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Acto de Clausura del XIX Certamen de Teatro Escolar y II Certamen de Danza de la Comunidad de Madrid.

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21 de mayo de 2012. Real Escuela Superior de Arte Dramático (RESAD). Acto de clausura del XIX Certamen de Teatro Escolar y II Certamen de Danza en Centros Escolares de la Comunidad de Madrid.

Secciones del vídeo:

1º.- CERTAMEN DE DANZA
Actuación del Colegio Ntra. Sra. de Loreto (Madrid)

2º.- CERTAMEN DE TEATRO
Actuación del CEIP San Cristóbal (Madrid)

3º.- CERTAMEN DE DANZA
Actuación del IES León Felipe (Getafe)

4º.- CERTAMEN DE TEATRO
Actuación del IES Victoria Kent (Fuenlabrada)

5º.- CERTAMEN DE TEATRO
Actuación del IES Carlos III (Madrid)
Actuación del Colegio La Inmaculada-Marillac (Madrid)
Actuación del Colegio Los Sauces (Torrelodones)
Actuación del IES Domenico Scarlatti (Aranjuez)

6º.- CERTAMEN DE TEATRO
Entrega de premios

7º.- CERTAMEN DE DANZA
Entrega de premios

8º.- CERTAMEN DE DANZA
Actuación del IES Rayuela (Móstoles)

Más información Transcripción

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Thank you. 00:00:14
Thank you for watching. 00:00:49
Thank you. 00:01:23
Thank you. 00:01:53
Thank you. 00:02:23
And congratulations to the school, our Lady of Loreto, for this great interpretation of a Slavic dance popular of Celtic origin and for having obtained the second prize of the dance competition in the primary modality. 00:03:54
A big round of applause once again for them. 00:05:33
Vice-Chancellor of Education, Doña Alicia de Libes Viniés, 00:05:46
Director General of Improvement of the Quality of Teaching, Doña Rocío Albert López Tibor 00:05:49
and other authorities of the Consejería de Educación y Empleo, 00:05:54
students, families, professors and members of the educational community in general, 00:05:57
we welcome you to this closing act of the 19th edition of the Theater Certificate 00:06:03
and the second of the Dance Certificate in school centers in the Community of Madrid. 00:06:08
that organizes the General Direction for the Improvement of the Quality of Teaching. 00:06:13
In this closing act, all the protagonism is going to be given to the students, 00:06:17
because we consider that they are the main actors of these two cultural and artistic activities 00:06:22
so important for their educational development. 00:06:27
All this, without forgetting the teachers, executive teams and the educational community in general. 00:06:30
We all know the great effort and dedication that it takes to prepare any of these shows and for this reason, and with great gratitude, we ask you for a big applause for all those faces not visible today. 00:06:36
A big applause for all of them. 00:06:51
In order to be able to show the largest number of performances and thus share 00:06:54
among all the creativity, the talent and the effort of all these centers, we have 00:07:05
made a varied selection of fragments of works and numbers of dance that 00:07:11
represent the best of this joint competition of theater and dance. 00:07:15
We will now present a small fragment of Lady Nick, the Lady Bova by Lope de Vega, 00:07:20
a version of the San Cristóbal de Madrid School, very fun and very well directed, 00:07:26
as well as excellently performed by its actors, 00:07:31
and for this reason they have won the first theater award in English in primary education. 00:07:34
Pay close attention! 00:07:40
What elegant scenes we have been... 00:08:01
So old, but delighted. 00:08:16
Well, we can't complain of them. 00:08:18
Bedbugs and... 00:08:22
Lice? 00:08:24
Can't be had at any price. 00:08:26
Aren't we going to eat? 00:08:35
If we stay for a meal, it will be midnight. 00:08:36
What a dream should arrive when he can shower. 00:08:39
So don't weep, but I'm starving. This is Mrs. Finiaker I want to marry. She must be eating sugar and everything nice. 00:08:45
All right, just a slice of bread. Forget it, it's over there. 00:08:56
Look, Giselle, there's a gentleman coming. Hide your foot until he's gone. 00:09:00
Welcome, sir. 00:09:05
Eh? 00:09:09
Welcome, sir. 00:09:11
Good day to you, sir. 00:09:13
On your way to Madrid? 00:09:14
To Paris? 00:09:16
To Madrid. 00:09:17
I left it yesterday. I couldn't find a wife. If your business is missing any time, may God help you. 00:09:18
Oh no, mine's already branded. Are you from Madrid? Then you may know Lady Octavia. 00:09:25
Eh? 00:09:32
Octavia. Lady Octavia. 00:09:33
If it's the one I know, she's supposed lady of the city. 00:09:37
The one I speak of is mother of two daughters. 00:09:40
Harry Potter? 00:09:43
Two daughters. 00:09:44
Right? But you better distinguish between them. 00:09:46
One is a flower. 00:09:58
The other, a wing. 00:10:03
Ow! 00:10:06
This is a lovely flower. 00:10:07
Pinea, the wing. 00:10:09
It sure is bad, but I love this effort that they are going to murder all of us. 00:10:12
Hear that? I'm the groom! 00:10:23
At least be to the album. 00:10:25
And so, sir, isn't he so lovely and intelligent? 00:10:29
Who's an idiot? 00:10:37
Intelligent! 00:10:38
You think? 00:10:39
And Pinea's such an idiot? 00:10:41
Eh? 00:10:43
Idiot! 00:10:44
Don't yell at me! 00:10:46
But does it bother you? 00:10:48
Oh, no, no, no, no. 00:10:50
