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XXII CERTAMEN DE TEATRO ESCOLAR y II CONCURSO DE ORATORIA EN INGLÉS

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Subido el 2 de junio de 2015 por Gestiondgmejora

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ACTO DE CLAUSURA
(CURSO 2014-15)

TEATRO EN INGLÉS
1. Colegio Gonzalo de Berceo (Madrid) (min.00)
2. APERTURA DEL ACTO
Viceconsejera de Educación, Juventud y Deportes (min.08)
Dña. Alicia Delibes Liniers
TEATRO EN INGLÉS
3. Colegio Infanta Leonor (Madrid) (min. 12.44)
TEATRO EN ESPAÑOL (min.19.10)
4 - Instituto Rayuela (Móstoles)
5- Instituto Antonio Machado (Alcalá de Henares)
6- Instituto San Mateo (Madrid)
7. CONCURSO DE ORATORIA EN INGLÉS (min.45.20)
- Colegio San Patricio, equipo I (Alcobendas)
- Colegio Las Tablas Valverde, equipo I (Madrid)
- Colegio Madres Concepcionistas, equipo I (Madrid)
- Colegio San Patricio, equipo I (Madrid)

8. ENTREGA DE PREMIOS (min. 55:55)
TEATRO EN INGLÉS
9.- Instituto Fortuny (Madrid) (01.08.33)
10 .- Colegio International School of Madrid (Madrid) (01.22.43)

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When he began to dance with me, I could have danced, danced, danced. 00:00:00
To present the story of The Three Little Pigs. 00:00:08
Music, please. 00:00:30
This is the story of The Three Little Pigs. 00:00:34
One, two, three little pigs. 00:00:37
The Three Little Pigs all live together with their father and their mother. 00:00:40
One, two, three little pigs 00:00:44
All together, all together 00:00:47
All together with their father and their mother 00:00:50
One little, two little, three little pigs 00:00:53
One, two, three little pigs 00:00:56
One morning, mother and father pig 00:00:59
Called her three sons and said 00:01:02
Boys, boys, where are you? 00:01:05
Yes, mother 00:01:11
Listen to me, listen to what I have to say 00:01:13
Yes, Mother Tia, we are listening 00:01:18
You know that your mother loves you very much 00:01:22
Yes, Mother Tia, we know that 00:01:29
But now it is time for you to leave home 00:01:33
And go out into the world alone 00:01:37
Leave home, leave home, go out alone and leave home, leave home, leave home, go into the world alone. 00:01:45
You're not babies anymore. 00:01:56
That's right. 00:01:59
Every seat I know, I hope you're ready for the war. 00:02:03
We are, Father dear, we are. 00:02:07
And I hope that the world is ready for you. 00:02:11
Remember what I said about the wolf 00:02:15
There was 00:02:19
What I said about the wolf 00:02:21
We will 00:02:27
Let a wolf in your door 00:02:30
Listen to your mama, listen to your mama 00:02:34
Goodbye, goodbye my darling songs 00:02:43
Don't cry mother dear 00:02:55
Don't cry father dear 00:03:00
Let's go sisters 00:03:05
Goodbye 00:03:07
Remember my words 00:03:12
Watch out for the wolves 00:03:14
Never let a wolf in your door 00:03:16
Listen to your mama 00:03:22
to the Gonzalo de Berceo school of Madrid for this great performance and for having won 00:04:10
el primer premio de teatro en inglés en la categoría de educación primaria. Viceconsejera 00:05:08
de Educación, Juventud y Deportes, Director General de Mejora de la Calidad de la Enseñanza 00:05:26
y demás autoridades de la Consejería de Educación, Juventud y Deportes. Alumnos, 00:05:31
familias, profesores, les damos la bienvenida a este acto conjunto de clausura de la vigésimo 00:05:37
second edition of the School Theatre Certificate and second edition of the Oratory Competition 00:05:44
in English of the Comunidad de Madrid. 00:05:50
From here we want to thank the effort, the illusion, the creativity and generosity of 00:05:52
all of you who have collaborated in all possible ways in any of these 00:05:59
English Theatre and Oratory Certificates. 00:06:04
Throughout all our visits to the centers, we have been able to appreciate that both 00:06:08
Our students, teachers and other staff who are part of the educational community, 00:06:13
offer their time in a disinterested way so that our students can enjoy other artistic and academic disciplines. 00:06:18
This formative complement, we think, is directly reflected in our students, 00:06:26
offering them a cooperative learning that stimulates their creativity, security and confidence. 00:06:32
aspects that, from an art such as theatre or a discipline such as oratory, are worked on directly and rigorously. 00:06:38
Thank you very much again for your dedication and dedication. 00:06:46
Just like last year, we will divide the closing act into two parts. 00:06:50
In the first, we will be able to see a broad sample of theatre and oratory performances in English, 00:06:56
that have been selected with the aim that all those present here 00:07:02
can share the creativity, talent and artistic sensitivity 00:07:06
with which our students and teachers carry out their work. 00:07:12
In a second part, we will deliver awards and honorary mentions 00:07:16
to centers, teachers and students. 00:07:21
Finally, we ask for a strong applause for all of you 00:07:24
for all those faces, not visible, but present today. 00:07:29
A big round of applause, please. 00:07:33
Next, we welcome Doña Alicia de Líbez Liniers, 00:07:46
Vice-Counselor of Education, Youth and Sports, 00:07:50
who will give us a few words. 00:07:53
Please, Doña Alicia. 00:07:55
Good afternoon, ladies and gentlemen, dear friends. 00:08:10
It is a great pleasure for me to be here today, 00:08:13
in this Act of the Royal School of Dramatic Art, 00:08:15
to preside over the closing act of the 22nd School Theater Certificate of the Community of Madrid. 00:08:19
First of all, I want to thank the director of this center, Don Rafael Ruiz, for giving us this magnificent stage. 00:08:27
In this new edition of the Theater Certificate, 57 centers have participated, 00:08:34
among which there are concerted schools, public schools and institutes. 00:08:39
To all of them, my most affectionate congratulations. 00:08:43
From the Ministry of Education, we have been promoting the participation of schools and institutes in those artistic, cultural and sports activities that do not take place in the lesson time, 00:08:46
but that we consider fundamental both for the development of the personality of children and adolescents and for the improvement of school coexistence. 00:08:59
We believe that participation in a theater group, in a choir or in a sports team requires the student the discipline and the necessary effort to put the best of himself in the hands of a common good and, for this reason, contributes to the promotion of the sense of responsibility and the spirit of collaboration between our students. 00:09:08
That is why each school course we take care not only of this competition, but also the chorus competition, the oratory competition, the narrative and poetry competition, the school sports championships or the chess tournament. 00:09:32
The theater allows to develop the memory, the oral expression and the oral talent of children and young people. 00:09:47
It is endearing to see children express themselves in a language that is not theirs, with the solitude and ease with which they usually do it. 00:09:56
