1
00:00:34,799 --> 00:05:45,410
Yes, it is this tree.

2
00:05:48,379 --> 00:05:50,639
21, 22, and 23.

3
00:05:50,939 --> 00:05:52,439
It's very stuffy here.

4
00:05:52,579 --> 00:05:53,420
Do you need some pressure?

5
00:05:53,819 --> 00:05:54,459
Hold on.

6
00:05:54,600 --> 00:05:56,199
I have everything under control.

7
00:05:56,560 --> 00:05:58,699
This needs a good dose of freshness.

8
00:06:00,800 --> 00:06:02,459
I'm going to get some more.

9
00:06:02,560 --> 00:06:03,759
Yes, go, go.

10
00:06:04,060 --> 00:06:05,680
Well, sweetie, here we are.

11
00:06:05,860 --> 00:06:07,620
And what's on tonight?

12
00:06:07,939 --> 00:06:10,540
I don't know, nor do I care, Anticlotilde.

13
00:06:11,060 --> 00:06:16,500
Ah, Mariana, now I understand why we were here instead of going to the opera,

14
00:06:17,040 --> 00:06:19,040
where we knew what they were playing.

15
00:06:19,420 --> 00:06:22,339
We didn't stand up here. That's very logical.

16
00:06:22,860 --> 00:06:25,839
Don't expect to find logic in her, Ankios,

17
00:06:25,879 --> 00:06:28,920
because if she were logical, she would not be part of our family.

18
00:06:30,860 --> 00:06:35,019
Oh, yes, your grandmother, God rest her soul,

19
00:06:35,019 --> 00:06:37,579
used to sew dresses and hats

20
00:06:37,579 --> 00:06:40,240
to all the matches that fell into her hands.

21
00:06:40,779 --> 00:06:42,480
And your poor grandfather

22
00:06:42,480 --> 00:06:44,879
spent the last years of his life

23
00:06:44,879 --> 00:06:46,220
chilling in peace.

24
00:06:46,699 --> 00:06:48,879
And don't forget your uncle Cecilio,

25
00:06:49,199 --> 00:06:51,560
who was sent to a mental hospital.

26
00:06:51,959 --> 00:06:52,879
When he was cured,

27
00:06:53,240 --> 00:06:54,500
he would not leave the institution

28
00:06:54,500 --> 00:06:57,360
because he insisted on marrying the director,

29
00:06:57,360 --> 00:06:59,959
who was a very serious gentleman with glasses.

30
00:07:01,199 --> 00:07:02,459
It appeared that perhaps

31
00:07:02,459 --> 00:07:03,600
he was not cured at all.

32
00:07:03,600 --> 00:07:09,980
Not to mention, your father or your auntie Micaela, we already have to stay there at home.

33
00:07:10,819 --> 00:07:15,560
Regarding your sister, well, let's not even go there.

34
00:07:15,839 --> 00:07:16,100
Us?

35
00:07:16,500 --> 00:07:20,800
For us, we should lock ourselves up and throw away the key.

36
00:07:21,540 --> 00:07:26,319
But anyway, apart from the fact that when you were a child,

37
00:07:26,319 --> 00:07:32,259
you used to eat flowers and walk backwards until you knock your head against a tree.

38
00:07:32,259 --> 00:07:37,259
Everything made us think you are going to be the wife-ship of the family.

39
00:07:41,259 --> 00:07:51,329
Do you think I'm behaving like this because of Fernando Geras?

40
00:07:51,329 --> 00:07:53,329
Of course. Haven't you seen him?

41
00:07:53,329 --> 00:07:57,430
Haven't they?

42
00:07:57,430 --> 00:08:02,259
It's very difficult to me to judge someone weird.

43
00:08:02,259 --> 00:08:05,259
How custom does I am to those in our home?

44
00:08:05,259 --> 00:08:09,259
Well, make an effort and try to compare them with ordinary people.

45
00:08:09,259 --> 00:08:12,259
To cookies, uncle and nephew.

46
00:08:12,259 --> 00:08:13,259
Even him?

47
00:08:13,259 --> 00:08:14,259
Even him.

48
00:08:14,259 --> 00:08:19,259
Are you saying that Fernando could be different from the rest?

49
00:08:19,259 --> 00:08:24,259
A mysterious, secretive, unscrutable, and self-contained man?

50
00:08:24,259 --> 00:08:27,209
No less.

51
00:08:27,209 --> 00:08:29,209
He's a pickable uncle, Ezequiel.

52
00:08:29,209 --> 00:08:31,209
Makes me feel safe every time.

53
00:08:31,209 --> 00:08:36,659
Here's again your prisoner.

54
00:08:36,659 --> 00:08:46,250
We should have brought Iglofilde.

55
00:08:46,250 --> 00:08:47,250
Say what?

56
00:08:47,250 --> 00:08:50,250
Do you think Fernando is living a double life?

57
00:08:50,250 --> 00:08:52,250
Hiding something eternally?

58
00:08:52,250 --> 00:08:58,649
Internally, for instance, hiding a terrible secret that no one knows.

59
00:08:58,789 --> 00:09:00,230
It wouldn't surprise me.

60
00:09:00,330 --> 00:09:04,230
Oh, God bless you, Auntie Clotilde, you make me so happy.

61
00:09:04,230 --> 00:09:13,269
Do you need Fernando to be a mysterious, secretive, unscrutable, and self-contained man to be happy?

62
00:09:13,590 --> 00:09:15,090
Yes, I do!

63
00:09:15,809 --> 00:09:18,190
Back to the flowers! Here we go again!

64
00:09:18,190 --> 00:09:25,210
And if one day I discover that everything in his life is simple and normal, I will break up with him.

65
00:09:25,549 --> 00:09:26,129
Will you?

66
00:09:26,350 --> 00:09:30,809
Yes, I will run away from his side, like I did tonight. I don't care where.

67
00:09:31,389 --> 00:09:36,269
But, Mariana, it will be easy to find you if you end up in a cinema like this.

68
00:09:36,649 --> 00:09:38,870
And you'll survive the air freshener, man.

69
00:09:44,350 --> 00:09:46,049
Don't make fun of that auntie.

70
00:09:46,409 --> 00:09:50,830
I'm sorry, but talking about this in surgery, it makes me feel sad.

71
00:09:51,090 --> 00:09:53,389
It reminds me of your sister.

72
00:09:53,690 --> 00:09:57,750
Yes, your sister started acting strange like you.

73
00:09:57,990 --> 00:09:59,610
Until one day, she's abused.

74
00:10:00,190 --> 00:10:01,529
And she's still missing.

75
00:10:02,090 --> 00:10:04,490
As I don't want to share this fate with your sister,

76
00:10:05,049 --> 00:10:06,889
I am going to fight your peculiarities.

77
00:10:06,889 --> 00:10:08,769
I am not my sister.

78
00:10:09,009 --> 00:10:10,110
But you are, Abriones!

79
00:10:10,570 --> 00:10:13,950
Our only inheritance is our madness.

80
00:10:14,490 --> 00:10:15,509
That's ridiculous.

81
00:10:15,850 --> 00:10:16,450
Ridiculous.

82
00:10:16,570 --> 00:10:18,509
And what about your auntie Micaela's book of examples?

83
00:10:18,970 --> 00:10:21,110
The elderly have it so quick.

84
00:10:21,669 --> 00:10:24,610
And your father, who 21 years ago,

85
00:10:24,769 --> 00:10:26,549
on 19, 19, 12,

86
00:10:26,830 --> 00:10:28,529
acquired it at 2, 6 p.m.,

87
00:10:28,529 --> 00:10:30,990
when everybody was having to do other things.

88
00:10:32,190 --> 00:10:34,990
I will go to bed forever.

89
00:10:35,529 --> 00:10:37,590
And has been in bed ever since.

90
00:10:37,590 --> 00:10:38,450
Poor thing.

91
00:10:38,669 --> 00:10:41,690
He was heartbreak, but I'm afraid of you, Glutty Leigh.

92
00:10:42,009 --> 00:10:44,029
Have something to do with it.

93
00:10:44,029 --> 00:10:52,009
I have never denied it, but I never thought that breaking his heart would make him rest for life.

94
00:10:52,470 --> 00:10:56,529
No lover has ever before hacked a pillow with such resolution.

95
00:10:56,750 --> 00:11:03,509
Yes, lovers break pains like Becker, or they shoot themselves like Lara, or even marry a chick from Zamora.

96
00:11:03,889 --> 00:11:05,129
Open your eyes, Mariana.

97
00:11:05,450 --> 00:11:08,289
Your daddy is a little bit...

98
00:11:08,289 --> 00:11:08,970
In a matter.

99
00:11:09,149 --> 00:11:11,370
And what's about my... my mother?

100
00:11:11,370 --> 00:11:13,750
I've never heard nonsense about her.

101
00:11:14,029 --> 00:11:16,090
She married your father!

102
00:11:16,450 --> 00:11:17,269
That's enough!

103
00:11:20,750 --> 00:11:22,509
I could be an exception.

104
00:11:22,789 --> 00:11:23,629
Are you a wrestler, too?

105
00:11:23,769 --> 00:11:24,309
Me, too.