I'm puzzled that being siblings, they're so different in width and dory. 00:10:52
Since they're sisters, their dory should be equal. 00:10:56
A paternal uncle has been underserved. 00:10:59
That's an awful thing to do. 00:11:02
I disagree. This common sister would make her as wise as this one. 00:11:04
By the way, who's happy mother? 00:11:08
Oh, I've lost my appetite. 00:11:10
Calm down! She'll be the death of me, married to a nitwit that's too mad! 00:11:21
I have to introduce her again to my prima! 00:11:26
The sight of her will kill me! 00:11:29
On the other hand, it's possible Nise, bright as she is, will revive me after the other one has killed me. 00:11:31
What a beautiful opportunity! Finea can make me a wealthy man with a thousand ducats in my hands! 00:11:53
Now I admit that beauty concerns me without you. 00:12:09
What's love? 00:12:22
Love is a sign of what? 00:12:24
Of all of the things. 00:12:27
Pretty things like gold and diamond? 00:12:29
Love is the only thing that has brought my desire. 00:12:33
Well, I have never been in love, so I don't know how it's done. 00:12:37
I have never read about it, and Rufina didn't teach me. 00:12:41
I lost my mother! 00:12:45
Wait! That's not the way! 00:12:46
I'm married. 00:12:49
You see how my love is the last thing I can say. 00:12:54
I like your lessons, especially that part about getting married and positions and all. 00:12:59
So what? And you'll take me to your home and leave me there? 00:13:06
Yes, my lady. 00:13:11
Did you wait till you were born? 00:13:13
I was? 00:13:21
Do you mean, when my mother got married, I wasn't there? 00:13:25
How can I believe that? It's alright. 00:13:28
My two-fourth of May is reaching us! 00:13:30
My mother is coming! 00:13:32
Meg, I must go. 00:13:34
Remember me? 00:13:36
With desire! 00:13:38
I got her. 00:13:50
I couldn't study a whole year and never get this lesson. 00:13:52
Rufino, has she met her grandfather? 00:13:58
Well, she's still struggling over a... 00:14:02
Meditation, Rufino. You know that from his book. 00:14:05
I must go now. I have to run some errands for the wedding. 00:14:08
...shouldn't show any more letters. 00:14:21
What's this? 00:14:27
It must be a... letter? 00:14:34
Letter? 00:14:39
Something else? 00:14:41
No, no, this is not a letter. 00:14:43
It's E, E for elephant. 00:14:49
What a card has this? 00:14:53
Oh, alright, alright. 00:14:56
So, it wasn't an elephant. 00:14:58
It's a letter, right? 00:15:01
And look at all the other cards. 00:15:03
Aren't they pretty? 00:15:06
They are all letters. 00:15:08
That many? 00:15:11
23 of them. 00:15:13
Well, let's get on with the lesson. You'll see how well I do. 00:15:17
What's this? 00:15:21
I don't know. 00:15:26
And this one? 00:15:30
Haven't those letters? 00:15:34
And this? 00:15:36
The, the, the little rock! 00:15:40
Oh, silly! You're exquisite. Silly! Oh, that's it! Silly? That's what it is called. I have forgotten. This is O, and this is U. Me? What the mother... 00:15:43
Repeat after me. 00:16:08
G-O 00:16:16
Go! 00:16:18
Never again set eyes on you! 00:16:27
You told me to go. 00:16:35
I go. 00:16:40
I'm losing my mind. 00:16:42
It's impossible to teach you anything. 00:16:45
By God, there is nothing for me. I'm going to give you a candy. 00:16:51
Aren't you sweet? 00:17:03
Give me a hand. 00:17:05
Oh, man, here. 00:17:07
Now learn to say your A, B, Cs. 00:17:09
Ow! You dog! 00:17:15
So that's what candy means. 00:17:17
Of course. 00:17:19
Watch out! 00:17:20
She's killing him! 00:17:21
Lady, even if you gave me everything you possess, I would never, ever give him another lesson. 00:17:31
There goes another one. 00:17:46
Finea, he seems to be listening to a horse by the last tree. He should be here by now. 00:17:49
Doctor, who do you know? 00:17:54
She knows nothing. That's her news for today. 00:17:56
Your husband to me is now in Madrid. 00:17:59
What a memory! Don't you remember? You gave him to me on this picture. 00:18:03
That's what happens. He likes me in a painting. He will soon be her in the flesh. 00:18:11
I hope you will eschew his liberty, in one who is to become your son, and who honors 00:18:16
us with his presence. 00:18:37
Now, my lady, tell me, which of the two is my bride? 00:18:38
Can't you tell? 00:18:42
I am! 00:18:43
Come to my arms! 00:18:44
Is this her bride? 00:18:45
Yes, yes, of course. 00:18:46
Liceo, this is your sister-in-law. 00:18:47
The fame of your beauty was no lie. 00:18:48
Liceo, this is your sister-in-law. 00:18:49
The fame of your beauty was no lie, your servant. 00:18:56
All this fame is at your feet. 00:19:00
They call you Nice, Divine, because you are as wise as lovely. 00:19:02
And you're lovely in extreme. 00:19:06
Look at the way he bleeds with hair! 00:19:08
And he comes to marry me! 00:19:11
Now I go to that room! 00:19:14
Quiet, you silly! 00:19:16
Children, sit down. 00:19:18
Turing, sir? 00:19:20
Pretty, but stupid. 00:19:22
Sir, how was your journey? 00:19:30
Long and boring. 00:19:32
That's because you didn't take a good horse! 00:19:34
Hold your tongue, sister! 00:19:36
Be quiet! 00:19:38
The beautiful and brave Jules think I spiked a little bit. 00:19:40
Turing, do you have the jewels? 00:19:42
Our thing has not arrived yet. 00:19:44
Are you giving us jewels? 00:19:46
Grits and rings are used for her. 00:19:49
