593
00:54:56,159 --> 00:54:59,860
and learn about different cultures is...

594
00:54:59,860 --> 00:55:00,880
Crab Broccoli!

595
00:55:02,800 --> 00:55:04,099
For the education!

596
00:55:04,800 --> 00:55:06,719
Seeing the world provides a source of education

597
00:55:06,719 --> 00:55:08,960
is just impossible to get in school.

598
00:55:09,579 --> 00:55:11,539
Teaching you things like economic, politics,

599
00:55:11,539 --> 00:55:17,780
history, geography. As a matter of fact, I'm trying to convince my school that a cultural

600
00:55:17,780 --> 00:55:24,760
trip to Disney World Georgia would be a great addition to our education. I hope today I'll

601
00:55:24,760 --> 00:55:32,860
provide you with enough reasons to get up and go explore. This is an amazing world! Thank you!

602
00:55:40,250 --> 00:55:45,809
Enhorabuena a los cuatro centros por estos estupendos trabajos y por el nivel alcanzado,

603
00:55:45,809 --> 00:55:50,769
both in the communication skills and in the use of the English language.

604
00:55:50,769 --> 00:55:55,769
Next, we will present the awards and honorary mentions.

605
00:55:55,769 --> 00:55:58,489
We will present the awards in two groups.

606
00:55:58,489 --> 00:56:00,889
First, the awards will go up to the stage

607
00:56:00,889 --> 00:56:04,409
in the Spanish theatre competition

608
00:56:04,409 --> 00:56:09,650
and the English theatre in the secondary education category.

609
00:56:09,650 --> 00:56:15,489
Secondly, the English theatre in the primary education category

610
00:56:15,489 --> 00:56:20,489
y los premiados en el concurso de Oratoria en Inglés.

611
00:56:20,489 --> 00:56:26,489
Al igual que el año pasado, iremos dando los premios y menciones por centros.

612
00:56:26,489 --> 00:56:31,489
Es decir, nombraremos a los centros sus premios y menciones

613
00:56:31,489 --> 00:56:36,489
e irán subiendo conjuntamente profesores y alumnos al escenario.

614
00:56:36,489 --> 00:56:40,489
Una vez en el escenario, se hará la entrega de premios.

615
00:56:40,489 --> 00:56:48,489
Please, after the presentation, stay on the stage for a group photo.

616
00:56:48,489 --> 00:56:56,489
But first, let's introduce the authorities who will present the awards.

617
00:56:56,489 --> 00:57:02,489
In the center, we have the Vice-Counselor of Education, Youth and Sports,

618
00:57:02,489 --> 00:57:05,489
Doña Alicia de Líbez Liniers.

619
00:57:05,489 --> 00:57:09,989
On your right, the Director General of Improvement of the Quality of Teaching,

620
00:57:09,989 --> 00:57:12,989
Don Pablo Hispani Iglesias de Ussel.

621
00:57:12,989 --> 00:57:17,989
And on your left, the Director of the Royal School of Dramatic Arts,

622
00:57:17,989 --> 00:57:20,989
Don Rafael Ruiz.

623
00:57:20,989 --> 00:57:32,039
Now, let's move on to awards and mentions

624
00:57:32,039 --> 00:57:36,039
of theatre in Spanish, secondary mode.

625
00:57:36,039 --> 00:57:40,039
Instituto San Mateo de Madrid

626
00:57:40,039 --> 00:57:44,559
The first theater award in Spanish for La devoción de la cruz

627
00:57:44,559 --> 00:57:51,199
and the award to the best direction to Ana Concha González and Yolanda Mancebo Salvador.

628
00:58:06,119 --> 00:58:09,019
Instituto Antonio Machado de Alcalá de Henares

629
00:58:09,019 --> 00:58:13,360
receives the second theater award in Spanish for No hay burlas con el amor.