106
00:11:24,470 --> 00:11:27,769
And why do you find my behavior so weird?

107
00:11:28,129 --> 00:11:33,929
Because wanted and mysterious, secretive, unscribable, and self-contained men

108
00:11:33,929 --> 00:11:36,970
with a terrible secret that no one knows.

109
00:11:37,309 --> 00:11:38,789
Not very common, my dear.

110
00:11:38,789 --> 00:11:43,110
I would expect that from any other, but Fernando is different.

111
00:11:43,870 --> 00:11:44,309
Why?

112
00:11:44,990 --> 00:11:46,629
Not always, you know,

113
00:11:46,830 --> 00:11:49,629
but sometimes there is something in his eyes,

114
00:11:50,029 --> 00:11:52,549
in his face, in his voice and in his silence.

115
00:11:52,950 --> 00:11:53,909
There is something in him.

116
00:11:54,230 --> 00:11:55,129
Haven't you noticed?

117
00:11:55,529 --> 00:12:00,309
Something inexplicable, obscure, gloomy.

118
00:12:02,250 --> 00:12:04,649
At those times, the way he treats me,

119
00:12:04,929 --> 00:12:05,970
the way he looks at me,

120
00:12:06,250 --> 00:12:08,509
the things he says and the way he says it,

121
00:12:08,710 --> 00:12:10,429
even if he doesn't speak about love,

122
00:12:10,429 --> 00:12:16,909
He makes me feel attracted and fascinated at those times I believe he and I are made for each other.

123
00:12:17,309 --> 00:12:19,789
At those times and this, I adore him!

124
00:12:20,009 --> 00:12:21,490
Mariana, relax!

125
00:12:22,090 --> 00:12:25,110
But that doesn't mean I'm crazy, doesn't it?

126
00:12:25,230 --> 00:12:28,070
I am the only one attracted by mystery.

127
00:12:28,470 --> 00:12:29,470
Yeah, whatever.

128
00:12:30,029 --> 00:12:35,169
Nevertheless, most of the times he regrets like having found the depths of his soul.

129
00:12:35,789 --> 00:12:38,690
His eyes seem to look like everybody else's.

130
00:12:38,690 --> 00:12:44,549
His face and his words are like everybody else's, and his silence are empty.

131
00:12:45,769 --> 00:12:49,110
At those times, he turns into a common man, losing his charm.

132
00:12:49,429 --> 00:12:52,690
At those times, I believe he and I are not meant for each other.

133
00:12:53,090 --> 00:12:54,830
At those times, he bothers me.

134
00:12:55,029 --> 00:12:59,350
If he speaks about love, I can stand him, and I'm eager to lose sight of him.

135
00:12:59,669 --> 00:13:07,320
At those times, I decide, hate him, love him, despise him.

136
00:13:07,620 --> 00:13:10,259
This afternoon, he showed me the man I love.

137
00:13:10,259 --> 00:13:14,720
We were seated under the almond tree where he loved to sit.

138
00:13:15,100 --> 00:13:17,340
And when he asked me, will you come?

139
00:13:17,600 --> 00:13:20,360
I knew he was talking about his mansion.

140
00:13:20,700 --> 00:13:23,419
And I answered, yes, I will.

141
00:13:23,440 --> 00:13:23,860
Mariana!

142
00:13:25,490 --> 00:13:27,230
As you can see, I'm here.

143
00:13:27,450 --> 00:13:29,250
But you had told me we were out.

144
00:13:29,710 --> 00:13:31,009
The opera was excused.

145
00:13:31,250 --> 00:13:34,730
We had planned to run away at the end of the first act.

146
00:13:35,269 --> 00:13:38,269
But when I saw him, he turned into a man I love.

147
00:13:38,529 --> 00:13:41,230
Even with a candle head, I would do what we planned.

148
00:13:41,230 --> 00:13:43,970
But if you even didn't speak to him...

149
00:13:43,970 --> 00:13:46,809
Yes, we just ran in the car without looking back.

150
00:13:47,090 --> 00:13:48,289
You jumped in the car shouting,

151
00:13:48,509 --> 00:13:49,649
Get in!

152
00:13:49,929 --> 00:13:53,669
And before we realized, we were sitting on this air freshener cinema,

153
00:13:54,129 --> 00:13:55,529
leaving the Ojedas behind.

154
00:13:55,990 --> 00:13:58,350
Are you aware of where it is taking you?

155
00:13:58,490 --> 00:13:59,309
To happiness?

156
00:13:59,809 --> 00:14:00,450
Or misery?

157
00:14:00,809 --> 00:14:02,429
Or to Fernando Velasco, Mariola?

158
00:14:05,269 --> 00:14:09,720
I eat too much air freshener.

159
00:14:10,080 --> 00:14:11,879
Oh, no, it's not that.

160
00:14:11,879 --> 00:14:13,220
It's the Ojedas approaching.

161
00:14:13,379 --> 00:14:27,600
I didn't think you would say hello tonight again

162
00:14:27,600 --> 00:14:30,279
What a nuisance, you play a dirty trick on us

163
00:14:30,279 --> 00:14:30,840
Sorry

164
00:14:30,840 --> 00:14:35,580
I guess Mariana has her own reasons to play hide and seek with Fernando

165
00:14:35,580 --> 00:14:38,580
But don't you think we're too old to play these games?

166
00:14:38,639 --> 00:14:40,080
We are not in the mood for jokes

167
00:14:40,080 --> 00:14:41,700
Here are we, do I look happy?

168
00:14:42,179 --> 00:14:43,799
But why have you done this to me?

169
00:14:43,899 --> 00:14:47,879
And you, why weren't you the same man this evening that you were this afternoon?

170
00:14:48,179 --> 00:14:49,779
And why are you that man now?

171
00:14:50,639 --> 00:14:51,039
Mariana

172
00:14:51,039 --> 00:14:56,820
I know what I'm talking about. I'm not crazy, and if I were, you would be the one to blame.

173
00:14:57,700 --> 00:15:02,039
I warn you, we are here because Fernando wanted to find Mariana.

174
00:15:02,379 --> 00:15:03,399
Yes, yes.

175
00:15:03,480 --> 00:15:04,720
We wouldn't have come otherwise.

176
00:15:05,240 --> 00:15:06,360
Of course, of course.

177
00:15:06,500 --> 00:15:07,299
That's unacceptable!

178
00:15:07,759 --> 00:15:10,000
Excuse me, Tequila, are you talking to me?

179
00:15:10,279 --> 00:15:12,639
Yes, I was, but you weren't paying attention.

180
00:15:13,139 --> 00:15:14,899
I'm sorry, I was distracted.

181
00:15:15,159 --> 00:15:17,360
I'm glad my conversation faces you.

182
00:15:17,899 --> 00:15:19,940
Have you heard? He says...

183
00:15:19,940 --> 00:15:21,539
What's wrong?

184
00:15:24,179 --> 00:15:27,470
Gentlemen and ladies...

185
00:15:27,470 --> 00:15:29,769
The movie's going to start, and I've missed the opera concert,

186
00:15:29,889 --> 00:15:32,529
but I will not miss this movie as well, I swear.

187
00:15:32,690 --> 00:15:34,629
But if you're the only one speaking...

188
00:15:34,629 --> 00:15:37,350
What's wrong, Mariana?

189
00:15:37,649 --> 00:15:39,570
Nothing. There's nothing wrong with me.

190
00:15:39,629 --> 00:15:40,409
But listen, girl...

191
00:15:40,409 --> 00:15:43,029
Leave me alone! Don't talk to me! Don't talk to me! Don't look at me!

192
00:15:43,330 --> 00:15:49,919
But why is she running away from me again?

193
00:15:50,240 --> 00:15:51,159
Bless me God!

194
00:15:51,440 --> 00:15:53,679
Tonight is gonna be a good night after all.

195
00:15:54,080 --> 00:15:59,379
Why, when she is looking at me with the greatest love, she suddenly changed, and changed it into hate.

196
00:16:09,679 --> 00:16:10,200
Normie.

197
00:16:10,360 --> 00:16:15,929
It's going to be tonight.

198
00:16:16,129 --> 00:16:16,389
Tonight!

199
00:16:16,950 --> 00:16:17,429
We know.

200
00:16:17,809 --> 00:16:19,649
I couldn't live among us one more day.

201
00:16:20,049 --> 00:16:23,610
But I wonder if you have to live like that until now.

202
00:16:24,309 --> 00:16:25,470
I need her in my mansion.

203
00:16:25,669 --> 00:16:30,750
I need to bring her there either way, because she is the only one that can free me from that hell.

204
00:16:31,789 --> 00:16:33,210
Then go and join.

205
00:16:33,470 --> 00:16:34,330
I'm not telling you.

206
00:16:34,529 --> 00:16:34,789
Go.

207
00:16:34,789 --> 00:16:37,309
Oh, we have the little motor with you. Give it to me.

208
00:16:38,409 --> 00:16:39,789
Here you are. Good luck.

209
00:16:40,049 --> 00:16:40,470
Good luck.

210
00:16:40,769 --> 00:16:42,929
Can you...