Sir, what's wrong? Are you feeling bad? May I get you something? 00:19:52
Water. May I have some water? 00:19:55
Have some water. 00:19:57
Your daughter, my lady, is enough to drive a man to dream. 00:19:59
Water, that is. 00:20:10
Hey, Gretchen, come here! 00:20:13
Now there's a compliment for you. 00:20:16
Be quiet. 00:20:19
Bring to the last drop. Here, let me dry your beard. What are you doing? 00:20:21
She almost pulled my beard out by the roots. What a charming beast. 00:20:29
You need to rest, sir. I will take Kenya with me so you can compose yourself. 00:20:33
It's a little late to recover my composture. Now I'm trapped. The guest room is ready for you. 00:20:38
There's room for two in my bed. 00:20:44
Good God, don't you know you are not married yet? 00:20:48
What difference does that make? 00:20:50
Come along! 00:20:52
There? 00:20:53
Yes! 00:20:54
Alright! 00:20:55
Goodbye! 00:20:56
Choo-choo! 00:20:57
I'm pushed away! 00:20:58
I'm cursed away? 00:20:59
Oof! 00:21:00
If I only could! 00:21:01
But I'm uncursed to disrupt the stupidity! 00:21:02
I too must go! 00:21:04
May God keep you! 00:21:05
And may he protect me and get me out of this! 00:21:06
Do you want to take off your boots? 00:21:19
I want to take my life! 00:21:20
What a prideful idiot! 00:21:22
How could he have learned such a crazy slang word in such a heavenly birthday? 00:21:24
I proclaim, I hereby renounce the lady, Libby. 00:21:29
Congratulations for this wonderful performance. 00:21:40
Next, we will give way to two shows that will go one after the other. 00:22:07
The first is from the León Felipe de Getafe Institute, who will present a dance piece that shows a summary of all the specialties that have worked throughout the course. 00:22:13
Classic dance, modern, funky, rhythmic gymnastics, flamenco, etc. 00:22:24
In this choreography, and through a short story, the students worked on illusion, love, effort, trust, sacrifice and, above all, on the reward that a dream has to achieve, according to the textual words of the authors. 00:22:30
This choreography has received the second prize in the dance mode in high school. 00:22:46
The second show that we will see will be Slastik, from the Victoria Kent Institute of Fuenlabrada. 00:22:52
It is a comic and very funny sketch and we will tell you more details about this great number of humor. 00:22:58
Now, from here we wish you good luck, we send you a lot of encouragement and many thanks for your hard work and enthusiasm. 00:23:05
A big round of applause for them! 00:23:12
de mi lucea, de mi lucea. 00:23:42
La-la-la-dita na-la-la-dita e-na, 00:23:49
na-la-vita e-na. 00:23:53
De mi na-la-la-dita na-la-la-dita e-na, 00:23:56
de mi lucea, de mi lucea. 00:23:58
Mi fuentecito que corre, 00:24:04
clara y sonora. 00:24:08
The lord of the jungle, the dragon of the jungle 00:24:12
Be quiet because the moon is going to rise 00:24:18
Ah, little nana, little nana 00:24:25
I knew it from the first time I kissed your lips 00:25:42
I can't resist, the passion was so strong 00:25:45
As I looked into your eyes 00:25:49
I became a little weak and I was paralyzed 00:25:54
I lost all track of time 00:25:58
Must be something to it, I don't wanna lose it 00:26:01
I don't wanna lose it, must be something to it 00:26:04
Let me freeze it, freeze it 00:26:07
I'm crazy, I got crazy love for you 00:26:10
I adore you, always want you 00:26:13
I'm crazy, I got crazy love for you 00:26:16
Ease and oil, if you go down 00:26:26
Ease and oil, not if you go down 00:26:28
Knock, knock, knock, knock, that's how we're found 00:26:31
Ease and oil, if you go down 00:26:33
Ease and oil, not if you go down 00:26:35
Thank you. 00:26:41
You're not delusional, stay with it, I ain't cool 00:27:36
Why you so not able, I'm feeling it 00:27:39
Open the world, open the world 00:27:42
Some of them men think they're cryptic like we do 00:29:38
But no they don't, make your check come at their neck 00:29:42
Disrespect us, no they won't 00:29:45
Why don't they even try to touch this? 00:29:47
Why don't they even try to touch this? 00:29:49
Why don't they even try to touch this? 00:29:52
But it's not the way I'm playing 00:29:54
I'm here, baby 00:30:12
Cause you're like me 00:30:14
Look at that 00:31:42
What, what, what, what, what, what, what, what, what, what, what, what, what, what, what. 00:31:44
Hey, hey, hey, hey, hey, hey, hey, hey, hey. 00:32:29
Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! Hey! 00:32:59
Thank you for watching. 00:33:29
Thank you for watching! 00:34:03
Eh, Ah, Eh, Ah, Eh, Ah, Eh, Ah 00:37:52
Heyy 00:37:56
Ha ha ha ha ha ha ha 00:37:57
Ready 00:38:16
Steady 00:38:17
Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey. 00:38:19
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, 00:39:03
oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, 00:39:20
Come on! Come on! 00:39:35
Come on! 00:39:45
Eh! 00:39:52
Ah! 00:39:54
I don't know! 00:39:58
Shh! 00:40:00
Don't move! Don't move! 00:40:02
Eh! Ah! Eh! 00:40:06
Eh! Ah! 00:40:08
Eh! Ah! 00:40:20
Eh! Ah! 00:40:22
Hey! 00:40:24
Hey, ah, hey, ah! 00:40:26
Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha 00:41:15
Scumbag! 00:42:42
Scumbag! 00:43:05
Ah, eh, ah, eh, ah, eh, ah. 00:43:44
Shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo, shoo. 00:44:20