630
00:58:14,079 --> 00:58:17,380
It receives economic mention for La devoción de la cruz

631
00:58:17,380 --> 00:58:21,800
and it receives the mention to the best secondary actress Irene Peña

632
00:58:21,800 --> 00:58:25,059
for the character of Inés in No hay burlas con el amor.

633
00:58:25,139 --> 00:58:25,679
Please, go up.

634
00:58:41,610 --> 00:58:44,070
We'll leave the table of the authorities free

635
00:58:44,070 --> 00:58:47,829
so they can enter and deliver the mentions and prizes.

636
00:58:47,929 --> 00:58:48,269
Thank you.

637
00:58:50,050 --> 00:58:52,650
Instituto Rayuela de Móstoles

638
00:58:52,650 --> 00:58:55,909
receives the third prize of Teatro en Español

639
00:58:55,909 --> 00:58:57,130
for Marta La Piadosa.

640
00:58:57,550 --> 00:59:00,210
It receives an economic mention for Blood Weddings

641
00:59:00,210 --> 00:59:04,610
and the shared mention for the best protagonist actress

642
00:59:04,610 --> 00:59:06,210
for Alejandra Casarrubios

643
00:59:06,210 --> 00:59:09,789
for the character of Doña Lucía in Marta la Piadosa

644
00:59:09,789 --> 00:59:13,150
and Mar Calvo for the character of La Novia en Bodas de Sangre.

645
00:59:20,099 --> 00:59:20,400
Congratulations.

646
00:59:24,440 --> 00:59:27,500
Colegio Calasanz de Alcalá de Henares.

647
00:59:28,039 --> 00:59:30,880
Receives the mention of the best protagonist actor

648
00:59:30,880 --> 00:59:33,960
which corresponds to Álvaro Nogales Gómez y Maz

649
00:59:33,960 --> 00:59:36,800
for the character of Seixis Mundo in La Vida es Sueño.

650
00:59:37,320 --> 00:59:40,519
Receives an economic mention for his montage of Teatro en Inglés

651
00:59:40,519 --> 00:59:43,440
for the secondary of Clown Don Quixote.

652
00:59:43,440 --> 01:00:00,530
Instituto Las Encinas de Villanueva de la Caña, Cañada, perdón, recibe mención económica por La Discreta Enamorada

653
01:00:00,530 --> 01:00:08,269
y recibe la mención al mejor actor secundario que le ha correspondido a Nicolás Amigó por el personaje de Hernando.

654
01:00:08,269 --> 01:00:09,670
Un fuerte aplauso.

655
01:00:20,579 --> 01:00:26,840
Instituto Victoria Kent de Fuenlabrada, recibe mención económica por La Verdad Sospechosa

656
01:00:26,840 --> 01:00:30,480
And mention the staging. A big round of applause.

657
01:00:42,329 --> 01:00:45,969
Instituto El Burgo de las Rozas, de las Rozas.

658
01:00:46,349 --> 01:00:50,329
Receives an economic mention for the shameful in Palacio.

659
01:00:50,730 --> 01:00:54,190
And mention the originality of the dressing room.

660
01:01:07,010 --> 01:01:07,329
We continue.

661
01:01:07,690 --> 01:01:14,769
Next, we will deliver the awards of the English Theatre Modality in the category of Secondary Education.

662
01:01:14,769 --> 01:01:26,449
Instituto Fortuny de Madrid recibe el primer premio por Michael Threatrer y el premio a la mejor dirección para David Casquet Bodero y María José Ruiz Galán.

663
01:01:26,449 --> 01:01:35,789
Recibe la mención a la mejor escenografía y recibe la mención a la mejor actriz secundaria que es para exter expósito por el personaje de Leire Fuentes.

664
01:01:40,780 --> 01:01:43,679
Colegio International School of Madrid.

665
01:01:43,679 --> 01:01:50,260
Recibe el segundo premio por My Fair Lady.