211
00:16:42,929 --> 00:16:43,730
Gentlemen.

212
00:16:46,490 --> 00:16:50,750
One of the ladies passed me this note for you to read, secretly.

213
00:16:51,570 --> 00:16:54,470
Thank you. Can I borrow your torch for a while?

214
00:16:54,929 --> 00:16:55,990
Yes, of course.

215
00:17:00,470 --> 00:17:06,609
Search for Clock Sharp at the garden gate in my house, Matilde.

216
00:17:06,609 --> 00:17:09,849
Please, girl, can you call me in quarter to twelve?

217
00:17:10,029 --> 00:17:11,950
Yes, of course.

218
00:17:14,650 --> 00:17:28,230
Towards the beginning of the movie.

219
00:17:59,480 --> 00:18:04,180
Enhorabuena al Instituto Fortuny y al Colegio San Cristóbal.

220
00:18:04,299 --> 00:18:05,079
Muy bien, chicos.

221
00:18:05,579 --> 00:18:10,000
Ambos de Madrid por estas dos estupendas escenas también interpretadas

222
00:18:10,000 --> 00:18:14,460
y por haber sido propuestos para el primer premio de teatro en inglés

223
00:18:14,460 --> 00:18:17,339
en la categoría de secundaria y de primaria.

224
00:18:17,339 --> 00:18:19,079
A big round of applause for him.

225
00:18:29,519 --> 00:18:36,299
Vice-Consejera de Educación, Juventud y Deportes, Directora General de Mejora de la Calidad de la Enseñanza,

226
00:18:36,759 --> 00:18:42,160
Directora del Área Territorial de Madrid Capital, Consejal Presidente del Distrito de Chamberí

227
00:18:42,160 --> 00:18:49,740
and other authorities of the Consejera de Educación, Juventud y Deportes, students, families, teachers,

228
00:18:49,740 --> 00:18:56,859
we welcome you to this joint act of closing of the 20th edition of the School Theatre Certificate,

229
00:18:57,299 --> 00:19:03,819
3rd edition of the Dance Certificate and 1st edition of the English Oratory Competition of the Community of Madrid.

230
00:19:04,319 --> 00:19:12,319
From here, we want to thank the effort and generosity of all of you who have collaborated in all possible ways

231
00:19:12,319 --> 00:19:17,140
in any of these theatre, dance and oratory certifications in English.

232
00:19:17,140 --> 00:19:36,440
In this act of closure, we want to give all the protagonism to our students, because without them, without their enormous illusion, without their imagination, without their immense and sometimes uncontrollable energy, without their passions and their thousands of things, this contest would not be possible.

233
00:19:36,440 --> 00:19:47,440
But we also want to thank, and especially to those other main actors, hidden today, which are the teachers.

234
00:19:47,440 --> 00:20:00,440
Without their enormous illusion, their imagination, their generosity, their perseverance, their patience, their sense of humor, their passions, their anger and their, their, their, their thousands of things,

235
00:20:00,440 --> 00:20:06,900
no sería posible desarrollar una labor tan importante como es la educación.

236
00:20:08,140 --> 00:20:14,680
Estos tres certámenes tienen como principales objetivos el potenciar y habilitar un espacio

237
00:20:14,680 --> 00:20:20,759
para el desarrollo de competencias tan importantes como la sensibilidad artística, la creatividad

238
00:20:20,759 --> 00:20:22,279
y el trabajo en equipo.

239
00:20:22,940 --> 00:20:28,940
Por eso, insistimos en dar las gracias a estos profesores que dedican de forma altruista

240
00:20:28,940 --> 00:20:34,579
their free time to any of these disciplines, of which today we will be able to see a small

241
00:20:34,579 --> 00:20:42,099
sample. We all know the great effort and dedication that it takes to prepare any of

242
00:20:42,099 --> 00:20:47,539
these shows, and for this reason, and with our enormous gratitude, we ask you for a

243
00:20:47,539 --> 00:20:52,900
strong applause for all those faces, not visible, but present today. A strong applause,

244
00:20:52,900 --> 00:21:19,019
With the aim of being able to show the greatest number of performances and thus share the effort of the centers, we have tried to select a varied sample of fragments of works, numbers of dance and pieces of oratory that represent the best of these contests.

245
00:21:19,019 --> 00:21:43,710
A continuación, les mostraremos dos piezas de danza. La primera corresponde al primer premio propuesto del certamen de danza en la modalidad de primaria, que ha sido para el Colegio Nuestra Señora de Loreto de Madrid, con una pieza de folclore internacional de Richard Strauss.

246
00:21:43,710 --> 00:21:49,710
La Consejería de Educación, Juventud y Deporte, además de apoyar la danza clásica y las danzas folclóricas,

247
00:21:50,589 --> 00:21:55,750
quiere también animar y apoyar la danza moderna como modo de expresión de los jóvenes.

248
00:21:56,269 --> 00:21:58,710
Muestra de ello es la segunda pieza que veremos a continuación,

249
00:21:59,769 --> 00:22:03,849
que además de original y contemporánea, está llena de matices de gran calidad.

250
00:22:04,289 --> 00:22:08,529
Esta segunda pieza ha sido realizada por el Colegio Santa Ana de Pedrezuela.

251
00:22:09,009 --> 00:22:11,009
Y ahora sí, un fuerte aplauso para todos ellos.

252
00:22:21,329 --> 00:32:05,509
Enhorabuena por estas maravillosas representaciones.

253
00:32:06,130 --> 00:32:12,410
A continuación, damos paso a los tres primeros clasificados en el certamen de teatro en castellano.

254
00:32:12,410 --> 00:32:14,829
Y que irán uno después de otro.

255
00:32:15,210 --> 00:32:20,170
El primer espectáculo nos lo mostrará el Colegio San José de Clun, de Pozuelo de Arrozco,

256
00:32:20,410 --> 00:32:23,529
que ha interpretado una escena del Don Juan Tenorio de José Torrilla,

257
00:32:23,890 --> 00:32:28,269
por el que ha sido propuesto para el segundo premio de teatro en la modalidad de castellano.

258
00:32:28,509 --> 00:32:39,509
The second one is in charge of the Clara Campoamor Institute of Moscow, which will present us a scene of the Lady Boa of Lope de Vega, for which it has been proposed for the third award in Castilian theater.

259
00:32:39,509 --> 00:32:50,509
And the third show will be Blood Weddings of Federico García Lorca, represented by the San Isidro Institute and which has been proposed for the first award in Castilian theater.

260
00:32:50,509 --> 00:32:54,509
Now, from here we wish you good luck and a big applause.

261
00:32:54,509 --> 00:33:20,819
What do you want, good gentleman?

262
00:33:23,089 --> 00:33:23,650
I want.

263
00:33:25,410 --> 00:33:26,549
What do you want?

264
00:33:27,369 --> 00:33:28,430
Let's see.

265
00:33:30,309 --> 00:33:30,950
See?

266
00:33:31,950 --> 00:33:32,589
See?

267
00:33:33,730 --> 00:33:37,109
And what will you see at this hour?

268
00:33:37,630 --> 00:33:41,529
Your lady.

269
00:33:41,910 --> 00:33:43,430
And you, Hidalgo, in bad time.

270
00:33:44,130 --> 00:33:45,450
Who do you think lives here?

271
00:33:46,309 --> 00:33:47,690
Doña Ana Pantoja.

272
00:33:48,309 --> 00:33:49,549
And I want to see your lady.

273
00:33:50,269 --> 00:33:53,269
Do you know what day it is, Doña Ana?

274
00:33:53,269 --> 00:33:55,269
Yes, tomorrow.

275
00:33:55,269 --> 00:33:57,269
And should it be already, so unfaithful?

276
00:33:57,269 --> 00:34:00,269
Yes, it will be.

277
00:34:00,269 --> 00:34:03,269
Well, isn't it of Don Luis Mejía?

278
00:34:03,269 --> 00:34:09,269
Yes, another day. Today is not tomorrow, Lucía.

279
00:34:09,269 --> 00:34:11,269
I have to be with Doña Ana today.

280
00:34:11,269 --> 00:34:16,949
Tomorrow will be another day.

281
00:34:16,949 --> 00:34:19,949
Ah, in welcoming you, is it?

282
00:34:19,949 --> 00:34:21,949
It will be.

283
00:34:21,949 --> 00:34:25,780
What are you going to do if I serve you?

284
00:34:25,780 --> 00:34:26,780
Open.

285
00:34:26,780 --> 00:34:30,780
Good. And who will open this castle?

286
00:34:31,780 --> 00:34:33,780
That pocket.

287
00:34:33,780 --> 00:34:34,780
Gold?

288
00:34:34,780 --> 00:34:36,780
Soon it will give you the shine.

289
00:34:36,780 --> 00:34:37,780
How much?

290
00:34:37,780 --> 00:34:40,780
100 times more.

291
00:34:40,780 --> 00:34:41,780
Jesus?

292
00:34:41,780 --> 00:34:43,780
Count and tell me.

293
00:34:43,780 --> 00:34:46,780
Can this house open this castle?

294
00:34:47,780 --> 00:34:50,780
Oh, if it's the one that will give me the peak.

