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CLAUSURA DE LOS CERTÁMENES DE TEATRO, DANZA Y ORATORIA EN INGLÉS DE LA COMUNIDAD DE MADRID. CURSO 2012-13

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Subido el 2 de diciembre de 2013 por Gestiondgmejora

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FECHA: 29 de mayo de 2013
LUGAR: Real Escuela Superior de Arte Dramático (RESAD)

DESCRIPCIÓN

1º. CERTAMEN DE TEATRO
Actuación del INSTITUTO FORTUNY (Madrid).

2º. CERTAMEN DE TEATRO
Actuación del COLEGIO PÚBLICO SAN CRISTÓBAL (Madrid).

3º. CERTAMEN DE DANZA
Actuación del COLEGIO NUESTRA SEÑORA DE LORETO (Madrid).

4º. CERTAMEN DE DANZA
Actuación del CEIP SANTA ANA (Pedrezuela).

5º CERTAMEN DE TEATRO
Actuación del COLEGIO SAN JOSÉ DE CLUNY (Pozuelo de Alarcón).

6º CERTAMEN DE TEATRO
Actuación del INSTITUTO CLARA CAMPOAMOR (Móstoles).

7º CERTAMEN DE TEATRO
Actuación del INSTITUTO SAN ISIDRO (Madrid).

8º CONCURSO DE ORATORIA EN INGLÉS
Participación del Colegio Senara (Madrid).
Participación del Colegio Retamar, Equipo 2 (Pozuelo de Alarcón).
Participación del Colegio Ibn Gabirol, Equipo 2 (Alcobendas).
Participación del Colegio Internacional John Henry Newman, Equipo 2 (Madrid).

9º. CERTAMEN DE TEATRO
Participación del INSTITUTO ALPAJÉS (Aranjuez).
10º. CERTAMEN DE TEATRO
Entrega de premios
11º. CERTAMEN DE DANZA
Entrega de premios
12º CERTAMEN DE TEATRO
Participación del IES FORTUNY (Madrid).

13º.CIERRE DEL ACTO
- Viceconsejera de Educación, Juventud y Deportes, Dña. Alicia Delibes Liniers