As for teenagers, often so jealous when it comes to showing their feelings, you will see how they are able to completely undress when they are protected by the disguise of the character they represent. 00:10:07
Throughout the last ten years, more and more schools and institutes have been encouraged not only to form a theater group, but also to participate in this competition. 00:10:22
A competition in which we have been incorporating modalities as we were implementing some programs aimed at improving the quality of teaching in our community. 00:10:34
Thus, in the year 2004-2005, there was a theatre in English for primary school and since then there has always been that modality. 00:10:44
We also introduced in 2011-2012 the modality of English in secondary school, 00:10:52
since children were already finishing their primary school and started secondary school in institutes or in their schools. 00:10:57
And finally, we also introduced that year the theatre of the Golden Age for secondary school. 00:11:05
I must say that for this last model the collaboration of this School of Dramatic Arts has been essential, 00:11:10
because they have trained teachers and also our students. 00:11:17
The awarded groups in each model will represent this afternoon here a small sample of their work. 00:11:20
From here, my most cordial congratulations to all of them. 00:11:27
But I would also like them to take into account that all the centers that have participated in this competition 00:11:30
they have had to make a representation of their work 00:11:36
in front of the specialists that make up the jury. 00:11:39
And for this, they have had to choose the work, 00:11:42
distribute the characters, 00:11:45
ideate and make the editing, 00:11:46
take care of the costumes, the lights, the decorations, 00:11:48
and then dedicate many hours during the trial course. 00:11:51
A job that the students could hardly have done without their teachers. 00:11:55
That is why my congratulations and thanks to the directors, teachers, 00:12:00
and perhaps also to the parents who have directed and helped these almost 1,000 students who have participated in this contest. 00:12:04
And without further ado, I wish you to really enjoy this new summer. 00:12:12
Well, next we will be able to see the Infanta Leonor de Madrid School, 00:12:29
which will show us a small fragment of its collective creation of specials. 00:12:34
A big round of applause for all of them. 00:12:40
And I think I'm special because I want the democracy for all the world around. 00:12:52
Or that says my mom. 00:13:55
Hello, my name is Andrea and I think I'm special because... 00:13:59
I don't know. 00:14:05
Hello, I'm Guillermo, and I think that I'm special because I like the size of the world, but it's strange. 00:14:05
I think I'm special because I like to do silly things. 00:14:12
Hello, I'm Amalia, and I'm 15, and I think I'm special because my dad said that I'm always like a monkey. 00:14:22
I am Carmen and I am special because I think that the world is a place where people are crazy like me. 00:14:35
Crazy, crazy, crazy! 00:15:12
Hello, hello everyone! 00:15:15
I'm very concerned because it turns out that we have gases making a hole in the ozone layer. 00:15:30
And I'm very angry with all the gases, aren't you? 00:15:50
Yes, if you're such an environmentalist, why have you thrown this use box? 00:15:55
Who? Me? 00:16:00
Yes, you. 00:16:02
Super! 00:16:05
Have you got in that bag? 00:16:10
But this bag is empty! 00:16:14
No, lady, it's full! 00:16:19
Of course, it's full of air! 00:16:21
Yes, but this... 00:16:23
Air is at first on TV! 00:16:27
Heroes! 00:16:33
Who is your favorite superhero? 00:16:36
Superman, because he's from the planet Krypton and also flies. 00:16:38
and yours? 00:16:42
Mine is my mother. 00:16:43
Your mother? 00:16:44
Models. 00:16:51
What's wrong? 00:16:53
Smile! 00:17:01
Smile? 00:17:02
I will never be a dog mom. 00:17:06
She's crazy. 00:17:12
Well, I don't see any us. 00:17:13
Fighters. 00:17:22
To achieve peace in the world 00:17:23
But 00:17:39
Peace 00:17:40
Post 00:17:43
I say no 00:17:49
Yes 00:17:56
Yes 00:17:57
Yes 00:17:58
Should I profit you? 00:17:59
Of course 00:18:00
Let's vote 00:18:01
Another vote 00:18:03
Today is gonna be the day that they're gonna throw it back to you 00:18:04
By now you should have somehow realized what you gotta do 00:18:27
But it feels the way I do about you now 00:18:32
Backbeat, the word was on the street that the fire in your heart is out 00:18:39
I'm sure you've heard it all before but you never really had it out 00:18:49
I don't believe that anybody feels the way I do about you now 00:18:54
Congratulations to the Infanta Leonor School for this wonderful performance. 00:19:01
Next, we give way to the first three awards of the Theater Certamen in the Spanish Modality. 00:19:11
This modality aims, as you know, at the recovery of the extraordinary tradition of our theater in verse of the Golden Age. 00:19:18
The awarded centers will act one after the other, without interruptions. 00:19:27
The first performance will be performed by the Rayuela de Móstoles Institute, 00:19:32
which will be performed by Marta La Piadosa, from Tirso de Molina, 00:19:38
for which she has obtained the third prize in this mode. 00:19:42
In this scene, both Marta and her sister Lucia fall in love with the man who killed their brother. 00:19:46
We are at the beginning of the work, at the moment when each sister discovers, or at least intuits, the feelings of the other. 00:19:55
We are going to attend to the attempt to hide those feelings and the tense dialogue in which both cross the limits of fiction. 00:20:05
The second performance will be performed by the Antonio Machado Institute of Alcalá de Henares, 00:20:16
Por no hay burlas con el amor, de Calderón de la Barca, 00:20:22
que ha obtenido el segundo premio. 00:20:26
La escena que veremos es una divertida comedia de enredo. 00:20:28
Beatriz, que vive entre libros y reniega de los hombres, 00:20:33
se está lamentando de la incultura de su criada Inés, 00:20:38
cuando aparece su hermana Leonor. 00:20:41
Beatriz ha descubierto que el enamorado de su hermana 00:20:44
acude por las noches a visitarla, 00:20:47
Despite the fact that Leonor defends her honesty, Beatriz does not give in to her requests and leaves, 00:20:49
determined to tell her sister before her father. 00:20:56
Then comes Moscatel, the funny boy in love with Inés, who brings a letter from a gallant for Leonor. 00:20:59
And finally, we will see the first class, the first prize of this mode of theater in Spanish, 00:21:09
the Instituto San Mateo de Madrid, which will play a scene of the Devotion of the Cross, by Calderón de la Barca. 00:21:17
Julia and Eusebio, who do not know that they are brothers, have married in secret. 00:21:25
When his father discovers it, he locks Julia in a convent. 00:21:32
But Eusebio, blinded by passion, breaks the laws of closure, willing to take her by force. 00:21:36
Calderón addressed in his drama of the Devotion of the Cross the violence against women, 00:21:43
a universal theme that continues to exist in our contemporary world. 00:21:50