666
01:01:50,780 --> 01:01:58,260
Recibe las menciones al Mejor Vestuario, Mejor Interpretación Musical y al Mejor Actor Protagonista Compartido.

667
01:01:58,260 --> 01:02:05,760
Mateo Pascual por el personaje del profesor Higgins y Rafael Calvacho por el personaje de Coronel Pickering.

668
01:02:05,760 --> 01:02:14,340
Mejor actriz protagonista a Sofía Almendro por el personaje de Elisa Doolittle.

669
01:02:14,980 --> 01:02:21,079
Mejor actor secundario compartido Luis Zunier por el personaje de Alfred Doolittle.

670
01:02:32,360 --> 01:02:38,480
Colegio San Alfonso de Madrid recibe el tercer premio por John Frankenstein

671
01:02:38,480 --> 01:02:46,480
and receives the award for Best Secondary Actor shared by Forhat Hussain for the character of Igor.

672
01:02:46,480 --> 01:02:48,480
A big round of applause.

673
01:02:48,480 --> 01:03:00,760
Instituto Ciudad de Los Ángeles de Madrid receives the economic award for Romeo and Juliet.

674
01:03:00,760 --> 01:03:02,760
A big round of applause for them.

675
01:03:02,760 --> 01:03:23,389
Well, now, if you want, authorities, go ahead a little bit, we'll get together, we'll take a picture and we'll go down quietly.

676
01:03:26,699 --> 01:03:40,639
To be able to continue with the awards.

677
01:03:41,639 --> 01:03:45,639
And the authorities, please stay, the primary awards are left. Thank you.

678
01:03:46,639 --> 01:03:47,639
We continue.

679
01:03:48,639 --> 01:03:54,639
Awards and mentions of theatre in English in the category of primary education.

680
01:03:55,639 --> 01:04:08,079
Colegio Gonzalo de Berceo de Madrid receives the first prize for The Three Little Pigs

681
01:04:08,079 --> 01:04:17,019
and the prize for the best direction, which is for Patricia Loeches Ambite and Nicolás Ortega Camero.

682
01:04:26,730 --> 01:04:33,989
Colegio Infanta Leonor de Madrid receives the second prize for The Specials

683
01:04:33,989 --> 01:04:38,489
and receives the award for Best Interpretation.

684
01:04:54,289 --> 01:04:57,190
Colegio San Patricio de Madrid

685
01:04:57,190 --> 01:05:01,190
receives the third prize for The Haunted Christmas.

686
01:05:01,190 --> 01:05:07,960
A big round of applause.

687
01:05:07,960 --> 01:05:14,050
Colegio Antonio Machado de Alcobendas

688
01:05:14,050 --> 01:05:16,550
receives the economic award

689
01:05:16,550 --> 01:05:20,050
and the Best Scenography award for Cinderella.

690
01:05:20,050 --> 01:05:32,449
Another big round of applause.

691
01:05:32,449 --> 01:05:38,000
Thank you very much.

692
01:05:38,000 --> 01:05:42,760
Colegio General Izquierdo de San Martín de Valdeiglesias,

693
01:05:43,079 --> 01:05:48,139
recibe la mención al mejor vestuario por Peggy the Pink Size Pirate.

694
01:05:58,340 --> 01:06:00,340
Colegio Fregacedos de Fuenlabrada,

695
01:06:00,960 --> 01:06:04,559
recibe la mención a la mejor coreografía por The Jungle Book.

696
01:06:10,460 --> 01:06:14,380
Colegio Federico García Lorca de Alcobendas,

697
01:06:15,019 --> 01:06:19,940
recibe mención a la interpretación musical por A Dancing Christmas Party.

698
01:06:19,940 --> 01:06:21,780
Un fuerte aplauso.

699
01:06:22,019 --> 01:06:31,920
Colegio Ciudad de Columbia, de Tres Cantos, recibe mención económica y mención a la creatividad y originalidad por Hércules.