295
00:34:50,780 --> 00:34:51,780
Very rich.

296
00:34:51,780 --> 00:34:52,780
Yes?

297
00:34:52,780 --> 00:34:53,980
What name is the gallant?

298
00:34:53,980 --> 00:34:54,780
Don Juan.

299
00:34:56,079 --> 00:34:57,280
Without a notorious last name.

300
00:34:57,280 --> 00:34:58,280
Tenorio!

301
00:34:58,880 --> 00:35:00,280
You're so courteous.

302
00:35:00,780 --> 00:35:01,579
Are you Don Juan?

303
00:35:02,880 --> 00:35:06,079
Quiet, Medrenta, if your eyes are very rich.

304
00:35:06,079 --> 00:35:07,280
Don Juan Tenorio?

305
00:35:08,780 --> 00:35:10,480
Rechina the lock.

306
00:35:11,280 --> 00:35:12,280
Be sure.

307
00:35:12,880 --> 00:35:14,579
And who will you give me for the zebu?

308
00:35:14,579 --> 00:35:15,280
You.

309
00:35:16,079 --> 00:35:17,880
And who will open the way for me?

310
00:35:17,880 --> 00:35:18,679
Buentino.

311
00:35:18,679 --> 00:35:19,380
Yes.

312
00:35:19,780 --> 00:35:21,280
And give me the arms of destiny.

313
00:35:21,280 --> 00:35:23,280
Give me some time for ten.

314
00:35:23,280 --> 00:35:25,280
At ten.

315
00:35:25,280 --> 00:35:32,360
Where do you want to go, Shami?

316
00:35:32,360 --> 00:35:34,360
Here.

317
00:35:34,360 --> 00:35:36,360
You'll be punctual, won't you?

318
00:35:36,360 --> 00:35:38,360
I will.

319
00:35:38,360 --> 00:35:40,360
Well, I'll bring you a key.

320
00:35:40,360 --> 00:35:42,360
And I'll bring the same amount.

321
00:35:42,360 --> 00:35:44,360
Don't miss me.

322
00:35:44,360 --> 00:35:46,360
Not really.

323
00:35:46,360 --> 00:35:48,360
At ten, I'll be here.

324
00:35:48,360 --> 00:35:50,360
Goodbye, then.

325
00:35:50,360 --> 00:35:52,360
And trust me.

326
00:35:52,360 --> 00:35:54,360
And trust me.

327
00:35:54,360 --> 00:35:55,820
Y en mí te fío.

328
00:35:56,219 --> 00:35:58,280
Y en mí, el garboso galán.

329
00:35:58,940 --> 00:36:00,920
Adiós, pues, franca Lucía.

330
00:36:01,679 --> 00:36:04,619
Adiós, pues, rico don Juan.

331
00:36:06,900 --> 00:36:30,829
En qué confusión me veo.

332
00:36:31,429 --> 00:36:33,230
Hay mujer más desdichada.

333
00:36:33,730 --> 00:36:35,670
Todos dan en perseguirme.

334
00:36:35,909 --> 00:36:38,949
Detente en un punto firme, fortuna veloz y airada,

335
00:36:39,570 --> 00:36:42,469
que ya parece que quieres ayudar mi pretensión.

336
00:36:43,429 --> 00:36:45,730
Oh, what a great occasion.

337
00:36:46,969 --> 00:36:49,269
Are you my good?

338
00:36:49,630 --> 00:36:51,929
I don't expect to see me in Laurencia, never.

339
00:36:52,409 --> 00:36:53,889
Everyone is mad at me for you.

340
00:36:54,030 --> 00:36:55,329
Well, what have they told you about me?

341
00:36:55,670 --> 00:36:56,869
You'll know that now.

342
00:36:57,789 --> 00:36:59,610
Where is my thought?

343
00:37:00,130 --> 00:37:01,050
Your thought?

344
00:37:01,409 --> 00:37:01,789
Yes.

345
00:37:02,329 --> 00:37:02,849
In you.

346
00:37:03,489 --> 00:37:06,130
Because if it were in me, I would be happier.

347
00:37:06,650 --> 00:37:07,010
You see?

348
00:37:07,610 --> 00:37:08,110
I don't.

349
00:37:08,610 --> 00:37:08,989
Never.

350
00:37:08,989 --> 00:37:13,829
Mi hermana me dijo aquí que no has de pasarme a mí por el pensamiento más.

351
00:37:14,289 --> 00:37:17,570
Por eso allá te desvía, y no me pases por él.

352
00:37:17,769 --> 00:37:20,489
Piensa que yo estoy en él y echarme fuera querría.

353
00:37:21,090 --> 00:37:24,190
Tras esto, dice que en mí pusiste los ojos.

354
00:37:24,550 --> 00:37:27,969
Dice, ¿verdad? No lo contradice el alma que vive en ti.

355
00:37:28,230 --> 00:37:31,429
Pues tú me has de quitar luego los ojos que me pusiste.

356
00:37:31,849 --> 00:37:33,449
¿Cómo, si en amor consiste?

357
00:37:33,449 --> 00:37:39,090
Que me los quites, te ruego, con ese lienzo de aquí, si yo los tengo en mis ojos.

358
00:37:39,409 --> 00:37:41,710
No más, cesen los enojos.

359
00:37:41,929 --> 00:37:43,030
¿No están en mis ojos?

360
00:37:43,389 --> 00:37:43,730
Sí.

361
00:37:44,130 --> 00:37:47,190
Pues limpia y quita los tuyos, que no han de estar en los míos.

362
00:37:47,409 --> 00:37:48,769
¡Qué graciosos desvaríos!

363
00:37:49,150 --> 00:37:51,150
Pon los anís en los suyos.

364
00:37:51,250 --> 00:37:52,590
Ya te limpio con el lienzo.

365
00:37:53,570 --> 00:37:54,090
¿Quitáselos?

366
00:37:54,369 --> 00:37:55,030
¿No lo ves?

367
00:37:56,250 --> 00:38:00,170
¡Laurencio, no se los des, que a sentir penas comienzo!

368
00:38:00,170 --> 00:38:07,570
Pues más hay. Que el padre mío bravamente se ha enojado del abrazo que me has dado.

369
00:38:07,889 --> 00:38:09,409
¿Más que hay otro desvarío?

370
00:38:09,670 --> 00:38:12,969
También me le has de quitar. No ha de reñirme por esto.

371
00:38:13,329 --> 00:38:14,289
¿Cómo ha de ser?

372
00:38:14,409 --> 00:38:17,349
Siendo presto. ¿No sabe desabrazar?

373
00:38:17,969 --> 00:38:22,230
El brazo derecho alce. Tienes razón. Ya me acuerdo.

374
00:38:22,909 --> 00:38:26,409
Ahora alzaré el izquierdo y el abrazo desharé.

375
00:38:26,989 --> 00:38:28,170
¿Estoy ya desabrazada?

376
00:38:28,170 --> 00:38:30,170
Don't you see?

377
00:38:30,170 --> 00:38:32,170
And I do too.

378
00:38:32,170 --> 00:38:35,170
I'm so used to it that you won't say anything to me anymore.

379
00:38:35,170 --> 00:38:38,170
I don't care about what Laurencio thinks of me anymore.

380
00:38:38,170 --> 00:38:41,170
And I went back to my eyes because she gets married to you.

381
00:38:41,170 --> 00:38:44,170
I took them in the canvas and she has already unhooked me.

382
00:38:44,170 --> 00:38:46,170
You know what has happened to you, with a high laugh.

383
00:38:46,170 --> 00:38:47,170
Not here.

384
00:38:47,170 --> 00:38:49,170
Let's go to the garden.

385
00:38:49,170 --> 00:38:51,170
I have something to tell you.

386
00:38:51,170 --> 00:38:53,170
Wherever you want, let's go.

387
00:38:55,170 --> 00:38:57,170
She takes him.

388
00:38:57,170 --> 00:39:04,610
Anyway, what is this that makes me sad that he leaves with him?

389
00:39:04,610 --> 00:39:07,610
I'm going after him.

390
00:39:07,610 --> 00:39:11,610
What is this that makes me sad about my own freedom?

391
00:39:11,610 --> 00:39:14,610
I can't live without Laurencio.

392
00:39:14,610 --> 00:39:17,610
This is my father. Silence!

393
00:39:17,610 --> 00:39:20,610
Shut up, tongue! Eyes! Speak!

394
00:39:20,610 --> 00:39:22,610
Where is your husband?

395
00:39:22,610 --> 00:39:27,610
I thought that the first thing you did when you saw me was to know if I obeyed you.

396
00:39:27,610 --> 00:39:29,610
Well, what for?

397
00:39:29,610 --> 00:39:34,610
Are you angry that you didn't tell me here that it was wrong to hug Laurencio?

398
00:39:34,610 --> 00:39:38,610
Well, now that I unhugged him, I begged him, and the last hug has taken me away.

399
00:39:38,610 --> 00:39:40,610
Is there such a thing?

400
00:39:40,610 --> 00:39:43,610
Well, say, beast, did you hug him again?