SSSSSSSSSS sist! 00:45:08
I would also like to ask the council, to those who do this gala, that please, next year, 00:45:17
can allow the free selection of works in Spanish. 00:46:19
This year we are going to do the same. 00:46:24
And we will attend your requests as well as we can. 00:46:26
Next, we will show you the ones that, according to the jury, 00:46:46
are the four best scenes of the works of Teatro en Castellano. 00:46:52
All these scenes are written in Persian 00:46:57
They have been chosen among the best Spanish authors, López de Vega, Camerón de la Barca, Federico García Lorca, Tirso de Molina, of the tradition of Spanish classical theater. 00:47:01
Interpreting any of these texts has a lot of difficulty. 00:47:13
On the one hand, to understand how complex and beautiful their vocabulary is. 00:47:17
And on the other hand, to decipher and understand a huge amount of stylistic and poetic resources 00:47:21
that these authors used to talk about the most diverse issues. 00:47:29
Love, hate, mockery, revenge, criticism, all kinds of passions, more or less deep, 00:47:33
are mixed in all these texts, selected and all of them also worked in very different ways. 00:47:41
comedy, tragedy, drama, etc. 00:47:48
Another of the great challenges faced by an actor against one of these verses 00:47:52
is his correct declaration, respecting the rules of the metric 00:47:57
and without causing the word and the characters to lose life, intensity and not bore, 00:48:01
but quite the opposite, to excite the viewer. 00:48:06
Let's see right now how these students are able to transmit all the beauty, depth and humor 00:48:10
of these scenes also written by our authors. 00:48:16
The Carlos III Institute of Madrid, 00:48:20
second prize in Spanish theater 00:48:23
for the devotion of the Calderón de la Barca club. 00:48:25
Then the La Inmaculada Marillac School of Madrid, 00:48:28
third prize in Spanish theater 00:48:33
for the Ortenano dog of the Vega opera. 00:48:36
Then the Los Sauces de Torrelodones School, 00:48:39
third prize in Spanish theater 00:48:42
with Lope de Vega's Dama Boba, and last but not least, the Domenico Scarlatti Institute, 00:48:45
the first theater award in Spain for Lope de Vega's discreetly in love. 00:48:50
A big round of applause for all of you! 00:48:55
I've walked through the convent, without being seen by anyone, 00:48:58
and as far as I've come from my guided destiny, 00:49:23
I've come to a thousand cells, of religious ones, 00:49:26
that, when opened, have all three doors. 00:49:29
And in none of them does Julia live. Where do you take me like this, always waiting for you to come back? 00:49:32
What horror! What silent silence! What gloomy darkness! 00:49:38
The light is here. It is this one. And in her, Julia. 00:49:44
What a doubt! The value of help is so little that it is too late to talk. 00:49:49
What do I hope? What do I wait for? But with a doubtful impulse, 00:49:54
Doubtful heart, if I dare, I'm afraid of you. 00:49:58
Courageous, cowardly I am. 00:50:01
More beauty to humility, this suit assures me, 00:50:03
That in woman beauty is the same honesty. 00:50:06
Her peregrine beauty, of my crooked object love, 00:50:10
Makes no greater effect than a time to my little love. 00:50:13
With beauty, appetite. With honesty, respect. 00:50:17
Julia! Julia! 00:50:24
Who named me? 00:50:31
The heavens? 00:50:33
What is it that I see? 00:50:35
Are you the shadow of desire? 00:50:37
Or the shadow of thought? 00:50:39
When I look at you, I am amazed. 00:50:41
Well, who will tell me to stop? 00:50:43
Julia, stop! 00:50:46
What do you want, hidden form? 00:50:48
Of the repeated idea? 00:50:50
Only the apparent sight? 00:50:52
You have, for my pain, voice of imagination, portrait of illusion, body of fantasy, ghost of the cold night. 00:50:54
Uriel, listen, I'm serious, I'm alive, I'm with you, that thought will always be with you. 00:51:07
Desengañando me voy con oírte y considero que mi recato cindido más te quisiera fingido. 00:51:15
Pensé, qué verdadero, donde yo llorando muero, donde yo vivo penando. 00:51:22
¿Qué quieres? Estoy temblando. 00:51:30
¿Qué buscas? Estoy muriendo. 00:51:34
¿Qué emprendes? Estoy temiendo. 00:51:38
What are you trying to do? 00:51:41
I'm... 00:51:43
...trying. 00:51:45
How did you get here? 00:51:47
All extremes love. 00:51:53
And my sorrow included. 00:51:55
Today someone will triumph in me. 00:51:57
Until I saw you suffer. 00:51:59
With safe hope. 00:52:01
But seeing your lost beauty. 00:52:03
I have run over the respect of the sacred and the law of the clause. 00:52:05
Of the truth of the unfair. 00:52:07
We both have the blame. 00:52:09
And the extremes come to me. 00:52:11
strength and taste. 00:52:13
My pretension cannot displease heaven. 00:52:15
Before this marriage, you were married in secret, 00:52:18
and there is no such thing as marriage or religion. 00:52:22
I do not deny the love that you did with happiness, 00:52:25
to unite two wills, 00:52:29
that was its strong effect, 00:52:31
that I called you my beloved husband, 00:52:34
and that all this was so, I confess. 00:52:36
But now here, with a religious vow, to Christ of being his wife, hand and word I tell you, I am already yours. What do you want from me? 00:52:40