Now yes, from here we wish you good luck and a strong applause for them. 00:21:55
El tardo buey atado a la coyunda, la noche espera y la cerviz levanta, y el que tiene el cuchillo a la garganta, en alguna esperanza el vivir funda, espera la bonanza aunque se hunda la nave, a quien el mar bate y quebranta. 00:22:01
Sólo el infierno causa pena tanta porque de él la esperanza no redunda. 00:22:21
Es común este bien a los mortales, pues quien más ha alcanzado más espera, 00:22:28
y a veces el que espera al fin alcanza. 00:22:35
Mas a mí la esperanza de mis males de tal modo me aflige y desespera 00:22:39
que no puedo esperar ni aun esperanza. 00:22:49
Que no puedo esperar ni a una esperanza 00:22:52
Me dice la fortuna aunque inconstante 00:22:57
Lloro un hermano muerto 00:23:03
Y un amante de su vida omitida 00:23:06
Y mi confianza 00:23:10
Esperar vida o muerto, ¿quién lo alcanza? 00:23:13
Esperar que en la ausencia sea constante amor es esperanza de ignorante que es huésped de la ausencia, la mudanza. 00:23:18
Al homicida de mi hermano adoro, ven si se ecuala a mi tormento alguno, pues amo, aborreciendo juntamente. 00:23:32
Two dead, although one lives. 00:23:44
I cry that if the absence is death, everything is one. 00:23:49
A dead brother and an absent lover. 00:23:55
Who gives matter to your complaints that so many ways, 00:24:02
without seeing that fear knows how to put to the walls ears? 00:24:06
And for whom yours are? 00:24:10
Que de escuchar tus patigas A llorar las mías me obligas 00:24:13
Hermana, a tu imitación Falta me causa 00:24:18
Es en vano la pena que me ha afligido No he de llorar si he perdido todo el bien 00:24:21
Con una hermana Pues salgo del cuarto grado 00:24:26
De ese parentesco yo O acaso no se murió para mí 00:24:29
Que te ha pesado de que le llore mal muerto Cuando bien le quise vivo 00:24:33
What a different reason, from weeping to your disconcert. 00:24:39
Everything, sister, is enough for me. 00:24:44
They do not give your eyes tribute to the dead, nor are they tears of mourning with hope, 00:24:49
because they themselves publish, no matter how much you have covered it, 00:24:54
that bending for a dead, for another alive they repique. 00:24:58
I know who the weeping is for. 00:25:02
And as the thief believes they are of his condition, you believe it too. 00:25:04
I'm not scared that you imagine nonsense that has so much going on in you. 00:25:09
I thought you were so silly, no matter how much you try to cover yourself, 00:25:15
that you never show what Don Felipe wants. 00:25:19
We are always women, if you want to know, 00:25:23
much longer than men. 00:25:27
We penetrate souls when we look, 00:25:30
sin que el cuerpo lo resista. 00:25:33
A Eva crió después Dios que Adán, 00:25:37
y aunque postrera fue en ver la fruta primera 00:25:40
de tan costoso interés. 00:25:43
No pienses, Doña Lucía, 00:25:46
que has de poder esconder tu amor, 00:25:48
porque soy mujer y veo mucho. 00:25:51
Hermana mía, ¿tienesme por hombre a mí 00:25:53
o miro con cataratas 00:25:57
que por lince te retratas y a mí por topo? 00:25:59
If it seems to you that you penetrate hearts, I also believe that my eyes see the most hidden letters. 00:26:03
Do not blame your sister for the dead, for it is only this actor, Don Felipe, the killer of that cry. 00:26:12
Well, by the way, then I never wanted Don Felipe, Jesus, to want ... 00:26:19
You are beautiful. 00:26:25
You have adored her more than the bulldozer of Las Quintas. 00:26:27
Isn't that clear? 00:26:31
You are the woman that no one had to love. 00:26:33
You are not flesh and blood. 00:26:36
At least it was an affront that I will love, 00:26:39
to whom you are loved. 00:26:42
How so? 00:26:44
Because he is not a man of account in whom you put your eyes. 00:26:45
And when he has courage, just because you love her, you lose him. 00:26:48
A thousand reasons are left over you. 00:26:52
Y en conclusión, ya sabes lo que perdiera si elección de amor hiciera de quien tú haces elección, porque dijeran de mí, teniéndote, a un quien te precia y sirve, por fría inercia que me parecía a ti. 00:26:54
Soy yo la misma frialdad, y eres tú el mismo calor. Andan perdidos de amor los hombres por tu beldad. 00:27:10
Eres un sol en el talle, y hazle parecido en todo, de tal suerte que del modo, que ninguno os amiralle, porque ciega el resplandor que viste en sus rayos rojos. 00:27:21
I lied to your eyes because you are blind to love. 00:27:33
And so, although you embrace and admire your beauty in a thousand ways, 00:27:38
like the sun, everyone praises you, but no one looks at you 00:27:44
because no one even now makes you serve. 00:27:50
I, who neither burn nor embrace, nor am I sun, nor am I aurora, 00:27:54
De tu discreción me río 00:28:00
Pues con ser menos perfecta 00:28:02
No tan hermosa y discreta 00:28:06
Por más que hielo y en frío 00:28:09
Tengo muchos pretendientes 00:28:11
Que a pesar de tu beldad 00:28:13
Estima más mi frialdad 00:28:16
Que no tus rayos ardientes 00:28:18
Serán amantes felpados 00:28:20
De estos rubios moscateles 00:28:22
Que para que no los hieles 00:28:24
Irán a verte forrados 00:28:26
Porque como cada día 00:28:28
The skies are shivering, and the ice is falling. 00:28:29
They'll estimate it to be cold. 00:28:33
But what do you say? 00:28:35
That also Don Felipe adored you, and with your snow he tempered his fire. 00:28:37
He loved you well. 00:28:41
That's how I would love him. 00:28:43
You don't love him. 00:28:45
And it's fair to waste time and pleasure with someone you know who killed my brother. 00:28:47
Before that, I wish that justice punishes its cruelty, 00:28:53
because it mitigates the grief that I never think 00:28:57
has to end in me. 00:29:01
What do you command? 00:29:04
That you abstract from my liberal right 00:30:11
this crystal spell and bring the kiosks. 00:30:14
What are kiosks? 00:30:18
What? The gloves? 00:30:20
That I must speak by force in pro sepulchre? 00:30:22
I'll open them again. They're already here. 00:30:25
Quanto lidio con la ignoran... 00:30:27
Hola, Inés. 00:30:31
Señora. 00:30:33
Fray. 00:30:35
De mi biblioteca a Ovidio. 00:30:36
No el metamorfosis, no. 00:30:39
Ni el arsamandi pedí. 00:30:41
El remedio morisi. 00:30:44
Que se le... 00:30:45
Pues cómo he de encontrar libros si es que eso me has pedido. 00:30:48
Si aún el cartel no he sabido de una comedia leer. 00:30:52
Oscura, idiota, ilegal. 00:30:55
No temedra cada día. 00:30:58
La concomitancia mía. 00:31:00
Ahora mi papel llega. 00:31:03
Hermana, ¿quién me habla así? 00:31:05
Tienes tus pies sobre dientes y bien arrojarte. 00:31:07
Detente, no te apropie un cuece a mí. 00:31:10
¿Que empañarás el candor de mi castísimo bulto 00:31:13
y profanarás el culto de las aras de mi honor? 00:31:16
Porque mujer que fío del caos de la sombra fría 00:31:22
And in the discredit of the day I do not accept love. 00:31:26
I do not look, I get acceptance, 00:31:31
I pretend to be a profane voice, 00:31:34
Well, Bebora will be human, 00:31:36
That with her effusion I breathe. 00:31:39
Beatriz, discreet and beautiful, 00:31:44
You are my sister. 00:31:47