700
01:06:39,590 --> 01:06:48,170
Colegio San Cristóbal de Madrid, recibe mención económica por The Curious Incident of the Dog in the Night Time.

701
01:06:55,110 --> 01:06:58,409
Seguimos con los premios al concurso de oratoria en inglés.

702
01:06:59,030 --> 01:07:02,309
Colegio San Patricio de Alcobendas, recibe el primer premio.

703
01:07:02,309 --> 01:07:15,860
Colegio Las Tablas Valverde de Madrid receives the second prize.

704
01:07:25,599 --> 01:07:30,780
Colegio Madres Concepcionistas de Madrid receives the third prize.

705
01:07:40,349 --> 01:07:44,349
And finally, Colegio San Patricio de Madrid receives the fourth prize.

706
01:07:44,449 --> 01:07:45,550
A big round of applause for everyone.

707
01:08:07,900 --> 01:08:08,239
Very good.

708
01:08:09,940 --> 01:08:12,280
We do the same as before, if you like.

709
01:08:12,280 --> 01:08:22,279
We'll line up and pose for a picture, if you want to take advantage of it.

710
01:08:22,279 --> 01:08:39,130
And now, we present to you a scene from the work Micro-Theatre,

711
01:08:39,130 --> 01:08:42,130
made by the Instituto Fortuny de Madrid.

712
01:08:42,130 --> 01:08:59,649
This function is composed of five pieces made in five very different scenic spaces.

713
01:08:59,649 --> 01:09:05,649
The garage of the institute, the bathroom, a class, a office,

714
01:09:05,649 --> 01:09:08,649
and the theater of the center.

715
01:09:08,649 --> 01:09:16,649
40 actors represented 5 texts for 15 lucky spectators.

716
01:09:16,649 --> 01:09:20,649
We would like to highlight this proposal,

717
01:09:20,649 --> 01:09:23,649
not only because of its great execution and originality,

718
01:09:23,649 --> 01:09:28,649
but also because it teaches us that theater does not put limits on imagination,

719
01:09:28,649 --> 01:09:32,649
And sometimes, within our own centre or neighbourhood,

720
01:09:32,649 --> 01:09:36,649
we have non-conventional scenic spaces

721
01:09:36,649 --> 01:09:40,649
where we can make theatre and generate an atmosphere

722
01:09:40,649 --> 01:09:47,649
that enhances and enlarges what the author, director and actors want to tell.

723
01:09:47,649 --> 01:09:55,819
Although here we will not be able to appreciate this effect,

724
01:09:55,819 --> 01:10:00,819
we want to encourage you to take a risk, to try and investigate.

725
01:10:00,819 --> 01:10:07,819
new ways of doing theater that make this experience more attractive and stimulating,

726
01:10:07,819 --> 01:10:14,819
bringing our students closer to this artistic discipline that is so educational and creative.

727
01:10:14,819 --> 01:10:20,819
Congratulations to the Fortuny Institute for this initiative. A big round of applause for them.

728
01:11:13,829 --> 01:11:16,829
Did you ever believe in this?

729
01:11:16,829 --> 01:11:28,829
I mean, I mean in acting, in being in front of three or five hundred, a thousand people knowing every eye is set on you.

730
01:11:28,829 --> 01:11:32,829
Being up there can really make you dizzy, you will know.

731
01:11:32,829 --> 01:11:36,829
But it really isn't me up there, but my character.

732
01:11:36,829 --> 01:11:42,270
But when you're having a bad day, when you have fought with your boyfriend,

733
01:11:42,270 --> 01:11:45,270
or when you haven't slept at all because of a fucking top notch car alarm,

734
01:11:45,270 --> 01:11:48,270
or when the producer in Texas is saying,

735
01:11:48,270 --> 01:11:52,270
yes, the play will be performed ten more days,

736
01:11:52,270 --> 01:11:56,270
but then will be thrown out.