Go, because in the world of men, where you kill men, where you strengthen women, go, Eusebio, no longer are you a fruit of your crazy love, so that I cause you horror, that I am in sacred thought. 00:52:52
Your defense is greater than mine. My appetite is greater than yours. 00:53:08
I've already left the convent. I've already seen you. 00:53:12
It's not love that lives in me. The most hidden cause was... 00:53:15
I'll do as I please, or I'll say that you called me yourself. 00:53:18
That you've locked me in your cell for many days. 00:53:22
And because of my unhappiness, they have me desperate. 00:53:25
I'll give you a voice, know it! 00:53:28
Be serious! Oh, me! 00:53:30
You're sitting here, drinking through people. 00:53:32
Heavens, I don't know what I'm trying to do. 00:53:35
Do you want to do it? You'll be in it. 00:53:38
Well, there's another fear, another fear. 00:53:41
How powerful you are, my love. 00:53:44
How powerful you are, my star. 00:53:46
Hey, Tristan, over here. 00:54:07
What a bad luck it has been. 00:54:08
If he has known us... 00:54:09
I don't know, I'm afraid to say it. 00:54:10
I don't know where such great insolence happens, Octavio. 00:54:12
And you, very tall, when I despair, you always make me angry. 00:55:11
Even if you see that it's not me, lie down that you will be mad. 00:55:16
I have not seen such a violent action. 00:55:24
Did you see the sign? 00:55:27
What sign? 00:55:29
A cloak was wearing it with gold. 00:55:30
When he was going down the stairs? 00:55:32
You beautiful owners are the men of the cloak. 00:55:34
He threw the hat at the lamp and killed her. 00:55:36
This is what happens in the patios. 00:55:39
And in the dark of the portal, he takes out the sword and walks. 00:55:41
You are a very nice chicken. 00:55:44
What did I want? 00:55:46
You beast, you will have to kill him. 00:55:47
If he were a man of value, he would have thrown stones from the portal to the street. 00:55:49
Of value? Why? 00:55:53
No one in Naples loves you while they wait for you to get married where they see you die. 00:55:55
There are no gentlemen who are there to marry you, blind of love, well, I say, if you see him as a gallant, 00:56:00
and he will go down to the lamp to the hat. 00:56:05
Without a doubt it was the gentleman. 00:56:08
Call and request, do not interfere with the interests of my children. 00:56:10
What children? I have so many, so honored. 00:56:14
But I know who you are. 00:56:17
Plum has gone to see the hat and on the stairs she must be. 00:56:19
Go with her. 00:56:22
If I read from there? 00:56:23
Luz, ma'am, I'll take it. 00:56:24
If they want to find out, I must not be blamed at home. 00:56:29
Very well, Arash. Well, when you're sure, they've put you in this care. 00:56:33
But even though it's a bachelorette, and more, being angry, talking about what makes you angry, 00:56:37
this unfair act of not wanting to marry you causes so many disappointments, 00:56:42
asking for ways to get married. 00:56:46
Javi, can I say something? 00:56:48
Well, ma'am, I don't know what your opinion is about getting married, how beautiful. 00:56:50
El condado de Berzor pone a muchos en cuidado. 00:56:54
Con el sombrero he topado. 00:56:57
Más no puede ser peor. 00:56:58
Muestra, ¿qué es esto? 00:56:59
No sé. 00:57:01
Este ha pegado a Dios. 00:57:02
Este. 00:57:03
No lo he visto yo. 00:57:03
Más sucio. 00:57:04
Pues este fue. 00:57:05
¿Qué haces? 00:57:06
Pues había de engañarte. 00:57:07
Buenas son las plumas. 00:57:08
El eslado. 00:57:09
Sin duda. 00:57:10
Ahora va a venir. 00:57:10
Aris, me perderé el sexo. 00:57:11
Este sombrero tiró. 00:57:13
Pues las plumas que vi yo y tantas que aún era exceso, en esto se resolvieron. 00:57:14
Como en la lámpara. 00:57:20
Without a doubt, I burned them, and my feet burned. 00:57:21
Ícaro did not go up to the sun, that, hugging his feathers, he fell into the white foam of the sea. 00:57:25
Well, this would be. The sun was the lamp. 00:57:31
Ícaro the hat, and then the feathers, he took them off. 00:57:34
And on the ladder I hit him. 00:57:37
I am not mad. 00:57:39
There will be time to know the truth. 00:57:42
What time, Otavio? 00:57:44
Sleep now, that tomorrow you can find out. 00:57:45
I don't have to bet. I couldn't believe it until I found out what it was. 00:57:48
Call all the women. 00:57:52
Very well, Mrs. Mora. 00:57:54
The tabby dream. 00:57:55
Get out of my sight, Neander. Secret investigation. 00:58:02
I'm a very discreet tabby. Sleeping because of a secret is remarkable discretion. 00:58:04
The ones who matter are the traitors. The others won't know what they want. If they are giving in to the dream, it makes sense. 00:58:09
The ones in your room alone are ready to bet. 00:58:14
At night they go out to the sea and get lost in the waves. 00:58:17
Do you want to stay alone? 00:58:19
Yes. The other two came out there. 00:58:20
But where is Amelie? 00:58:22
She's crazy! 00:58:24
And suspicious of me! 00:58:25
Get out of here, Dorothea! 00:58:27
What a mess I see! 00:58:40
Oh, most unfortunate woman! 00:58:42
They're all after me! 00:58:44
Hold on to a firm point, quick-witted fortune, 00:58:46
because it looks like you want to help my pretension. 00:58:48
Oh, what a great occasion! 00:58:51
Who are you, Amelie? 00:58:53
Don't expect to see me again! 00:58:54