401
00:39:43,610 --> 00:39:49,610
That's not it. It was the first time I raised Laurencio's right arm.

402
00:39:49,610 --> 00:39:51,610
That hug.

403
00:39:51,610 --> 00:39:58,869
Y agora levanto, que bien me acuerdo, porque fuese al revés, el brazo izquierdo, luego desabrazada estoy agora.

404
00:40:00,130 --> 00:40:02,510
Cuando pienso que sabe más, ignora.

405
00:40:03,369 --> 00:40:06,010
Ello es querer hacer lo que no quiso naturaleza.

406
00:40:06,489 --> 00:40:12,849
Diga, señor padre, ¿cómo llaman aquello que se siente cuando se va con otro lo que se ama?

407
00:40:13,349 --> 00:40:15,969
Ese agravio de amor, celos se llama.

408
00:40:16,309 --> 00:40:16,849
¿Celos?

409
00:40:17,030 --> 00:40:19,190
Pues, ¿no lo ves? ¿Qué son sus hijos?

410
00:40:19,190 --> 00:40:23,190
El padre puede dar mil regocijos, y es muy hombre de bien,

411
00:40:23,550 --> 00:40:26,030
mas desdichado es que tan malos hijos ha criado.

412
00:40:27,010 --> 00:40:28,289
Luz va teniendo ya.

413
00:40:29,110 --> 00:40:33,210
Pienso y bien pienso, que si amor la enseñase, aprendería.

414
00:40:33,650 --> 00:40:35,730
¿Con qué se quita el mal de celosía?

415
00:40:36,150 --> 00:40:40,829
Con desenamorarse, si hay agravio, que es el remedio más prudente y sabio.

416
00:40:41,369 --> 00:40:46,010
Que mientras haya amor, ha de haber celos, pensión que dieron a este bien los cielos.

417
00:40:47,449 --> 00:40:50,000
¿A dónde misesta?

418
00:40:50,500 --> 00:40:53,780
Junto a la fuente, con Laurencio se fue.

419
00:40:54,679 --> 00:40:55,699
¡Cansada cosa!

420
00:40:56,519 --> 00:40:58,539
¡Aprenda no la mala a hablar su prosa!

421
00:40:59,159 --> 00:41:00,960
¡Deje sedes, sonetos y canciones!

422
00:41:02,019 --> 00:41:04,139
¡Allá voy a romperle las razones!

423
00:41:05,199 --> 00:41:08,539
¿Por quién en el mundo pasa esto que pasa por mí?

424
00:41:09,219 --> 00:41:10,300
¿Qué vi de Nantes?

425
00:41:10,739 --> 00:41:13,059
¿Qué vi que así me enciende y me abraza?

426
00:41:13,800 --> 00:41:17,219
¡Celos dice el padre mío que son brava enfermedad!

427
00:41:17,239 --> 00:41:19,579
¡Huyendo su autoridad de enojarle me desvío!

428
00:41:19,579 --> 00:41:24,320
Aunque, en parte, le agradezco que estorbarse los enojos de Nise.

429
00:41:25,219 --> 00:41:27,719
Aquí están los ojos a cuyos rayos me ofrezco.

430
00:41:28,480 --> 00:41:28,960
Señora.

431
00:41:30,059 --> 00:41:31,460
Estoy por no hablarte.

432
00:41:31,860 --> 00:41:33,260
¿Cómo te fuiste con Nise?

433
00:41:33,480 --> 00:41:34,860
No me fui porque yo quise.

434
00:41:35,039 --> 00:41:35,820
Pues, ¿por qué?

435
00:41:36,119 --> 00:41:37,179
Por no enojarte.

436
00:41:37,980 --> 00:41:39,579
Bésame si no te veo.

437
00:41:40,260 --> 00:41:42,420
Y enviándote ya querría que te fueses.

438
00:41:43,179 --> 00:41:45,519
Y a por fía anda el temor y el deseo.

439
00:41:46,179 --> 00:41:49,480
Yo estoy celosa de ti, que ya sé lo que son celos.

440
00:41:49,579 --> 00:41:57,019
That his hard name, oh heavens, my father told me here, but he also gave me the remedy.

441
00:41:57,360 --> 00:41:57,980
What is it?

442
00:41:58,559 --> 00:42:02,159
Unloose me, because I will be able to soothe myself by removing the love from the middle.

443
00:42:02,320 --> 00:42:04,219
Well, that, how should it be?

444
00:42:04,480 --> 00:42:07,599
The one who put the love on me, will remove it better.

445
00:42:07,940 --> 00:42:09,440
There is usually a remedy.

446
00:42:09,860 --> 00:42:10,139
What?

447
00:42:10,440 --> 00:42:12,659
Those who come here, will help the remedy.

448
00:42:12,659 --> 00:42:14,659
They will help each other.

449
00:44:42,820 --> 00:44:57,760
Tengo frío. Mis cenizas de soñolientos metales buscan la cresta del fuego por los montes y las calles.

450
00:44:58,500 --> 00:45:10,860
Pero me lleva la nieve sobre su espalda de jaspe y me anega, dura y fría, el agua de los estanques.

451
00:45:10,860 --> 00:45:21,960
Pues esta noche tendrán mis mejillas rojas sangre y los juncos agrupados en los anchos pies del aire.

452
00:45:22,679 --> 00:45:25,780
No haya sombra ni emboscada, que no puedan escaparse.

453
00:45:28,650 --> 00:45:32,769
Que quiero entrar en un pecho para poder calentarme.

454
00:45:34,150 --> 00:45:41,510
Un corazón para mí, caliente, que se derrame por los montes de mi pecho.

455
00:45:41,510 --> 00:45:49,170
Let me in, let me in. I don't want shadows. My rays have to come in everywhere.

456
00:45:50,789 --> 00:45:55,230
And there are in the dark trunks a rumor of clarities.

457
00:45:56,329 --> 00:46:05,909
So that tonight they have my sweet cheeks of blood and the joints grouped in the wide feet of the air.

458
00:46:07,809 --> 00:46:09,110
Who is hiding?

459
00:46:09,809 --> 00:46:10,750
Out, I say.

460
00:46:10,750 --> 00:46:19,610
No podrán escaparse. Lo ha de lucir al caballo. Una fiebre de diamante.

461
00:46:33,000 --> 00:46:37,739
Esa luna se va y ellos se acercan. De aquí no pasan.

462
00:46:40,230 --> 00:46:47,449
El rumor del río apagará con el rumor de troncos el desgarrado vuelo de los gritos.

463
00:46:48,829 --> 00:46:50,909
¡Aquí ha de ser! ¡Y pronto!

464
00:46:50,909 --> 00:47:00,230
Estoy cansada, abren los cofres y los blancos hilos

465
00:47:00,230 --> 00:47:06,909
Aguardan por el suelo de la alcoba cuerpos pesados con el cuello herido

466
00:47:06,909 --> 00:47:14,809
No se despierte un pájaro y la brisa recogiendo en su falda los gemidos

467
00:47:14,809 --> 00:47:18,949
Huyá con ellos por las negras copas

468
00:47:18,949 --> 00:47:23,190
O los entierre por el blanco limo

469
00:47:23,190 --> 00:47:28,949
¡Esa luna! ¡Esa luna! ¡Esa luna! ¡Esa luna!

470
00:47:30,789 --> 00:47:32,409
Ya se acercan

471
00:47:32,409 --> 00:47:35,329
Unos por la cañada y otros por el río

472
00:47:35,329 --> 00:47:37,489
Voy a alumbrar las piedras

473
00:47:37,489 --> 00:47:38,929
¿Qué necesitas?

474
00:47:39,510 --> 00:47:39,989
Nada

475
00:47:39,989 --> 00:47:43,650
El aire va llegando duro, con doble filo

476
00:47:43,650 --> 00:47:49,670
Illumina el chaleco y aparta los botones, que después las navajas ya saben el camino.

477
00:47:50,550 --> 00:47:56,469
Pero que tarden mucho en morir, que la sangre ponga sobre mis dedos su delicado silbo.

478
00:47:57,590 --> 00:48:03,849
Mira que ya mis valles de ceniza despiertan en ansia de esta fuente de chorro estrenecido.

479
00:48:04,469 --> 00:48:07,190
No dejemos que pasen el arroyo. ¡Silencio!

480
00:48:07,289 --> 00:48:07,929
¡Allí vienen!

481
00:48:07,929 --> 00:48:12,530
¡Deprisa! ¡Mucha luz! ¿Me has oído? ¡No pueden escaparse!

482
00:48:13,650 --> 00:48:48,980
Next, we move on to the English oratory competition.

483
00:48:48,980 --> 00:48:53,980
This competition is organized by teams of five components each,

484
00:48:53,980 --> 00:48:57,980
who must pass through various tests and communication skills.

485
00:48:57,980 --> 00:49:01,980
In order not to extend ourselves too much, each team has selected a representative

486
00:49:01,980 --> 00:49:04,980
who will offer us a small sample of their interventions.

487
00:49:04,980 --> 00:49:09,980
Next, and by order of classification, the following centers will come out.

488
00:49:09,980 --> 00:49:14,940
Propuesto para el primer premio, Colegio Internacional John Henry Newman, de Madrid.