737
01:11:56,270 --> 01:12:00,270
I even used to think this was a profession.

738
01:12:00,270 --> 01:12:03,270
I mean, to be an actress.

739
01:12:03,270 --> 01:12:05,270
When I was young,

740
01:12:05,270 --> 01:12:09,270
I used to think there was a place

741
01:12:09,270 --> 01:12:19,890
I might meet a step with a wolf on the pond and honestly pass it.

742
01:12:19,890 --> 01:12:24,890
They made a field, and when they finished, they record another one.

743
01:12:24,890 --> 01:12:30,890
They couldn't go there because from Europe, each week, all the people demand a new field.

744
01:12:31,890 --> 01:12:40,550
At home, my parents have 95 blades, too.

745
01:12:40,550 --> 01:12:47,550
I'm a tree. I tied myself with a harness and stayed there for hours,

746
01:12:47,550 --> 01:12:54,689
I'm waiting for elephants to come to my mom.

747
01:12:54,729 --> 01:13:07,680
Elephants haven't come yet.

748
01:13:08,739 --> 01:13:10,340
When are they coming?

749
01:13:11,300 --> 01:13:12,239
In a while.

750
01:13:12,960 --> 01:13:30,520
I think I'm starting to see them.

751
01:13:30,680 --> 01:13:34,439
She would leave and I could see the elephants.

752
01:13:34,880 --> 01:13:41,119
I always compare my work to dreams.

753
01:13:42,060 --> 01:13:44,399
In a dream, you live through what's happening.

754
01:13:44,399 --> 01:13:49,920
and when you wake up it's like lights going out in a change of scene or the

755
01:13:49,920 --> 01:13:56,819
curtain falling when you wake up you see to yourself this is it nothing has

756
01:13:56,819 --> 01:14:05,720
happened like I was about to die but it was all a lie or I have fallen in love

757
01:14:05,720 --> 01:14:14,380
but it was also a lie yet in that journey you experience it you feel it as if it were real

758
01:14:14,380 --> 01:14:20,380
Sometimes, the applause from the audience is also a dream.

759
01:14:20,380 --> 01:14:24,380
You wake up, and you're really alone.

760
01:14:24,380 --> 01:14:28,380
Ladies, ladies, we must start.

761
01:14:28,380 --> 01:14:31,380
We are going to start practicing the first scene.

762
01:14:31,380 --> 01:14:34,380
Marta, Anna, please go to your initial positions.

763
01:14:34,380 --> 01:14:37,380
Let's start.

764
01:14:37,380 --> 01:14:39,380
The writer says,

765
01:14:39,380 --> 01:14:43,380
Very white in a room in Bernarda's house.

766
01:14:44,380 --> 01:14:48,380
Pay attention. The room isn't just white.

767
01:14:49,380 --> 01:14:52,380
Lorca highlights that it is very white.

768
01:14:53,380 --> 01:14:59,380
Notice how important are appearances for Bernarda Alba.

769
01:15:00,380 --> 01:15:05,380
Alba, which comes from Latin albus, means white.

770
01:15:05,380 --> 01:15:11,380
Whiteness in the walls, pureness, virginity.

771
01:15:11,380 --> 01:15:18,989
They've been mumbling away for more than two hours now.

772
01:15:18,989 --> 01:15:20,989
I'll continue reading.

773
01:15:20,989 --> 01:15:32,989
Thick walls. The walls of the set must seem very thick, protecting the privacy of the house, preventing any inappropriate word to leak to the exterior.

774
01:15:32,989 --> 01:15:42,100
Bernarda is always unclean. If Bernarda doesn't save himself before the few hours I have left.

775
01:15:42,100 --> 01:15:43,100
My hands are-

776
01:15:43,100 --> 01:15:57,819
Arched doorways. Wide and thick walls and arched doorways.

777
01:15:57,819 --> 01:16:06,819
This is nothing but a niche. Lorca wants us to kill death from the inside of the niche.