They're all after you! 00:58:57
Well, what have they told you about me? 00:58:58
You won't know that now. 00:59:00
Where is my thought? 00:59:04
What thought? 00:59:08
Yes. 00:59:09
In you. 00:59:10
What if it were me? 00:59:11
You would be happier. 00:59:12
Are you talking to me? 00:59:13
Me? 00:59:14
Never. 00:59:15
My brother told you here that you should not get carried away by the thought. 00:59:16
That's why he deviates from you. 00:59:19
He does not pass me by. 00:59:20
He thinks I'm in him. 00:59:21
And throwing me out makes him laugh. 00:59:22
After this, he says you put your eyes on me. 00:59:23
He says it's true. 00:59:24
And he contradicts me more than he says it is. 00:59:25
Well, you have to put your eyes on me. 00:59:26
What if I don't put them on you? 00:59:27
Well, you have to put your eyes on me. 00:59:28
Well, you have to remove the eyes you put on me. 00:59:29
What do you mean? 00:59:33
That you remove them from me. 00:59:34
With this eye of yours and that I have them in my eyes. 00:59:36
No more, remove them if you don't want to. 00:59:39
Do you remove them from my eyes? 00:59:42
Yes. 00:59:44
Well, clean them and remove yours, that I will not remove mine. 00:59:45
How funny you are, Various. 00:59:48
Do not remove yours. 00:59:49
Now I clean you with my hand. 00:59:51
Did you remove them? 01:00:00
Don't you see? 01:00:01
I don't know what to do with the three of them. I'm starting to feel them. 01:00:02
Well, I don't know. My father must be angry at us both. 01:00:06
Is there any other way? 01:00:11
You have to take them away from me too. I don't want to go through this. 01:00:13
And how is it? 01:00:16
I'm sorry about this. 01:00:17
You didn't know that, did you? 01:00:20
The right arm to the left. 01:00:23
You're right, I remember. 01:00:26
Now the left arm and the right arm. 01:00:30
I'm unhugged. 01:00:34
You don't see it? 01:00:41
Me neither! 01:00:43
Don't laugh at me! 01:00:45
Lorenzo doesn't think about me. 01:00:49
I finally got my eyes on you at home. 01:00:51
I took you to bed. 01:00:53
And now I'm unhugged. 01:00:55
You know what happened with Teresa. 01:00:57
Not here. 01:00:59
Let's go to the garden. 01:01:01
I have someone to take care of. 01:01:03
Let's go wherever you want. 01:01:05
What is he wearing? 01:01:07
Finally... 01:01:11
What is this that makes me feel like going with him? 01:01:15
I'm about to get married. 01:01:21
What is this that makes me feel like going with him? 01:01:24
Yes, Laurencio... 01:01:29
My father is this... Silence! 01:01:31
Shut up, let's talk. 01:01:33
Where is your husband? 01:01:35
I thought that seeing me, the first thing I would do would be to know about my son, Vedetta. 01:01:37
Well, what's the point of that? 01:01:42
You didn't tell me yesterday that it was... 01:01:44
Well, you know, the first time I kissed him I was angry, and the last time I kissed him I was agitated. 01:01:46
Oh, such a thing? Well, tell them that you kissed him again. 01:01:53
That's not it. 01:01:57
It was the first time I kissed him, the first time I kissed him in the audience. 01:01:59
And now he told me that he remembered me, because, well, the last time I kissed him I was angry. 01:02:03
The last time I kissed him I'm angry. 01:02:08
When I think he knows more, he ignores more. 01:02:10
All he wants is to do what he didn't want naturally. 01:02:14
And tell me, Mr. Father, 01:02:17
how do you call that feeling 01:02:19
when you go with someone you love? 01:02:21
That's called love. 01:02:23
It's called jealousy. 01:02:24
Jealousy? 01:02:25
Well, don't you see that they are your children? 01:02:26
The father can give me a lot of things 01:02:28
if he is very hungry for good. 01:02:30
But, I'm tired of being raised by bad children. 01:02:32
The light is shining already. 01:02:35
I think, who do I think that if love taught her, 01:02:37
I would learn. 01:02:40
And how do you get rid of jealousy? 01:02:41
By falling in love, if there is a grudge, 01:02:44
which is the most prudent and wise remedy. 01:02:46
That while there is love, there must be jealousy. 01:02:49
I thought you saw this well in the sky. 01:02:52
Ah, where is this? 01:02:55
Next to the fountain, with the orecchio he left. 01:03:01
Tired thing, learn not to speak ill of your cross. 01:03:04
Beware of sonnets and songs, 01:03:07
there I am going to break the reasons. 01:03:10
Why does this happen to me in the world? 01:03:14
That I saw before, that I saw, that it does light me up, that it embraces me. 01:03:23
I hate that my father started it. 01:03:28
What a great illness! 01:03:30
Accusing an angry authority, I withdraw, although in part I am grateful that this happened in the eyes of Lise. 01:03:33
Here are the eyes whose rays cool me, ma'am. 01:03:38
I'm here to talk to you. How did you get away with Gisele? 01:03:42
I didn't leave because I wanted to. 01:03:47
Why? 01:03:48
Because I didn't want to make you angry. 01:03:49
Kiss me if I don't see you. I hate you. 01:03:50
I would like you to leave. You're finally going to die of desire. 01:03:54
I'm jealous of you. You're almost the only one. 01:03:59
You're the hardest man in the world. My father told me to come here. 01:04:03
You also gave me the remedy. 01:04:09
Which one? 01:04:11
That love-hungry one. 01:04:12