Not that. 00:31:48
What can I have, lividinous sister? 00:31:49
What is lividinous, sister? 00:31:52
Que al farol trébulo, mi rey del sol, os abrir una ventana, y susurrando por ella voz media y labio entero, da que decir a un lucero, da que callar a una estrella. 00:31:54
Pero yo, minora del escándalo que has hecho, diciendo al paterno pecho, sacrilegios de tu fe. 00:32:14
Un devoto anoche vi... 00:32:21
¿Y conocístele? 00:32:24
¡No! 00:32:25
¡Ni pudo ser! 00:32:26
¿Por qué yo? 00:32:27
¿Qué másculo conocí? 00:32:28
Pues yo te quiero decir quién era y con el intento que me habló. 00:32:29
¡Qué atrevimiento! 00:32:32
¿Tal insulto había de él? 00:32:34
Pues a las quimeras. 00:32:35
Te persuadas a que ha sido livianad lo que honor fue. 00:32:41
¡Honor! 00:32:45
¡Oye! 00:32:45
No daré directo a tu voz mi oído. 00:32:46
Pues directo no directo. 00:32:48
Todo ha de escucharlo ya. 00:32:49
Oído por fuera. 00:32:50
Será clandestino tu secreto. 00:32:51
Y no puedo ahorrarte mucho comentar. 00:32:53
Si hablo no estoy. 00:32:55
Aspiza el cojoneso y no lo escucho, no lo escucho. 00:32:55
¡Oye! 00:32:59
¡Más! 00:33:01
¿Quién ha entrado? 00:33:02
¡Oh! 00:33:03
A mi señor Buscara. 00:33:04
Mira quién es. 00:33:06
Mientras domine su dicha y mi cuidado, siguiendo una fiera. 00:33:08
Amor, qué cobarde eres conmigo, pues aún no valen contigo las leyes de embajadores. 00:33:13
Es posible que has tenido, Moscate, el atrevimiento de entrar hasta este aposento. 00:33:19
Without knowing what has moved me to have entered here, 00:33:23
rigors anticipated... 00:33:26
Well, not until I have entered! 00:33:27
Yes... and no? 00:33:28
Well, how no? And yes? 00:33:30
No, well, you do not know what? Yes, well, you will be angry. 00:33:32
No, well, but you will know this. Yes, well, I'll tell you later. 00:33:35
And although I could have come from your beauty called, 00:33:39
brought from my care and distracted by yours, 00:33:43
to give you this paper I come, 00:33:46
that Don Juan sends me, and to whom my care trusts, 00:33:48
what Eleonor says in it. 00:33:51
That for not being known by his own child, I sent myself with the paper. 00:33:53
If the cause has not been to know of my pain, to know of my severe evil, 00:34:00
that the one who does not know of love is not a good third party. 00:34:04
Ah! 00:34:09
Then tell me that you gave me the paper, and that I will give it to Leonor, and go away, 00:34:10
because you are fearful of me and sad that I see you. 00:34:13
I will go. 00:34:16
That although I adore your presence, I will observe the laws of your constant obedience. 00:34:17
That at the price of his rigor I will buy my contempt, and at the cost of your deviation, I will deserve your favor. 00:34:22
I could well answer you that I have not been as ungrateful as I would have seemed to you, 00:34:28
but I am lucky to have the fear of seeing you here, that I leave the answer for later. 00:34:32
Go away, you... 00:34:36
Oh, my God, my Lord, go up the stairs. 00:34:39
Here I do not have to find you, come with me. 00:34:43
Planes, nueva casa, ella es la reina, ella es el ama, ella le ama, ella le aguanta 00:35:44
Quizás no deberías beber tanto 00:35:51
¿Me estás llamando borracho? 00:35:52
No, no, claro 00:35:55
Pues cállate mujer, que yo sé bien lo que hago 00:35:55
Anda, sube al coche y borra esa cara de inmediato 00:35:58
Ella y él se casan, el tiempo pasa, una llamada 00:36:00
Mamá, estoy embarazada 00:36:04
No hay mayor motivo para ser feliz que un niño, él lo celebra saliendo con sus amigos 00:36:06
¿Dónde has estado? Me tenías muy preocupada 00:36:11
No empieces 00:36:13
¿Por qué no coges mis llamadas? 00:36:14
No empieces 00:36:15
Es que siempre me dejas sola en casa 00:36:16
Y vuelves a las tantas 00:36:17
Además, ¿hueles a Colonia Barata? 00:36:19
¡Calla! 00:36:20
El primer golpe fue el peor 00:36:21
No tanto por el dolor 00:36:22
Como por el shock de la situación 00:36:24
Esa noche él duerme en el sofá 00:36:26
Y ya no duerme nada 00:36:28
Sueños rotos, lágrimas en la almohada 00:36:29
¿Quién iba a decir que sería así? 00:36:31
El final del cuento de Adán 00:36:33
Todo iba bien hasta que llegó 00:36:35
El final del cuento de Adán 00:36:37
Por todo el convento he andado 00:36:40
Sin ser de nadie sentir 00:37:12
Y por cuanto he discurrido de mi destino guiado, a mil celdas he llegado de religiosas, que abiertas tienen las estrechas puertas, y en ninguna a Julia vi. 00:37:13
¿Dónde me lleváis así, esperanzas siempre infiertas? 00:37:34
¡Qué horror! ¡Qué silencio mudo! ¡Qué oscuridad tan funesta! 00:37:41
The light is here, it is the sixth, and in it there is light. 00:37:47
What doubt! Nor the value of help, that now, in speaking, it is too late. 00:37:53
What do I expect? 00:37:59
What do I remember? 00:38:01
But with impulsive impulse, if I am encouraged, I am timid, I am courageous, I am cowardly. 00:38:03
More beauty to the beauty of this dress, I assure you, 00:38:10
That in woman beauty is the same honesty, 00:38:17
Her peregrine truth, of my crooked object love, 00:38:21
Makes me more effect than at a time my love incite, 00:38:26
With beauty, appetite, with honesty, respect. 00:38:30
Julia! Ah, Julia! 00:38:39
Who names me? 00:38:44
But, dears, what is it that I see? Are you the shadow of desire or the shadow of thought? 00:38:46
So much in looking at me as a shadow. 00:39:05
Well, who will have to invent it and receive it? 00:39:07
Julia, stop! 00:39:09
What do you want, faked form of the idea repeated only in the apparent sight? 00:39:11
You are, for pity's sake, a drop of imagination. 00:39:17
The portrait of illusion, the body of fantasy. 00:39:23
You sing, you sing, Maria Luisa Díaz. 00:39:30
Julia, listen to Eusebio today, that I am alive at your feet, 00:39:35
that this thought should always be with you. 00:39:38
Deceiving me, I go with hearing you, and I consider that my offended message 00:39:41
more than I would like to pretend, Eusebio, than true. 00:39:46
Donde yo llorando muero. Donde yo vivo penando. 00:39:51
¿Qué quieres? Estoy temblando. 00:39:59
¿Qué buscas? Estoy muriendo. 00:40:04
¿Qué emprendes? Estoy temiendo. 00:40:07
¿Qué intentas? Estoy dudando. 00:40:11
Todo ese extremo sabor y mi pena y tu rigor hoy han de triunfar de mí. 00:40:16
Until I saw you here, I suffered with certain hope. 00:40:42
But seeing your lost beauty, I have run over the respect of the sacred and the law of the clause. 00:40:54
We are both guilty of what is true or of what is unfair. 00:41:02
In me there are two extremes, which are strength and pleasure. 00:41:12
Can't you give my pretension unfair to heaven? 00:41:16
Before this execution, you were secretly married. 00:41:22
And there is no such thing as marriage and religion. 00:41:26
I do not deny the loving bond 00:41:31
that made two wills come together with happiness. 00:41:34
That it was its forceful effect 00:41:39
that I called you my beloved husband 00:41:41
and that all that was like that. 00:41:44
I confess. 00:41:47
But now here, with a religious vow, 00:41:48
I tell Christ to be his wife, hand and word. 00:41:55
I am already yours, what do you want from me? 00:41:58