489
00:49:15,440 --> 00:49:19,760
Propuesto para el segundo premio, Colegio IBM Gavirón, de Alcoventas.

490
00:49:20,239 --> 00:49:24,500
Propuesto para el tercer premio, Colegio Retamar, de Pozuelo de Alarcón.

491
00:49:24,940 --> 00:49:28,199
Y propuesto para el cuarto premio, Colegio Senara, de Madrid.

492
00:49:28,679 --> 00:49:29,719
Un fuerte aplauso para ellos.

493
00:49:31,260 --> 00:49:40,710
Good afternoon, ladies and gentlemen.

494
00:49:41,050 --> 00:49:44,309
I'm going to talk about integration of people with disabilities.

495
00:49:44,309 --> 00:49:51,309
I would just like to know how to give a solution to something that has been solved already.

496
00:49:51,309 --> 00:50:00,309
What does integration mean? Does it mean to be recognized, to be popular, to be fully accepted in society?

497
00:50:00,309 --> 00:50:10,309
My brother has Down syndrome and I'm telling you, he is recognized, popular and even more accepted than me in the society we live in.

498
00:50:10,309 --> 00:50:13,309
He doesn't know how to hate, he only knows how to love.

499
00:50:13,309 --> 00:50:20,050
love. What an amazing person to know, someone who can only love. Disabled, he isn't. More

500
00:50:20,050 --> 00:50:26,710
able, he is. How can I solve that? Because I don't see it as a problem. In fact, the

501
00:50:26,710 --> 00:50:32,929
problem is me and you, not him. Sometimes when people meet my brother, or hear that

502
00:50:32,929 --> 00:50:38,210
I have a brother with Down syndrome, they smile and tell me that people with Down syndrome

503
00:50:38,210 --> 00:50:43,429
are God's angels sent down to earth, and I can see how this is true. I mean, I just

504
00:50:43,429 --> 00:50:49,489
can't imagine my life without him. My family wouldn't be the same, and that would be a

505
00:50:49,489 --> 00:50:55,590
problem. My brother has a friend, a very talented friend, who is a model for children's clothes.

506
00:50:56,309 --> 00:51:01,369
But when you think of a model, what's the first thing that comes to your mind? A cute

507
00:51:01,369 --> 00:51:07,150
little girl, blonde hair with a bowie knit, a pink dress, and a pretty smile. Right? That's

508
00:51:07,150 --> 00:51:14,909
comes to my mind. But did you think the model would have Down syndrome? What do you see here?

509
00:51:16,750 --> 00:51:23,469
A cute little girl, blonde hair with a bow in it, a pink dress and a pretty smile. She is

510
00:51:23,469 --> 00:51:36,199
the perfect model of a disabled person in society. Tintin Abbey by William Wordsworth.

511
00:51:36,519 --> 00:51:42,840
Five years have passed, five summers, with the length of five long winters,

512
00:51:43,380 --> 00:51:51,239
and again I hear these waters, rolling from their mountain springs with a soft inland murmur.

513
00:51:52,019 --> 00:51:59,260
Once again do I behold these steep and lofty cliffs, that on a wild secluded scenic press,

514
00:51:59,619 --> 00:52:05,960
thoughts of more deep seclusion, and connect the landscape with the quiet of the sky.

515
00:52:06,199 --> 00:52:15,519
The days come when I again repose here under this dark sycamore and view these plots of cottage ground.

516
00:52:16,219 --> 00:52:27,480
These orchard tufts, which at this season, with their unripe fruits, are clad in one green hue and lose themselves with groves and copses.

517
00:52:27,900 --> 00:52:32,960
Once again, I see these hedgerows, hardly hedgerows.

518
00:52:32,960 --> 00:52:36,420
These are lines of supportive wood plant wild.

519
00:52:37,099 --> 00:52:40,699
These pastoral farms bring to the very door

520
00:52:40,699 --> 00:52:45,960
and wreaths of smoke sent up in silence from among the trees.

521
00:52:47,059 --> 00:52:49,980
With some uncertain notice, as might seem,

522
00:52:50,539 --> 00:52:53,380
of vagrant dwellers in the houseless woods

523
00:52:53,380 --> 00:52:58,980
or of some hermit's cave where by his fire the hermit sits alone.

524
00:52:58,980 --> 00:53:13,719
Imagine for a moment that I have a box in one hand and some sand in the other.

525
00:53:13,719 --> 00:53:18,719
I start to fill the box with the sand, but at some point there is no more space in the box.

526
00:53:18,719 --> 00:53:20,719
We have a problem, right?

527
00:53:20,719 --> 00:53:25,719
Well, this is what is happening right here on Earth with all the rubbish that we produce.

528
00:53:25,719 --> 00:53:29,719
There is too much and there is no more space for it.

529
00:53:29,719 --> 00:53:31,719
So, what can we do?

530
00:53:31,719 --> 00:53:33,719
To save space, we can recycle.

531
00:53:33,719 --> 00:53:40,719
Recycling means that we take things that we would usually throw away and we make new products from them.

532
00:53:40,719 --> 00:53:47,719
Recycling is also important because it uses less energy and saves a lot of the Earth's natural resources.

533
00:53:47,719 --> 00:53:54,719
If we use less energy, we also make less pollution, and we all know how bad pollution is for our environment.

534
00:53:54,719 --> 00:53:58,719
Recycling is something that all of us need to do.

535
00:53:58,719 --> 00:54:05,360
need to do. Each and every one of us is responsible for this plant. And the good thing is that

536
00:54:05,360 --> 00:54:11,000
it's not difficult to do. You only need to know which materials we can recycle and which

537
00:54:11,000 --> 00:54:18,019
ones we can't. Start with paper, plastic, tin and glass. The first step is to get organized

538
00:54:18,019 --> 00:54:23,599
at home. Today, it is easy to find bins with separate compartments to hold the different

539
00:54:23,599 --> 00:54:30,699
kind of rubbish. Then, if you need your colours, you can do it. In the streets, the blue bin

540
00:54:30,699 --> 00:54:37,340
is for paper, the yellow bin for tin and plastic, and the green one for glass. Every time you

541
00:54:37,340 --> 00:54:42,000
put your rubbish in the correct bin, you're taking care of our planet, making it greener

542
00:54:42,000 --> 00:54:47,780
and cleaner. But don't stop at home. Start recycling at your school or where you work.

543
00:54:48,320 --> 00:54:52,880
Just think of all the trees that we could save by putting all the paper in the blue

544
00:54:52,880 --> 00:54:58,880
Speak to friends and family about the need to recycle and explain why it is necessary.

545
00:54:58,880 --> 00:55:00,880
You can make a change.

546
00:55:00,880 --> 00:55:10,440
Snow White and the Seven Dwarfs

547
00:55:10,440 --> 00:55:14,440
When little Snow White's mother died, the king, her father, up and cried.

548
00:55:14,440 --> 00:55:18,440
Oh, what a nuisance! What a lie! Now I must find another one.

549
00:55:18,440 --> 00:55:22,440
It's never easy for a king to find himself the share of king.

550
00:55:22,440 --> 00:55:26,440
He wrote to every magazine and said, I'm looking for a queen.

551
00:55:26,440 --> 00:55:32,139
for a queen. At least 10,000 girls replied and begged to be a royal bride. The king said

552
00:55:32,139 --> 00:55:37,980
with a shifty smile, I'd like to give each one a try. However, in the end, it was a lady

553
00:55:37,980 --> 00:55:43,659
called Miss Maclawhose brought along a curious toy, the same to eat her unless toy. This

554
00:55:43,659 --> 00:55:49,639
was a mirror, framed in brass, a magic token looking glass. Ask it something, dead or not,

555
00:55:49,920 --> 00:55:54,019
you always got the answer right. For instance, if you were to say, oh mirror, what's for

556
00:55:54,019 --> 00:55:59,019
Today, the thing wears her in a trance. Today, it is homeworks and rots.

557
00:55:59,019 --> 00:56:04,019
Now, every day, week in, week out, this poignant, stupid queen would shout,

558
00:56:04,019 --> 00:56:07,019
A mirror, mirror in the wall has the first time of all.

559
00:56:07,019 --> 00:56:09,019
The mirror would answer every time.

560
00:56:09,019 --> 00:56:12,019
Oh, madam, you're a queen sublime. You're the only one to charm us.

561
00:56:12,019 --> 00:56:15,019
Queen, you're the cat's pyjamas.

562
00:56:15,019 --> 00:56:20,019
For ten whole years, the silly queen repeated this absurd routine.

563
00:56:20,019 --> 00:56:25,019
Then, suddenly, one of a day, she heard the magic in her sleep.

564
00:56:25,019 --> 00:56:30,019
For now, I'm queen door number two. Snow White is prettier than you.

565
00:56:30,019 --> 00:56:33,019
The queen went absolutely wild. She yelled,

566
00:56:33,019 --> 00:56:39,019
I'm going to spark that child! I'll cook her flamingos! I'll scare her! I'll have her rats and guts for dinner!

567
00:56:39,019 --> 00:57:05,280
Congratulations to these four centres for your excellent work at a high level.