Because I'll be able to soothe myself by taking the love out of the way. 01:04:13
And what about that one? 01:04:16
The one who gave me the love, I'll take it out of the way better. 01:04:18
There's usually a remedy. 01:04:21
Which one? 01:04:23
Those who come here will help you with the remedy. 01:04:24
You've taken your mantle off. 01:05:29
I've taken it off, ma'am. 01:06:01
Well, take that cloak! 01:06:03
Are you so angry? 01:06:05
For God's sake! 01:06:07
What do I do with you? 01:06:09
With anything I offer you? 01:06:11
Do you think I don't understand you? 01:06:13
I have my fair payment. 01:06:15
If I were you at home, 01:06:17
you would rarely give me 01:06:19
this disgust. 01:06:21
The days that this miracle happens, 01:06:23
that at the end of a jubilee 01:06:25
I have to beg you 01:06:27
to close me. 01:06:29
What do you complain about me, that you are always scolding me? 01:06:31
I am offended by your freedom. 01:06:36
Freedom? I didn't see it. 01:06:38
How ugly are those who walk down the street. 01:06:41
What do you say from the street and throw me because I laugh? 01:06:45
What signs did you see in the church? 01:06:49
Who follows me, who is jealous of me? 01:06:52
What old woman came to see me? What money have you dreamed of with dishonest words? 01:06:56
What plug for answers? What ink have you broken me? 01:07:01
What? 01:07:07
Paint that is not yours or bought for... 01:07:09
What? 01:07:14
Chapit, what is it? 01:07:16
In vain you want my honor to charm you. 01:07:19
I do not complain that it is a real occasion. 01:07:22
Well, what is this? 01:07:25
Prevention. My honor and your desire. I would like you to keep the same things you throw at me, and to throw new locks at those stronger doors. 01:07:26
How much will you be able to keep me? 01:07:40
What do you say? 01:07:42
That I will do as you please, but because I am disgusted so much, I will close it. 01:07:44
Were you holy for your life, in your tender age? 01:07:50
I was an example, at home, in the street, and in the temple, of a woman who had been picked up. 01:07:55
I had eyes with llamas. 01:08:03
How did you marry her? 01:08:05
Heaven saw my virtue and my zeal. Heaven knows everything. 01:08:09
My aunt told me that you prayed a thousand times and walked through stations. 01:08:15
What, to marry me? 01:08:22
Yes, and on my Friday breakfast, a father of the same germ. 01:08:24
And so is your lord, who wishes to marry you. 01:08:30
I never imagined it. 01:08:34
Lie, for your life and mine, that before I wanted to be a nun, and without pleasure I got married. 01:08:36
Well, how jealous you were of my father that I am. 01:08:42
Because there was no jewel, silver, money in the house, or anything else that would not give to a certain lady. 01:08:46
I made that feeling for you. 01:09:01
I'm sorry. 01:09:06
Look, Felicia, who is calling. 01:09:07
Put the address here. 01:09:16
The captain, your neighbor. 01:09:18
Ya lo que quiere ha venido. 01:09:19
Ya lo sabes, ¿cómo así? 01:09:21
A Díaz queda en mirarme. 01:09:23
Creía que me quiere bien. 01:09:25
Yo le he mostrado a Dertén 01:09:27
y que no hay modos a hablarme. 01:09:29
Y por tu vida, penisa, 01:09:31
que no me estudiese mal, 01:09:33
que es su nombre principal. 01:09:35
Me pone padre esta risa. 01:09:37
¿De qué te ríes? 01:09:39
Bebé, la santidad que tendrías 01:09:41
cuando más moza serías. 01:09:43
¿Qué ejemplo debió de ser? 01:09:45
In the house, in the cellar, and in the temple. 01:09:47
Call me the captain, that's the right thing to do. 01:09:52
I want to be a good example. 01:09:56
Crazy, that's a very good name and this house is without a name. 01:09:58
Be the father of the name. 01:10:02
Do you hear me? I beg you. 01:10:05
Is it to keep me? 01:10:07
It is not only my prevention that you give me a house to a man who will keep you and me to you. 01:10:08
Pues cásenme a mí primero y guárdeme a mi marido. 01:10:13
Cuando se hubiera ofrecido, lo hiciera. Y hacerlo espero. 01:10:17
Yo en los términos te atreveré. 01:10:21
Este guardará tu honor. 01:10:23
No me guardará mejor mi marido que no el tuyo. 01:10:26
Hijo, tienes orgullo. 01:10:29
Podría contestar esto también. 01:10:31
¡Ay! ¡Qué lucidez de vivir! 01:10:33
¡Qué dulce tatuaje mía! 01:10:35
Well, congratulations to these four centers and to the more than 70 who have dared, 01:11:15
have moved us and have entertained us with these difficult texts of our Spanish authors. 01:12:38
And now we will move on to the delivery of the honorific mentions, that is, 01:12:44
to the awards that do not have an economic quantity but do have the value of a well-done work 01:12:49
and that therefore has to be well recognized by all of us. 01:12:54
Este año, y a diferencia de otros, por los motivos ya explicados anteriormente de dar 01:12:58
prioridad a los alumnos y a sus interpretaciones y por no extendernos demasiado y hacer un 01:13:03
acto de clausura muy largo, no daremos aquí en el escenario los premios económicos a 01:13:08
las mejores direcciones, pero sí queremos llamar a los alumnos que han obtenido alguna 01:13:13
mención honorífica. 01:13:18
Queremos que nuestros jóvenes reciban el aplauso y el reconocimiento que merecen. 01:13:20
To deliver these honorary mentions, the Vice-Counselor of Education, Doña Alicia de Líbez, and the Director General of Improvement, Doña Rocío Albert, so we ask you to come up to the stage. 01:13:25