778
01:16:06,819 --> 01:16:25,350
Bernarda, consider your heart, and watch how they die, for a whole year, without taking a cold smile from her dumb face. Scraft, start bleeding from all this scarring.

779
01:16:25,350 --> 01:16:33,350
Remember what Federico said. The characters that appear on stage need to wear a poetry dress.

780
01:16:33,350 --> 01:16:40,350
And at the same time, they need that their bones can be seen, they need that their blood can be seen.

781
01:16:41,350 --> 01:16:48,350
Thirty years, washing her sins. Thirty years, missing her leftovers.

782
01:16:49,350 --> 01:16:51,350
Nights over her with the seagulls.

783
01:16:52,350 --> 01:16:56,689
And third days, fear which are the gossips.

784
01:16:57,689 --> 01:16:59,689
Life with no sequence from each other.

785
01:16:59,689 --> 01:17:06,050
And yet, damn her, missing of a horrible pain like nicely stuck in her eyes.

786
01:17:07,210 --> 01:17:09,310
Alba's family did really exist.

787
01:17:10,529 --> 01:17:15,909
Francisca Alba was her name, and she lived in Valderrubio, Granada.

788
01:17:16,890 --> 01:17:22,050
And as her protagonist, she widowed, and was left with her daughters,

789
01:17:22,590 --> 01:17:25,649
who were subdued by her tyrannical wasp-ness.

790
01:17:25,649 --> 01:17:31,649
Now, you're not them. You're symbols.

791
01:17:31,649 --> 01:17:34,649
Bernarda. Sixty years old.

792
01:17:34,649 --> 01:17:40,649
Germanic name, which means, with a verse, violent and straight.

793
01:17:40,649 --> 01:17:46,649
Without a doubt, a character full of violence and vigor.

794
01:17:46,649 --> 01:17:52,960
Come on, Bernarda. Speak.

795
01:17:52,960 --> 01:17:57,960
Is the fan you give to a widow? Give me a black one and learn to respect your father's memory.

796
01:17:57,960 --> 01:17:58,960
Take mine.

797
01:17:58,960 --> 01:17:59,960
What about you?

798
01:17:59,960 --> 01:18:00,960
I don't need one.

799
01:18:00,960 --> 01:18:03,960
Look for another. You are going to need one.

800
01:18:03,960 --> 01:18:09,960
In our eight years of mourning, no wind from the street will enter this house.

801
01:18:09,960 --> 01:18:13,960
Pretend we have sealed up doors and windows with bricks.

802
01:18:13,960 --> 01:18:19,960
That was how it happened in my father's house and in my grandfather's house.

803
01:18:19,960 --> 01:18:44,529
The characters must be so human, Lorca said, so terribly tragic and bound into everyday life so tightly, so that they show their betrayals, so that their smells can be perceived, so from their lips all their courageous words come out, full of love or hatred.

804
01:18:44,529 --> 01:18:51,529
Where's Adela? Oh, she has put on the green dress she made to wear for her birthday.

805
01:18:51,529 --> 01:18:54,529
She went to the pen and started shouting,

806
01:18:54,529 --> 01:19:01,529
Chickens! Chickens! Look at me! I had to laugh! I had to laugh!

807
01:19:01,529 --> 01:19:04,529
This is Adela's first rebellion gesture.

808
01:19:04,529 --> 01:19:11,529
This green, mentioned by Magdalena, is the only color different from black and white.

809
01:19:11,529 --> 01:19:20,529
Its symbolic meaning of vital exaltation is evident. With this, the dramatic conflict is introduced.

810
01:19:20,529 --> 01:19:27,720
What are you thinking? You'll get used to it.

811
01:19:27,720 --> 01:19:34,720
No! I will not get used to it. I can't be like that. I don't want my skin to dry out like yours.

812
01:19:34,720 --> 01:19:55,140
I don't want to press away and grow old here, in this room. Tomorrow, I will put on my green dress.