568
00:57:05,280 --> 00:57:17,280
From the Consejería de Educación, Juventud y Deporte, we want to support and encourage the centres to take part in the English theatre competition, mainly for two reasons.

569
00:57:17,280 --> 00:57:27,280
The first is because learning English using an artistic discipline such as theatre makes this learning much more fun and motivating for the student.

570
00:57:27,280 --> 00:57:37,280
The second reason is that the student, having to face a different language than he usually uses and which in many cases is a great difficulty,

571
00:57:37,280 --> 00:57:49,280
is forced to use and develop other communication mechanisms such as body expression and intonation, so important and useful in this theater.

572
00:57:49,280 --> 00:57:59,500
Muestra de ello es esta escena de la obra Stage Seagulls del Instituto Alpagest que veremos a continuación

573
00:57:59,500 --> 00:58:06,239
y que ha sido propuesta para el segundo premio de teatro en inglés en la modalidad secundaria.

574
00:58:06,559 --> 00:58:07,940
¡Un fuerte aplauso para ellos!

575
00:58:07,940 --> 00:58:40,889
Hey! Did you have a look at the super this morning? You've been looking pretty good this year, hm?

576
00:58:40,889 --> 00:58:42,889
That's ancient history!

577
00:58:42,889 --> 00:58:46,889
Well, you know, history sometimes repeats itself.

578
00:58:46,889 --> 00:58:48,889
What?

579
00:58:48,889 --> 00:58:49,889
Hi!

580
00:58:49,889 --> 00:58:54,889
Hi, this is, um, Sandy from Sydney, Australia.

581
00:58:54,889 --> 00:58:58,170
Hmm, how are things out under? Fine, thanks.

582
00:58:59,210 --> 00:59:04,150
So, have you seen my new glasses? Don't you think they make me look smarter?

583
00:59:04,730 --> 00:59:06,429
Nah, you can still see your face.

584
00:59:07,809 --> 00:59:10,010
So, how do you like school so far?

585
00:59:10,429 --> 00:59:11,030
It's different.

586
00:59:11,210 --> 00:59:12,050
Hi, kids!

587
00:59:12,150 --> 00:59:14,969
Oh, but this thing pops back up right there.

588
00:59:15,090 --> 00:59:17,889
Oh, I just love the first day of school, don't you?

589
00:59:17,969 --> 00:59:19,690
It's the biggest thrill of my life.

590
00:59:19,809 --> 00:59:21,409
You never guess what happens.

591
00:59:21,650 --> 00:59:22,489
Probably not.

592
00:59:22,489 --> 00:59:28,489
They just announced the nominees for the Students' Council, and guess who sat for Vice President?

593
00:59:28,489 --> 00:59:28,989
Who?

594
00:59:28,989 --> 00:59:31,489
Me! Isn't it the most to say the least?

595
00:59:31,489 --> 00:59:32,989
The very least.

596
00:59:32,989 --> 00:59:35,489
Oh, I just hope they don't make too poor a showing.

597
00:59:35,489 --> 00:59:38,989
Well, we certainly wish you the best of luck, don't we, girls?

598
00:59:38,989 --> 00:59:43,989
Yeah, I kept my fingers crossed here and here.

599
00:59:43,989 --> 00:59:48,989
Oh, you must think I'm terrible at introducing myself to your friends.

600
00:59:48,989 --> 00:59:51,989
Hi, I'm Patricia, welcome to Riot.

601
00:59:51,989 --> 00:59:58,989
Oh, I just had a girl be at the cheerleaders' tryout. We will have so much fun and get to be lifelong friends.

602
00:59:58,989 --> 01:00:03,989
So, what do you think about her? You think she could be part of our pink ladies?

603
01:00:03,989 --> 01:00:06,989
Nah, she looks too pure to be a pink.

604
01:00:06,989 --> 01:00:07,989
Yeah.

605
01:00:07,989 --> 01:00:08,989
Oh, double doo-doo!

606
01:00:08,989 --> 01:00:09,989
What's up, doll?

607
01:00:09,989 --> 01:00:14,989
One of my diamonds just, ugh, fell on the macaroni, ugh!

608
01:00:15,989 --> 01:00:18,989
Hey, you can eat it. You want a piece of salami?

609
01:00:18,989 --> 01:00:19,989
Are you kidding me?

610
01:00:19,989 --> 01:00:21,289
Dad, I don't smell like you.

611
01:00:21,289 --> 01:00:22,789
What's this thing?

612
01:00:22,789 --> 01:00:24,190
Hey guys, look!

613
01:00:24,190 --> 01:00:25,489
Woohoo!

614
01:00:25,489 --> 01:00:28,190
Ladies and gentlemen, Jingleberry's on parade!

615
01:00:28,190 --> 01:00:29,489
Yeah, hey look!

616
01:00:29,489 --> 01:00:32,590
You really put your foot into it this time, too son!

617
01:00:32,590 --> 01:00:34,489
Yeah, try half scotch!

618
01:00:34,489 --> 01:00:35,690
You heard that?

619
01:00:35,690 --> 01:00:36,690
What a gabon!

620
01:00:36,690 --> 01:00:38,789
Gamblers, man!

621
01:00:38,789 --> 01:00:39,590
Hey!

622
01:00:39,590 --> 01:00:42,590
Any of you guys see the new chick in registration?

623
01:00:42,590 --> 01:00:43,389
Oh...

624
01:00:43,389 --> 01:00:45,889
She's got a piece of foam dust around here.

625
01:00:45,889 --> 01:00:48,090
You mean her jacks were bigger than Annette's?

626
01:00:48,090 --> 01:00:48,789
What is jacks?

627
01:00:48,789 --> 01:00:50,789
That's a bigger diamond than us.

628
01:00:50,789 --> 01:00:52,789
Right. Hey, guys. Hey!

629
01:00:54,789 --> 01:00:56,789
Hey, girls!

630
01:00:56,789 --> 01:00:58,789
You're a sick man.

631
01:01:00,789 --> 01:01:02,789
Well, I want to know what Danny did at the beach.

632
01:01:02,789 --> 01:01:04,789
Nah, it was nothing.

633
01:01:04,789 --> 01:01:06,789
Sure enough, it's circle, right?

634
01:01:06,789 --> 01:01:08,789
You got in here through our ears, right?

635
01:01:08,789 --> 01:01:10,789
Come on, tell us about that girl.

636
01:01:10,789 --> 01:01:15,440
He did at the beach.

637
01:01:15,440 --> 01:01:17,440
I'm a boy there.

638
01:01:17,440 --> 01:01:19,440
You hauled your cookies all the way to the beach for some guy?

639
01:01:19,440 --> 01:01:23,440
He was sort of special. There ain't no such thing. He was really romantic.

640
01:01:23,440 --> 01:01:25,440
Oh, come on!

641
01:01:25,440 --> 01:01:27,440
Come on, you're the one to know they hold me eternal.

642
01:01:27,440 --> 01:01:29,440
Man, are you kidding?

643
01:01:29,440 --> 01:01:31,440
All right, all right, I'll tell you.

644
01:01:31,440 --> 01:01:35,440
I was droppin' in harmony at last

645
01:01:35,440 --> 01:01:39,440
So I'm lovin' happy so fast

646
01:01:39,440 --> 01:01:43,440
I met a girl who was crazy for me

647
01:01:43,440 --> 01:01:47,440
I met a boy who was new to me

648
01:01:47,440 --> 01:02:02,440
Tell me more, tell me more, keep you in the report Tell me more, tell me more, let me see how it goes

649
01:02:02,440 --> 01:02:32,420
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.

650
01:02:32,440 --> 01:02:36,780
Tell me more, tell me more, we should put up a fight

651
01:02:36,780 --> 01:02:59,440
Tell me more, tell me more, we should put up a fight

652
01:02:59,440 --> 01:03:10,940
Tell me more, tell me more, we should put up a fight

653
01:03:10,960 --> 01:04:01,059
Tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more.

654
01:04:01,079 --> 01:04:07,219
So I told her, we'd still be friends

655
01:04:07,219 --> 01:04:12,340
And we made love to love them

656
01:04:12,340 --> 01:04:19,590
I wonder why it's so hard

657
01:04:19,590 --> 01:04:27,840
Summer dreams, we've tried to see

658
01:04:27,840 --> 01:05:10,369
And if you see the faces of all the actors who have come down to see them there, they have already

659
01:05:10,369 --> 01:05:11,369
done it.