Go, for the world is men's, where men are killed, where women are strong. 00:42:01
Go, Eusebius, and let us bear fruit of your mad love, so that you may be filled with honour. 00:42:14
What a foolish story you think! 00:42:21
As much as you are older, your defence is my bigger appetite. 00:42:24
I saw you. It is not love that lives in me. The most hidden cause was. I bought it, I liked it, I will say, that you yourself have called me, that you have kept me locked in your cell for many days. 00:42:28
And because my besties have me desperate, I'll give you votes. 00:42:48
Sepan! 00:42:53
Get out! 00:42:53
I'm sorry! 00:42:54
I'm sorry for you. 00:42:55
I'm sorry for you. 00:43:03
You are Christ. 00:43:09
You are Christ. 00:43:11
You are Christ. 00:43:21
I'm afraid of another fear. 00:43:22
How powerful is my love! 00:43:27
How rigorous is my star. 00:43:31
62 million women in Europe have suffered physical or sexual aggression during their adult life. 00:43:36
At the end of the story of Hadas. 00:43:50
Who would have thought it would be like this? 00:43:56
At the end of the story of Hadas. 00:44:01
Who would have thought it would be like this? 00:44:05
At the end of the story of Hadas. 00:44:07
Well, congratulations to these three centers for these wonderful interpretations, full of so much talent, really. 00:45:06
It is surprising the quality of our high school students. 00:45:14
Next, we move on to the oratory contest in English. 00:45:18
This contest is organized by teams of five components each, 00:45:23
who must submit to various tests of communication skills. 00:45:28
In order not to extend ourselves too much, each team has selected a representative 00:45:32
who will offer us a small sample of their interventions. 00:45:37
A continuación, irán saliendo los siguientes centros. 00:45:41
Cuarto premio, Colegio San Patricio de Madrid. 00:45:45
Segundo premio, Colegio Las Tablas Valverde de Madrid. 00:45:49
Tercer premio, Madres Concepcionistas de Madrid. 00:45:53
Y primer premio, Colegio San Patricio de Alcobendas. 00:45:57
Un fuerte aplauso para ellos. 00:46:01
But teaching also that for every scoundrel there's a hero 00:46:24
That for every selfish politician there's a dedicated leader 00:46:29
Teaching for every enemy there is a friend 00:46:33
Staying away from envy, if you can 00:46:37
Teaching the secret of quiet laughter 00:46:41
Letting learn early that the bullets are the easiest to leak 00:46:43
Teaching, if you can, the wonder of goods 00:46:49
but also giving quite time to ponder the eternal mystery of birds in the sky, bees in the sun, and the flowers on a green hillside. 00:46:53
In the school, teach him it is far more honorable to fail than to cheat. 00:47:04
Teach him to have faith in his own ideas, even if everyone tells him they are wrong. 00:47:10
Teach him to be gentle with gentle people and tough with the tough. 00:47:17
Try to give my son the strength not to follow the crowd when everyone is getting on the bandwagon. 00:47:23
Teach him to listen to all men. 00:47:29
But teach him also to filter all he hears on a spin of truth and to take only the good that comes through. 00:47:33
Teach him, if he can, how to laugh when he's sad. 00:47:41
Teach him there is no shame in tears. 00:47:45
Teach him to scoff at cynics and to beware of too much sweetness. 00:47:49
Teach him to set his brunette brain to the highest beaters, 00:47:54
but never to put a price tag on his heart and soul. 00:47:58
Teach him to close his ears to a holy mob and to stand and fight if he thinks he's right. 00:48:03
Treat him gently, but do not cuddle him, because only the dust of fire makes fine steel. 00:48:10
Let him have the courage to be impatient. 00:48:18
Let him have the patience to be brave. 00:48:20
Teach him always to have sublime faith in himself, because then he will have sublime faith in mankind. 00:48:23
This is a big quarter, but see what you can do. 00:48:31
He's such a fine little fellow, my son. 00:48:34
Let us thank God for the opportunity that we all have together today. 00:48:37
For this gift of peace that reminds us that we have been created to live that peace. 00:48:55
And Jesus became man to bring that goodness here to you. 00:49:02
The news was peace to all of Goodwill, and this is something that we all want. 00:49:07
So, here I am, talking with you. 00:49:14
I want you to find the poor here, right in your own home first, and begin love there. 00:49:17
Be the good news to your own people, and find out about your next door neighbour. 00:49:25
Do you know who they are? 00:49:30
I had the most extraordinary experience with a Hindu family who had children. 00:49:32
A gentleman came to our house and said, 00:49:38
Mother Teresa, there is a family with their children who had not eaten for so long. 00:49:42
Do something. 00:49:48
So I took some rice and I went there immediately. 00:49:50
When I saw the children, their eyes were shining with hunger. 00:49:54
I don't know if you have ever seen hunger, but I've seen it very often. 00:49:59
And she took the rice, she divided the rice, and she went out. 00:50:04
When she came back, I asked her, where did you go? And what did you do? And she gave me a very simple answer. They are hungry also. What struck me most was that she knew. And who are they? A Muslim family. And she knew. 00:50:07
I didn't bring more rice that evening, because I wanted them to enjoy the joy of sharing. 00:50:26
But they were those children, radiating joy, sharing the joy with their mother, because 00:50:32
she had the love to give. 00:50:38
And you see, this is where love begins, at home. 00:50:40
If we can create a home for the poor, I think that more and more love will spread, and we'll 00:50:45
be able, through this understanding of love, to bring peace. 00:50:51
Be the good news to the poor. The poor in our family first, in our country, and in the world. 00:50:55
If you become a burning light in the world of peace, then really the Nobel Peace Prize is a gift from the Norwegian people. 00:51:02
God bless you. 00:51:11
Bullying. Cyberbullying. 00:51:23
Everybody speaks about these terms nowadays. 00:51:27
And two people really know how it feels when you wake up in the morning and you feel real terror. 00:51:31
And you just give anything to stay at home and forget about the school. 00:51:38
When the teacher asks the students to work in a breathing purse, 00:51:42
and you just feel miserable because you know nobody is going to sit next to you. 00:51:46
When you go on a school trip and you can see how the rest of the girls are chatting in groups and laughing and you are there. 00:51:52
And low, praying that they are not laughing at you, not this time anyway, for a change. 00:51:59
Do people really understand how it feels when you just cry, day after day, asking yourself what to have done to deserve this? 00:52:07
And feeling helpless because you truly believe there is no way out. 00:52:16
Maybe that is what people need to know. 00:52:21
That's how it feels because maybe it is the only true way of preventing this nightmare to ever happen to you anywhere, anywhere. 00:52:24
We really need to speak about it in schools and also at home. 00:52:34