A strong applause for them, please. 01:13:38
Well, then, mode of theater in English, better interpretation, to the students of the San Cristóbal de Madrid College, by Lady Newey. 01:13:52
El hombre de los chicos, modalidad teatro en español, mejor actor compartido, David Abba, del Instituto Clara Campoamor Móstoles, por el personaje de Alonso en La caballera de los negros, reparte el premio de la Nativa Rueda. 01:14:03
Juan Pecón, from Instituto Leonardo da Vinci de Majala Obra, for the character of Teodoro in El Perro de los Leganes, prepares the prize with La Vicia de Míri. 01:14:49
Daniel Torres, from Instituto Butarque de Leganés, for the character of Daurencio in La Dama Obra, prepares the prize with La Rocío Andrade. 01:15:08
Honorific mentions of dance 01:15:24
Primary mode 01:15:35
Honorific mention for her performance 01:15:37
Eva Nadia Calero López in the Broadway choreography 01:15:40
of the San Eugenio and San Isidro College of Madrid 01:15:45
Part 3 01:15:49
Secondary mode 01:15:50
Honorific mention for the quality of her performance 01:16:00
Nur Chai Kaledi 10 01:16:03
for her interpretation of the choreography of modern dance 01:16:05
Instituto Santa Marca de Madrid, for her performance in the choreography of Danza Moderna 01:16:09
Instituto Santa Marca Madrid, for her performance in the choreography of Danza Moderna 01:16:29
Sofia Úbeda Rodríguez, for her performance in the choreography of Danza Moderna Funky 01:16:34
Colegio Grego San Diego de Escolián, 01:16:56
preparing the prize of the Rocio Ardeo. 01:16:58
Victoria Eugenia Maroto Rodríguez, 01:17:09
for her work of integration 01:17:11
through dance and interpretation 01:17:13
in the choreography of modern dance. 01:17:15
Instituto María de Molina Madrid, 01:17:17
preparing the prize 01:17:19
to the students 01:17:21
Ignacio Gómez Ramírez 01:17:33
and Javier Gómez Ramírez 01:17:35
in the choreography of dances 01:17:37
of the world. Instituto Damaso Alonso Madrid, 01:17:39
Alonso Madrid 01:17:41
Thank you very much, ladies and gentlemen, we are leaving the stage. 01:18:34
Well, we are approaching the end of this act of fanfare of the theater and dance competition 01:18:48
and we only have to congratulate you and thank you to all the participants. 01:19:04
Whether you have been awarded or not, although it sounds very repetitive, 01:19:09
the important thing is to participate and have fun. 01:19:15
I have had a lot of fun every time I go to see you, and there are a few, I assure you. 01:19:18
I also tell you that having fun is a very good way to learn. 01:19:25
We also wanted to encourage you to continue participating, the more veterans and the new ones, 01:19:29
because we are really able to see the positive evolution, both at the artistic and human level, 01:19:35
of the centers that you involve in these activities as necessary as dance and theater. 01:19:41
The last of these performances of this gala is a wonderful dance show 01:19:47
starring the students of the Radiola Institute of Moscow. 01:19:52
Winners of the first dance award in the secondary modality. 01:19:57
A choreography that makes a review of the most famous fragments of the famous musical West Side Story. 01:20:08
According to the words of its creators, the artistic and educational objective is the integration of styles, 01:20:14
attending to the interests of the students and forming a common project open to all educational levels. 01:20:20
After this performance, the Vice-Consellera of Education, Doña Alicia de Líbez, will go up to the stage 01:20:27
to greet and say goodbye to this closing act of the Theater and Dance Certificate of the Community of Madrid. 01:20:35
A strong applause for them, please. 01:20:40
¶¶ 01:21:22
Thank you. 01:21:59
And now, please, Ms. Alicia Delibes, if you can go up to the stage, please. 01:27:28
Congratulations to the boys and girls of the Rallera de Bástoles Institute. 01:30:44
You are magnificent dancers, magnificent. 01:30:49
Congratulations to all of you from the San Cristóbal School, 01:30:52
those of Domenico Scarlatti, of all the schools, institutes, of the community of Madrid that have participated in this festival. 01:30:55
This is the eighth year that I have come to this end and really here, every time, there is more level. 01:31:02
I think there will have to be a professional law, right Nacho? 01:31:08
Well, thank you very much everyone, my most cordial congratulations and until next year and may you continue working like this. 01:31:12
Thank you very much, and until next year everyone, a big round of applause 01:31:20
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Idioma/s:
es
Autor/es:
Dirección General de Mejora de la Calidad de la Enseñanza. Consejería de Educación y Empleo.
Subido por:
Gestiondgmejora
Licencia:
Reconocimiento - No comercial - Compartir igual
Visualizaciones:
9879
Fecha:
30 de julio de 2012 - 13:05
Visibilidad:
Público
Enlace Relacionado:
Alumnos y profesores de los centros escolares participantes.
Centro:
C RECURSOS Dirección General del Mejora. Gestión de Aplicaciones
Duración:
1h′ 32′ 10″
Relación de aspecto:
1.78:1
Resolución:
480x270 píxeles
Tamaño:
596.16 MBytes

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