660
01:05:11,369 --> 01:05:18,010
Well, now we will move on to the delivery of the honorary mentions, that is, to the awards

661
01:05:18,010 --> 01:05:22,989
que no tienen cuantía económica, pero sí el valor de un trabajo bien hecho y que merece

662
01:05:22,989 --> 01:05:28,530
ser reconocido por todos nosotros. Rogamos a las autoridades, doña Alicia de Libes,

663
01:05:28,710 --> 01:05:34,190
Viceconsejera de Educación, Juventud y Deportes, doña Rocío Albert López Ibor, Directora

664
01:05:34,190 --> 01:05:40,050
General de Mejora de la Calidad y de la Enseñanza, y doña Belén Aldea, Directora del Área

665
01:05:40,050 --> 01:05:49,690
territorial de Madrid capital, suban por favor al escenario. Este año, y al igual que el

666
01:05:49,690 --> 01:05:54,730
año pasado, por motivos de dar prioridad a los alumnos y a sus interpretaciones, y

667
01:05:54,730 --> 01:05:59,750
por no extendernos demasiado y hacer un acto de clausura muy largo, no daremos aquí, en

668
01:05:59,750 --> 01:06:05,590
el escenario, los diplomas a los propuestos para primeros premios, ni los premios económicos,

669
01:06:05,590 --> 01:06:11,230
ni los premios a las mejores direcciones. Pero sí, queremos llamar a los alumnos que

670
01:06:11,230 --> 01:06:16,250
han obtenido alguna mención honorífica. Queremos que nuestros jóvenes se sientan

671
01:06:16,250 --> 01:06:21,849
protagonistas y reciban el aplauso que se merecen. El resto de los diplomas los enviaremos

672
01:06:21,849 --> 01:06:28,309
a los centros. Así pues, os pido que según vaya nombrando a los premiados, estos se dirijan

673
01:06:28,309 --> 01:06:34,650
rapidísimamente al escenario a recibir su premio. Y que todos les demos el mayor y más

674
01:06:34,650 --> 01:06:41,550
affectuoso de los aplausos de esta tarde. Así pues, comenzamos. Menciones honoríficas

675
01:06:41,550 --> 01:06:48,730
alumnos. Modalidad Teatro en Inglés de Secundaria. Mejor actor, Miguel Antonio Rivero Benici,

676
01:06:49,210 --> 01:06:54,710
por el personaje de presentador en Stage a Seeing Eyes del Instituto Alpagés de Aranjuez.

677
01:06:54,710 --> 01:07:15,599
Mejor actriz de Don Escofinao en Don Escofinao del Instituto Fortuny Madrid.

678
01:07:23,210 --> 01:07:31,030
Mejor actor de reparto, Jesús Paquero Viñas por Dani Succo en Gris en Stage of Thing I.

679
01:07:38,440 --> 01:07:47,300
Mejor actriz de reparto compartido, Marta de Puyés Morcillo por el personaje de Candidata a un puesto de trabajo.

680
01:07:47,659 --> 01:07:51,059
in Don't Stop Me Now, from the Instituto Fortuny Madrid.

681
01:07:53,989 --> 01:07:56,190
Eze Esposito Galloso,

682
01:07:56,190 --> 01:07:58,489
for the character of the interviewee,

683
01:07:58,489 --> 01:08:01,489
in Don't Stop Me Now, from the Instituto Fortuny Madrid.

684
01:08:09,230 --> 01:08:12,730
Mentiones en Teatro Español de Secundaria.

685
01:08:12,730 --> 01:08:14,929
Mejor Actor Compartido.

686
01:08:14,929 --> 01:08:17,130
Álvaro Nogales Gómez Imán,

687
01:08:17,130 --> 01:08:20,529
for the character of Don Juan, in Don Juan Tenorio.

688
01:08:20,529 --> 01:08:26,659
Y el submanual Kiko González,

689
01:08:26,659 --> 01:08:34,159
for the character of Mosquito in the beautiful Don Diego of the Carlos Bounsoni Institute, Mazalaona.

690
01:08:38,760 --> 01:08:45,840
Best Actress, Laura Ibáñez Peco, for the character of Luna in Blood Weddings of the Instituto Clara de Cáceres.

691
01:08:53,539 --> 01:09:20,300
Best Actress, Laura Corchón Martín, for the character of Belisa in La discreta enamorada,

692
01:09:20,300 --> 01:09:39,430
Dance Certamen, Modalidad A, Los Sauces-Torrelodones School,

693
01:09:39,430 --> 01:09:44,430
student Marsa de Adino Diez for her performance in the choreography

694
01:09:44,430 --> 01:09:48,430
Danza Creativa, Cantando bajo la lluvia.

695
01:09:48,430 --> 01:10:01,250
To the San Jose Franciscanas de Madrid School for their performance

696
01:10:01,250 --> 01:10:05,250
in the choreography Folklore Internacional, Son Naciente.

697
01:10:05,250 --> 01:10:07,250
To the students of the entire group.

698
01:10:07,250 --> 01:10:21,250
Ana Cristina Dinú, Vanessa Marcos, Laura Frutos, María José Luna, Amanda Casanova, Almudena Castillo, Maui Bartolomé, Sara Alonso and Violeta Rivera.

699
01:10:21,250 --> 01:10:44,189
Colegio Nuestra Señora de la Merced, Crescant, Alumnos, Almudena Alonso, Sangrador y Yago Alonso, Sangrador, por su interpretación en la coreografía mixta, clásica, español, hip hop, danza libre.

700
01:10:44,189 --> 01:10:52,619
Thank you very much.

701
01:10:52,619 --> 01:10:55,619
Colegio Los Auges de Torrelodones,

702
01:10:55,619 --> 01:10:58,619
alumna Itziar Barriover Ortiz,

703
01:10:58,619 --> 01:11:01,619
for her performance in the Flamenco Choreography.

704
01:11:05,640 --> 01:11:13,470
Itziar Barriover Ortiz.

705
01:11:13,470 --> 01:11:16,470
If you all want, we can take a picture,

706
01:11:16,470 --> 01:11:18,470
we are being recorded.

707
01:11:18,470 --> 01:11:20,470
Let's say hello to the camera.

708
01:11:20,470 --> 01:11:45,100
Can we hold on for a second? There was an error and we are missing some diplomas, okay?

709
01:11:45,100 --> 01:11:48,100
So, we continue, sorry.

710
01:11:48,100 --> 01:12:04,390
Don't move. Esperanza Siafaoya, from the Santa Ana College.

711
01:12:04,390 --> 01:12:15,279
Domicel Gerardo Trita, from the Joaquín Vicenta College of Madrid, for his interpretation in contemporary choreography.

712
01:12:15,279 --> 01:12:31,750
Cristian González-Ferrante, from the Rayuela-Móstoles Institute, for his interpretation of the choreography in the mode of combination of technique, classical and modern dance.

713
01:12:31,750 --> 01:12:49,140
Martínez Lanzés, from the Rayuela-Móstoles Institute, for his interpretation of the choreography in the mode of combination of technique, classical and modern dance.

714
01:12:49,140 --> 01:13:27,670
A round of applause for all of you.

715
01:13:27,670 --> 01:13:33,670
If you want to sit in the patio, you can go down there.

716
01:13:41,810 --> 01:13:50,130
We only have to thank all the participants.

717
01:13:50,130 --> 01:13:52,130
Whether you have been awarded or not,

718
01:13:52,130 --> 01:13:54,130
we encourage you to continue participating

719
01:13:54,130 --> 01:13:56,130
and, little by little, to improve,

720
01:13:56,130 --> 01:13:59,130
both in quality and variety,

721
01:13:59,130 --> 01:14:03,130
these three festivals of theater, dance and oratory in English.

722
01:14:03,130 --> 01:14:08,130
And now, to say goodbye, we leave you with a last stage of theater.

723
01:14:08,130 --> 01:14:12,130
It corresponds to the work of Don Stofninau, from the Fortuny Institute,

724
01:14:12,130 --> 01:14:19,130
which has been proposed for the first award of theater in English in the secondary modality.

725
01:14:19,130 --> 01:14:24,130
After this performance, the Board of Education, Community and Sports,

726
01:14:24,130 --> 01:14:33,130
to greet you and say goodbye to this closing act of the Theatre, Dance and Oratory of the English Community of Manila.

727
01:14:33,130 --> 01:14:34,130
Thank you very much.

728
01:14:35,130 --> 01:17:11,289
Last call for Mr. Don't Stop Me Now.

729
01:17:11,289 --> 01:17:18,289
Long Distance Life, Destination Melancholy Corner, Rope J23.

730
01:17:18,289 --> 01:17:23,289
For your safety, we ask you to keep an eye on your luggage at all times.

731
01:19:44,689 --> 01:20:16,930
Well, I just have to say goodbye to this act that really, from all the years that I have been in the community of Madrid,

732
01:20:16,930 --> 01:20:26,930
I have always come to this end of the course where each institute and each school represents something of what it has done during the year.

733
01:20:26,930 --> 01:20:32,930
I think it was the best, I don't know what you would say, but I was impressed, excited,

734
01:20:32,930 --> 01:20:38,930
And if anyone really wants to know what we call excellence in the community of Madrid,

735
01:20:38,930 --> 01:20:43,930
I would tell them to come again this year to be here.

736
01:20:43,930 --> 01:20:56,220
Let's see if they know that they are the key to that excellence.

737
01:20:56,220 --> 01:20:59,220
To the General Directorate of Quality,

738
01:20:59,220 --> 01:21:02,220
because they have worked fantastically with them,

739
01:21:02,220 --> 01:21:05,220
and to those who have done a great job.

740
01:21:05,220 --> 01:21:14,510
Thank you very much.

741
01:21:14,510 --> 01:21:17,510
Thank you very much, and have a good week.