813
01:19:55,140 --> 01:20:02,340
Maria Josefa enters. Bernarda's mother is a very old woman, decked out with flowers on her head

814
01:20:02,340 --> 01:20:09,460
and at her breast. There is a clear erotic symbolism. Her madness lets her rebel against

815
01:20:09,460 --> 01:20:14,819
the oppression, the sexual oppression to which all of Bernarda's daughters are subjected.

816
01:20:14,819 --> 01:20:19,819
Bernarda, where is my mantilla?

817
01:20:19,819 --> 01:20:25,500
I think of mine.

818
01:20:25,500 --> 01:20:32,539
Edrez, because none of you are going to get married.

819
01:20:32,539 --> 01:20:33,539
Not even...

820
01:20:33,539 --> 01:20:38,000
Give me my pearl necklace.

821
01:20:38,000 --> 01:20:39,000
We let her in.

822
01:20:39,000 --> 01:20:41,000
She got away from me.

823
01:20:41,000 --> 01:20:44,000
I escaped because I want to get married.

824
01:20:44,000 --> 01:20:50,000
Because I want to get married to a beautiful man from the edge of the sea.

825
01:20:50,000 --> 01:20:51,000
Lock her up.

826
01:20:51,000 --> 01:20:53,000
I want to get away from here.

827
01:20:53,000 --> 01:20:54,000
Bernarda!

828
01:20:54,000 --> 01:21:03,760
Let's go to the final part.

829
01:21:03,760 --> 01:21:04,760
Bernarda!

830
01:21:04,760 --> 01:21:08,539
No weeping.

831
01:21:08,539 --> 01:21:11,539
We must look dead right in the face.

832
01:21:11,539 --> 01:21:13,539
Silence!

833
01:21:13,539 --> 01:21:15,539
Be quiet, I said.

834
01:21:15,539 --> 01:21:17,539
Tears won't draw low.

835
01:21:17,539 --> 01:21:21,539
We will all drown ourselves in a sea of mourning.

836
01:21:21,539 --> 01:21:28,539
She, the youngest daughter of Bernarda Alba, has died a virgin.

837
01:21:28,539 --> 01:21:30,539
Did you hear me?

838
01:21:30,539 --> 01:21:31,539
Silence!

839
01:21:31,539 --> 01:21:42,220
Silence! Be quiet!

840
01:22:30,760 --> 01:22:39,560
but with a great illusion for having seen the wonderful talent that is in our community, really.

841
01:22:40,180 --> 01:22:45,760
We give you all thanks for your effort, illusion and participation.

842
01:22:46,640 --> 01:22:52,939
And now, a big applause for International School of Madrid and for all of you. Thank you very much.

843
01:23:07,090 --> 01:23:07,689
And you?

844
01:23:09,369 --> 01:23:09,810
Splendid.

845
01:23:10,689 --> 01:23:13,510
Pickering, let's take her to the public and see how she fares.

846
01:23:19,039 --> 01:23:19,439
Pounding?

847
01:23:19,819 --> 01:23:21,640
I heard no pounding, did you, Pickering?

848
01:23:21,739 --> 01:23:22,319
No pounding.

849
01:23:22,340 --> 01:23:23,680
There was no pounding, Mrs. Spears.

850
01:23:24,159 --> 01:23:26,840
By God, if this continues like this, you should see a doctor.

851
01:23:27,779 --> 01:23:28,380
Pickering, I know.

852
01:23:28,720 --> 01:23:29,819
Let's take her to the races.

853
01:23:30,680 --> 01:23:31,319
The races?

854
01:23:31,460 --> 01:23:33,460
Yes, my mother's box at Ascot.

855
01:23:33,579 --> 01:23:35,159
You'll consult your mother first, of course.

856
01:23:35,199 --> 01:23:35,939
Of course, yes.