We need to know that that was not a joke, that was a broken heart. 00:52:38
We need to know that we cannot see someone suffering by our side and pretend not to realize and then just keep living our lives happily. 00:52:45
We need to know that staying quiet is simply not acceptable. We need to know about compassion. And we need to feel ashamed when we see these things happen to a classmate and choose to do nothing. 00:52:54
So classmates, teachers, parents, politicians, here we have the solution to bullying. 00:53:10
We just need to know. Thank you. 00:53:20
Have you ever wondered how people celebrate birthdays in China? 00:53:24
Or what French kids eat for lunch? 00:53:36
I even wondered if they celebrate Christmas in Sweden. 00:53:39
Exploring the world and learning about different cultures 00:53:43
opens you to a world of possibilities so i'm gonna tell you my top three reasons why you should 00:53:46
travel and learn different cultures number three food even though i've been accused of only having 00:53:53
one thing in my mind which is where are we going for lunch well i can teach you what is important 00:54:02
part of culture by traveling and testing your food discover the place the history and social 00:54:09
aspect of a land. I remember one time I was in a camp in the USA and we sat on the campfire 00:54:15
and toasted marshmallows. Nowhere only I did this, but I also learned about Americans and 00:54:23
their culture. Number two reason to travel and learn about different cultures is because 00:54:30
they give you a new perspective on life. When you travel to exotic places, many cultures 00:54:37
teach you to look at the world differently. 00:54:42
Singing in the tip of the Spanish tomato festival, 00:54:45
La Tomatina, 00:54:48
is much more different than experiencing yourself. 00:54:49
And finally, 00:54:53
number one reason to travel 00:54:54
and learn about different cultures is... 00:54:56
Crab Broccoli! 00:54:59
For the education! 00:55:02
Seeing the world provides a source of education 00:55:04
is just impossible to get in school. 00:55:06
Teaching you things like economic, politics, 00:55:09
history, geography. As a matter of fact, I'm trying to convince my school that a cultural 00:55:11
trip to Disney World Georgia would be a great addition to our education. I hope today I'll 00:55:17
provide you with enough reasons to get up and go explore. This is an amazing world! Thank you! 00:55:24
Enhorabuena a los cuatro centros por estos estupendos trabajos y por el nivel alcanzado, 00:55:40
both in the communication skills and in the use of the English language. 00:55:45
Next, we will present the awards and honorary mentions. 00:55:50
We will present the awards in two groups. 00:55:55
First, the awards will go up to the stage 00:55:58
in the Spanish theatre competition 00:56:00
and the English theatre in the secondary education category. 00:56:04
Secondly, the English theatre in the primary education category 00:56:09
y los premiados en el concurso de Oratoria en Inglés. 00:56:15
Al igual que el año pasado, iremos dando los premios y menciones por centros. 00:56:20
Es decir, nombraremos a los centros sus premios y menciones 00:56:26
e irán subiendo conjuntamente profesores y alumnos al escenario. 00:56:31
Una vez en el escenario, se hará la entrega de premios. 00:56:36
Please, after the presentation, stay on the stage for a group photo. 00:56:40
But first, let's introduce the authorities who will present the awards. 00:56:48
In the center, we have the Vice-Counselor of Education, Youth and Sports, 00:56:56
Doña Alicia de Líbez Liniers. 00:57:02
On your right, the Director General of Improvement of the Quality of Teaching, 00:57:05
Don Pablo Hispani Iglesias de Ussel. 00:57:09
And on your left, the Director of the Royal School of Dramatic Arts, 00:57:12
Don Rafael Ruiz. 00:57:17
Now, let's move on to awards and mentions 00:57:20
of theatre in Spanish, secondary mode. 00:57:32
Instituto San Mateo de Madrid 00:57:36
The first theater award in Spanish for La devoción de la cruz 00:57:40
and the award to the best direction to Ana Concha González and Yolanda Mancebo Salvador. 00:57:44
Instituto Antonio Machado de Alcalá de Henares 00:58:06
receives the second theater award in Spanish for No hay burlas con el amor. 00:58:09
It receives economic mention for La devoción de la cruz 00:58:14
and it receives the mention to the best secondary actress Irene Peña 00:58:17
for the character of Inés in No hay burlas con el amor. 00:58:21
Please, go up. 00:58:25
We'll leave the table of the authorities free 00:58:41
so they can enter and deliver the mentions and prizes. 00:58:44
Thank you. 00:58:47
Instituto Rayuela de Móstoles 00:58:50
receives the third prize of Teatro en Español 00:58:52
for Marta La Piadosa. 00:58:55
It receives an economic mention for Blood Weddings 00:58:57
and the shared mention for the best protagonist actress 00:59:00
for Alejandra Casarrubios 00:59:04
for the character of Doña Lucía in Marta la Piadosa 00:59:06
and Mar Calvo for the character of La Novia en Bodas de Sangre. 00:59:09
Congratulations. 00:59:20
Colegio Calasanz de Alcalá de Henares. 00:59:24
Receives the mention of the best protagonist actor 00:59:28
which corresponds to Álvaro Nogales Gómez y Maz 00:59:30
for the character of Seixis Mundo in La Vida es Sueño. 00:59:33
Receives an economic mention for his montage of Teatro en Inglés 00:59:37
for the secondary of Clown Don Quixote. 00:59:40
Instituto Las Encinas de Villanueva de la Caña, Cañada, perdón, recibe mención económica por La Discreta Enamorada 00:59:43
y recibe la mención al mejor actor secundario que le ha correspondido a Nicolás Amigó por el personaje de Hernando. 01:00:00
Un fuerte aplauso. 01:00:08
Instituto Victoria Kent de Fuenlabrada, recibe mención económica por La Verdad Sospechosa 01:00:20
And mention the staging. A big round of applause. 01:00:26
Instituto El Burgo de las Rozas, de las Rozas. 01:00:42
Receives an economic mention for the shameful in Palacio. 01:00:46
And mention the originality of the dressing room. 01:00:50
We continue. 01:01:07
Next, we will deliver the awards of the English Theatre Modality in the category of Secondary Education. 01:01:07
Instituto Fortuny de Madrid recibe el primer premio por Michael Threatrer y el premio a la mejor dirección para David Casquet Bodero y María José Ruiz Galán. 01:01:14
Recibe la mención a la mejor escenografía y recibe la mención a la mejor actriz secundaria que es para exter expósito por el personaje de Leire Fuentes. 01:01:26
Colegio International School of Madrid. 01:01:40
Recibe el segundo premio por My Fair Lady. 01:01:43
Recibe las menciones al Mejor Vestuario, Mejor Interpretación Musical y al Mejor Actor Protagonista Compartido. 01:01:50
Mateo Pascual por el personaje del profesor Higgins y Rafael Calvacho por el personaje de Coronel Pickering. 01:01:58
Mejor actriz protagonista a Sofía Almendro por el personaje de Elisa Doolittle. 01:02:05
Mejor actor secundario compartido Luis Zunier por el personaje de Alfred Doolittle. 01:02:14
Colegio San Alfonso de Madrid recibe el tercer premio por John Frankenstein 01:02:32