857
01:23:35,939 --> 01:23:38,079
No, we'll surprise her.

858
01:23:38,399 --> 01:23:42,199
Let's go straight to bed, and first thing in the morning, we'll depart for Ascot.

859
01:23:42,539 --> 01:23:44,140
Eliza, you continue with your work.

860
01:23:44,439 --> 01:23:49,079
And what better time to work than early in the morning?

861
01:23:49,760 --> 01:23:54,140
Now, we ought to buy something nice for Eliza, not that disgusting dress.

862
01:23:54,720 --> 01:23:57,939
Something elegant, modest, it's what it's called for here.

863
01:23:58,859 --> 01:24:01,659
Perhaps with a sash here.

864
01:24:02,439 --> 01:24:05,460
I despise those gowns with weed here and weed there.

865
01:24:05,460 --> 01:24:08,779
Maybe with an open neck and a cut on the side.

866
01:24:08,899 --> 01:24:09,640
What do you think, Pickering?

867
01:24:09,640 --> 01:24:10,579
Something modest.

868
01:24:10,859 --> 01:24:11,119
Yes.

869
01:24:12,020 --> 01:24:14,680
Now, where does one buy a gun nowadays?

870
01:24:15,539 --> 01:24:16,960
At Whiteleaf's, of course.

871
01:24:17,960 --> 01:24:19,159
And how do you know that?

872
01:24:20,460 --> 01:24:21,420
Common knowledge.

873
01:24:23,939 --> 01:24:25,760
You've all been working much too hard.

874
01:24:26,079 --> 01:24:27,840
I think the strain is beginning to show, Eliza.

875
01:24:27,899 --> 01:24:30,079
Now, you must put down your books and go to bed.

876
01:24:31,680 --> 01:24:42,050
It was a magical night.

877
01:24:42,289 --> 01:24:43,229
Mr. Higgins is so...

878
01:24:44,109 --> 01:24:47,289
Bed, bed, I couldn't go to bed.

879
01:24:47,289 --> 01:24:51,229
My head's too light to try to settle down

880
01:24:51,229 --> 01:24:56,199
Sleep, sleep, I couldn't sleep tonight

881
01:24:56,199 --> 01:25:00,279
Not for all that you was in the crowd

882
01:25:00,279 --> 01:25:04,739
I could have danced all night

883
01:25:04,739 --> 01:25:07,659
I could have danced all night

884
01:25:07,659 --> 01:25:12,340
And still have begged for more

885
01:25:12,340 --> 01:25:16,319
I could have spread my wings

886
01:25:16,319 --> 01:25:24,619
I've done a thousand things I've never done before

887
01:25:24,619 --> 01:25:30,220
I'll never know what made it so exciting

888
01:25:30,220 --> 01:25:36,500
Why all at once my heart took flight

889
01:25:36,500 --> 01:25:47,239
I only began to dance with me

890
01:25:47,239 --> 01:25:51,220
I could have danced, danced, danced

891
01:25:51,220 --> 01:26:08,270
I could have danced all night

892
01:26:08,270 --> 01:26:12,270
And still have begged for more

893
01:26:12,270 --> 01:26:17,210
I could have spread my wings

894
01:26:17,210 --> 01:26:19,989
And done a thousand things

895
01:26:19,989 --> 01:26:24,829
I've never done before

896
01:26:24,829 --> 01:26:31,550
I'll never know what made it so exciting

897
01:26:31,550 --> 01:26:37,529
Why can't I want my heart to plant

898
01:26:37,529 --> 01:26:48,279
To dance with me

899
01:26:48,279 --> 01:26:52,479
I could've danced, danced, danced

900
01:26:52,479 --> 01:27:18,260
Could've danced, could've danced

901
01:27:18,260 --> 01:27:28,680
I've spread my wings

902
01:27:28,680 --> 01:27:36,619
I've done a thing before

903
01:27:36,619 --> 01:27:39,340
I'll never know