and receives the award for Best Secondary Actor shared by Forhat Hussain for the character of Igor. 01:02:38
A big round of applause. 01:02:46
Instituto Ciudad de Los Ángeles de Madrid receives the economic award for Romeo and Juliet. 01:02:48
A big round of applause for them. 01:03:00
Well, now, if you want, authorities, go ahead a little bit, we'll get together, we'll take a picture and we'll go down quietly. 01:03:02
To be able to continue with the awards. 01:03:26
And the authorities, please stay, the primary awards are left. Thank you. 01:03:41
We continue. 01:03:46
Awards and mentions of theatre in English in the category of primary education. 01:03:48
Colegio Gonzalo de Berceo de Madrid receives the first prize for The Three Little Pigs 01:03:55
and the prize for the best direction, which is for Patricia Loeches Ambite and Nicolás Ortega Camero. 01:04:08
Colegio Infanta Leonor de Madrid receives the second prize for The Specials 01:04:26
and receives the award for Best Interpretation. 01:04:33
Colegio San Patricio de Madrid 01:04:54
receives the third prize for The Haunted Christmas. 01:04:57
A big round of applause. 01:05:01
Colegio Antonio Machado de Alcobendas 01:05:07
receives the economic award 01:05:14
and the Best Scenography award for Cinderella. 01:05:16
Another big round of applause. 01:05:20
Thank you very much. 01:05:32
Colegio General Izquierdo de San Martín de Valdeiglesias, 01:05:38
recibe la mención al mejor vestuario por Peggy the Pink Size Pirate. 01:05:43
Colegio Fregacedos de Fuenlabrada, 01:05:58
recibe la mención a la mejor coreografía por The Jungle Book. 01:06:00
Colegio Federico García Lorca de Alcobendas, 01:06:10
recibe mención a la interpretación musical por A Dancing Christmas Party. 01:06:15
Un fuerte aplauso. 01:06:19
Colegio Ciudad de Columbia, de Tres Cantos, recibe mención económica y mención a la creatividad y originalidad por Hércules. 01:06:22
Colegio San Cristóbal de Madrid, recibe mención económica por The Curious Incident of the Dog in the Night Time. 01:06:39
Seguimos con los premios al concurso de oratoria en inglés. 01:06:55
Colegio San Patricio de Alcobendas, recibe el primer premio. 01:06:59
Colegio Las Tablas Valverde de Madrid receives the second prize. 01:07:02
Colegio Madres Concepcionistas de Madrid receives the third prize. 01:07:25
And finally, Colegio San Patricio de Madrid receives the fourth prize. 01:07:40
A big round of applause for everyone. 01:07:44
Very good. 01:08:07
We do the same as before, if you like. 01:08:09
We'll line up and pose for a picture, if you want to take advantage of it. 01:08:12
And now, we present to you a scene from the work Micro-Theatre, 01:08:22
made by the Instituto Fortuny de Madrid. 01:08:39
This function is composed of five pieces made in five very different scenic spaces. 01:08:42
The garage of the institute, the bathroom, a class, a office, 01:08:59
and the theater of the center. 01:09:05
40 actors represented 5 texts for 15 lucky spectators. 01:09:08
We would like to highlight this proposal, 01:09:16
not only because of its great execution and originality, 01:09:20
but also because it teaches us that theater does not put limits on imagination, 01:09:23
And sometimes, within our own centre or neighbourhood, 01:09:28
we have non-conventional scenic spaces 01:09:32
where we can make theatre and generate an atmosphere 01:09:36
that enhances and enlarges what the author, director and actors want to tell. 01:09:40
Although here we will not be able to appreciate this effect, 01:09:47
we want to encourage you to take a risk, to try and investigate. 01:09:55
new ways of doing theater that make this experience more attractive and stimulating, 01:10:00
bringing our students closer to this artistic discipline that is so educational and creative. 01:10:07
Congratulations to the Fortuny Institute for this initiative. A big round of applause for them. 01:10:14
Did you ever believe in this? 01:11:13
I mean, I mean in acting, in being in front of three or five hundred, a thousand people knowing every eye is set on you. 01:11:16
Being up there can really make you dizzy, you will know. 01:11:28
But it really isn't me up there, but my character. 01:11:32
But when you're having a bad day, when you have fought with your boyfriend, 01:11:36
or when you haven't slept at all because of a fucking top notch car alarm, 01:11:42
or when the producer in Texas is saying, 01:11:45
yes, the play will be performed ten more days, 01:11:48
but then will be thrown out. 01:11:52
I even used to think this was a profession. 01:11:56
I mean, to be an actress. 01:12:00
When I was young, 01:12:03
I used to think there was a place 01:12:05
I might meet a step with a wolf on the pond and honestly pass it. 01:12:09
They made a field, and when they finished, they record another one. 01:12:19
They couldn't go there because from Europe, each week, all the people demand a new field. 01:12:24
At home, my parents have 95 blades, too. 01:12:31
I'm a tree. I tied myself with a harness and stayed there for hours, 01:12:40
I'm waiting for elephants to come to my mom. 01:12:47
Elephants haven't come yet. 01:12:54
When are they coming? 01:13:08
In a while. 01:13:11
I think I'm starting to see them. 01:13:12
She would leave and I could see the elephants. 01:13:30
I always compare my work to dreams. 01:13:34
In a dream, you live through what's happening. 01:13:42
and when you wake up it's like lights going out in a change of scene or the 01:13:44
curtain falling when you wake up you see to yourself this is it nothing has 01:13:49
happened like I was about to die but it was all a lie or I have fallen in love 01:13:56
but it was also a lie yet in that journey you experience it you feel it as if it were real 01:14:05
Sometimes, the applause from the audience is also a dream. 01:14:14
You wake up, and you're really alone. 01:14:20
Ladies, ladies, we must start. 01:14:24
We are going to start practicing the first scene. 01:14:28
Marta, Anna, please go to your initial positions. 01:14:31
Let's start. 01:14:34
The writer says, 01:14:37
Very white in a room in Bernarda's house. 01:14:39
Pay attention. The room isn't just white. 01:14:44
Lorca highlights that it is very white. 01:14:49
Notice how important are appearances for Bernarda Alba. 01:14:53
Alba, which comes from Latin albus, means white. 01:15:00
Whiteness in the walls, pureness, virginity. 01:15:05
They've been mumbling away for more than two hours now. 01:15:11
I'll continue reading. 01:15:18
Thick walls. The walls of the set must seem very thick, protecting the privacy of the house, preventing any inappropriate word to leak to the exterior. 01:15:20
Bernarda is always unclean. If Bernarda doesn't save himself before the few hours I have left. 01:15:32
My hands are- 01:15:42
Arched doorways. Wide and thick walls and arched doorways. 01:15:43
This is nothing but a niche. Lorca wants us to kill death from the inside of the niche. 01:15:57
Bernarda, consider your heart, and watch how they die, for a whole year, without taking a cold smile from her dumb face. Scraft, start bleeding from all this scarring. 01:16:06
Remember what Federico said. The characters that appear on stage need to wear a poetry dress. 01:16:25
And at the same time, they need that their bones can be seen, they need that their blood can be seen. 01:16:33
Thirty years, washing her sins. Thirty years, missing her leftovers. 01:16:41
Nights over her with the seagulls. 01:16:49
And third days, fear which are the gossips. 01:16:52
Life with no sequence from each other. 01:16:57
And yet, damn her, missing of a horrible pain like nicely stuck in her eyes. 01:16:59
Alba's family did really exist. 01:17:07
Francisca Alba was her name, and she lived in Valderrubio, Granada. 01:17:10
And as her protagonist, she widowed, and was left with her daughters, 01:17:16
who were subdued by her tyrannical wasp-ness. 01:17:22
Now, you're not them. You're symbols. 01:17:25
Bernarda. Sixty years old. 01:17:31
Germanic name, which means, with a verse, violent and straight. 01:17:34
Without a doubt, a character full of violence and vigor. 01:17:40
Come on, Bernarda. Speak. 01:17:46
Is the fan you give to a widow? Give me a black one and learn to respect your father's memory. 01:17:52
Take mine. 01:17:57
What about you? 01:17:58
I don't need one. 01:17:59
Look for another. You are going to need one. 01:18:00
In our eight years of mourning, no wind from the street will enter this house. 01:18:03
Pretend we have sealed up doors and windows with bricks. 01:18:09
That was how it happened in my father's house and in my grandfather's house. 01:18:13
The characters must be so human, Lorca said, so terribly tragic and bound into everyday life so tightly, so that they show their betrayals, so that their smells can be perceived, so from their lips all their courageous words come out, full of love or hatred. 01:18:19
Where's Adela? Oh, she has put on the green dress she made to wear for her birthday. 01:18:44
She went to the pen and started shouting, 01:18:51
Chickens! Chickens! Look at me! I had to laugh! I had to laugh! 01:18:54
This is Adela's first rebellion gesture. 01:19:01
This green, mentioned by Magdalena, is the only color different from black and white. 01:19:04
Its symbolic meaning of vital exaltation is evident. With this, the dramatic conflict is introduced. 01:19:11
What are you thinking? You'll get used to it. 01:19:20
No! I will not get used to it. I can't be like that. I don't want my skin to dry out like yours. 01:19:27
I don't want to press away and grow old here, in this room. Tomorrow, I will put on my green dress. 01:19:34
Maria Josefa enters. Bernarda's mother is a very old woman, decked out with flowers on her head 01:19:55
and at her breast. There is a clear erotic symbolism. Her madness lets her rebel against 01:20:02
the oppression, the sexual oppression to which all of Bernarda's daughters are subjected. 01:20:09
Bernarda, where is my mantilla? 01:20:14
I think of mine. 01:20:19
Edrez, because none of you are going to get married. 01:20:25
Not even... 01:20:32
Give me my pearl necklace. 01:20:33
We let her in. 01:20:38
She got away from me. 01:20:39
I escaped because I want to get married. 01:20:41
Because I want to get married to a beautiful man from the edge of the sea. 01:20:44
Lock her up. 01:20:50
I want to get away from here. 01:20:51
Bernarda! 01:20:53
Let's go to the final part. 01:20:54
Bernarda! 01:21:03
No weeping. 01:21:04
We must look dead right in the face. 01:21:08
Silence! 01:21:11
Be quiet, I said. 01:21:13
Tears won't draw low. 01:21:15
We will all drown ourselves in a sea of mourning. 01:21:17
She, the youngest daughter of Bernarda Alba, has died a virgin. 01:21:21
Did you hear me? 01:21:28
Silence! 01:21:30
Silence! Be quiet! 01:21:31
but with a great illusion for having seen the wonderful talent that is in our community, really. 01:22:30
We give you all thanks for your effort, illusion and participation. 01:22:40
And now, a big applause for International School of Madrid and for all of you. Thank you very much. 01:22:46
And you? 01:23:07
Splendid. 01:23:09
Pickering, let's take her to the public and see how she fares. 01:23:10
Pounding? 01:23:19
I heard no pounding, did you, Pickering? 01:23:19
No pounding. 01:23:21
There was no pounding, Mrs. Spears. 01:23:22
By God, if this continues like this, you should see a doctor. 01:23:24
Pickering, I know. 01:23:27
Let's take her to the races. 01:23:28
The races? 01:23:30
Yes, my mother's box at Ascot. 01:23:31
You'll consult your mother first, of course. 01:23:33
Of course, yes. 01:23:35
No, we'll surprise her. 01:23:35
Let's go straight to bed, and first thing in the morning, we'll depart for Ascot. 01:23:38
Eliza, you continue with your work. 01:23:42
And what better time to work than early in the morning? 01:23:44
Now, we ought to buy something nice for Eliza, not that disgusting dress. 01:23:49
Something elegant, modest, it's what it's called for here. 01:23:54
Perhaps with a sash here. 01:23:58
I despise those gowns with weed here and weed there. 01:24:02
Maybe with an open neck and a cut on the side. 01:24:05
What do you think, Pickering? 01:24:08
Something modest. 01:24:09
Yes. 01:24:10
Now, where does one buy a gun nowadays? 01:24:12
At Whiteleaf's, of course. 01:24:15
And how do you know that? 01:24:17
Common knowledge. 01:24:20
You've all been working much too hard. 01:24:23
I think the strain is beginning to show, Eliza. 01:24:26
Now, you must put down your books and go to bed. 01:24:27
It was a magical night. 01:24:31
Mr. Higgins is so... 01:24:42
Bed, bed, I couldn't go to bed. 01:24:44
My head's too light to try to settle down 01:24:47
Sleep, sleep, I couldn't sleep tonight 01:24:51
Not for all that you was in the crowd 01:24:56
I could have danced all night 01:25:00
I could have danced all night 01:25:04
And still have begged for more 01:25:07
I could have spread my wings 01:25:12
I've done a thousand things I've never done before 01:25:16
I'll never know what made it so exciting 01:25:24
Why all at once my heart took flight 01:25:30
I only began to dance with me 01:25:36
I could have danced, danced, danced 01:25:47
I could have danced all night 01:25:51
And still have begged for more 01:26:08
I could have spread my wings 01:26:12
And done a thousand things 01:26:17
I've never done before 01:26:19
I'll never know what made it so exciting 01:26:24
Why can't I want my heart to plant 01:26:31
To dance with me 01:26:37
I could've danced, danced, danced 01:26:48
Could've danced, could've danced 01:26:52
I've spread my wings 01:27:18
I've done a thing before 01:27:28
I'll never know 01:27:36
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Idioma/s:
es
Niveles educativos:
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Autor/es:
Consejería de Educación, Juventud y Deporte. Dirección General de Mejora de la Calidad de la Enseñan
Subido por:
Gestiondgmejora
Licencia:
Reconocimiento - No comercial - Sin obra derivada
Visualizaciones:
936
Fecha:
2 de junio de 2015 - 13:27
Visibilidad:
Público
Centro:
C RECURSOS Dirección General del Mejora. Gestión de Aplicaciones
Duración:
1h′ 28′ 58″
Relación de aspecto:
1.78:1
Resolución:
636x358 píxeles
Tamaño:
434.57 MBytes

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