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Yes, it is this tree. 00:00:34
21, 22, and 23. 00:05:48
It's very stuffy here. 00:05:50
Do you need some pressure? 00:05:52
Hold on. 00:05:53
I have everything under control. 00:05:54
This needs a good dose of freshness. 00:05:56
I'm going to get some more. 00:06:00
Yes, go, go. 00:06:02
Well, sweetie, here we are. 00:06:04
And what's on tonight? 00:06:05
I don't know, nor do I care, Anticlotilde. 00:06:07
Ah, Mariana, now I understand why we were here instead of going to the opera, 00:06:11
where we knew what they were playing. 00:06:17
We didn't stand up here. That's very logical. 00:06:19
Don't expect to find logic in her, Ankios, 00:06:22
because if she were logical, she would not be part of our family. 00:06:25
Oh, yes, your grandmother, God rest her soul, 00:06:30
used to sew dresses and hats 00:06:35
to all the matches that fell into her hands. 00:06:37
And your poor grandfather 00:06:40
spent the last years of his life 00:06:42
chilling in peace. 00:06:44
And don't forget your uncle Cecilio, 00:06:46
who was sent to a mental hospital. 00:06:49
When he was cured, 00:06:51
he would not leave the institution 00:06:53
because he insisted on marrying the director, 00:06:54
who was a very serious gentleman with glasses. 00:06:57
It appeared that perhaps 00:07:01
he was not cured at all. 00:07:02
Not to mention, your father or your auntie Micaela, we already have to stay there at home. 00:07:03
Regarding your sister, well, let's not even go there. 00:07:10
Us? 00:07:15
For us, we should lock ourselves up and throw away the key. 00:07:16
But anyway, apart from the fact that when you were a child, 00:07:21
you used to eat flowers and walk backwards until you knock your head against a tree. 00:07:26
Everything made us think you are going to be the wife-ship of the family. 00:07:32
Do you think I'm behaving like this because of Fernando Geras? 00:07:41
Of course. Haven't you seen him? 00:07:51
Haven't they? 00:07:53
It's very difficult to me to judge someone weird. 00:07:57
How custom does I am to those in our home? 00:08:02
Well, make an effort and try to compare them with ordinary people. 00:08:05
To cookies, uncle and nephew. 00:08:09
Even him? 00:08:12
Even him. 00:08:13
Are you saying that Fernando could be different from the rest? 00:08:14
A mysterious, secretive, unscrutable, and self-contained man? 00:08:19
No less. 00:08:24
He's a pickable uncle, Ezequiel. 00:08:27
Makes me feel safe every time. 00:08:29
Here's again your prisoner. 00:08:31
We should have brought Iglofilde. 00:08:36
Say what? 00:08:46
Do you think Fernando is living a double life? 00:08:47
Hiding something eternally? 00:08:50
Internally, for instance, hiding a terrible secret that no one knows. 00:08:52
It wouldn't surprise me. 00:08:58
Oh, God bless you, Auntie Clotilde, you make me so happy. 00:09:00
Do you need Fernando to be a mysterious, secretive, unscrutable, and self-contained man to be happy? 00:09:04
Yes, I do! 00:09:13
Back to the flowers! Here we go again! 00:09:15
And if one day I discover that everything in his life is simple and normal, I will break up with him. 00:09:18
Will you? 00:09:25
Yes, I will run away from his side, like I did tonight. I don't care where. 00:09:26
But, Mariana, it will be easy to find you if you end up in a cinema like this. 00:09:31
And you'll survive the air freshener, man. 00:09:36
Don't make fun of that auntie. 00:09:44
I'm sorry, but talking about this in surgery, it makes me feel sad. 00:09:46
It reminds me of your sister. 00:09:51
Yes, your sister started acting strange like you. 00:09:53
Until one day, she's abused. 00:09:57
And she's still missing. 00:10:00
As I don't want to share this fate with your sister, 00:10:02
I am going to fight your peculiarities. 00:10:05
I am not my sister. 00:10:06
But you are, Abriones! 00:10:09
Our only inheritance is our madness. 00:10:10
That's ridiculous. 00:10:14
Ridiculous. 00:10:15
And what about your auntie Micaela's book of examples? 00:10:16
The elderly have it so quick. 00:10:18
And your father, who 21 years ago, 00:10:21
on 19, 19, 12, 00:10:24
acquired it at 2, 6 p.m., 00:10:26
when everybody was having to do other things. 00:10:28
I will go to bed forever. 00:10:32
And has been in bed ever since. 00:10:35
Poor thing. 00:10:37
He was heartbreak, but I'm afraid of you, Glutty Leigh. 00:10:38
Have something to do with it. 00:10:42
I have never denied it, but I never thought that breaking his heart would make him rest for life. 00:10:44
No lover has ever before hacked a pillow with such resolution. 00:10:52
Yes, lovers break pains like Becker, or they shoot themselves like Lara, or even marry a chick from Zamora. 00:10:56
Open your eyes, Mariana. 00:11:03
Your daddy is a little bit... 00:11:05
In a matter. 00:11:08
And what's about my... my mother? 00:11:09
I've never heard nonsense about her. 00:11:11
She married your father! 00:11:14
That's enough! 00:11:16
I could be an exception. 00:11:20
Are you a wrestler, too? 00:11:22
Me, too. 00:11:23
And why do you find my behavior so weird? 00:11:24
Because wanted and mysterious, secretive, unscribable, and self-contained men 00:11:28
with a terrible secret that no one knows. 00:11:33
Not very common, my dear. 00:11:37
I would expect that from any other, but Fernando is different. 00:11:38
Why? 00:11:43
Not always, you know, 00:11:44
but sometimes there is something in his eyes, 00:11:46
in his face, in his voice and in his silence. 00:11:50
There is something in him. 00:11:52
Haven't you noticed? 00:11:54
Something inexplicable, obscure, gloomy. 00:11:55
At those times, the way he treats me, 00:12:02
the way he looks at me, 00:12:04
the things he says and the way he says it, 00:12:06
even if he doesn't speak about love, 00:12:08
He makes me feel attracted and fascinated at those times I believe he and I are made for each other. 00:12:10
At those times and this, I adore him! 00:12:17
Mariana, relax! 00:12:20
But that doesn't mean I'm crazy, doesn't it? 00:12:22
I am the only one attracted by mystery. 00:12:25
Yeah, whatever. 00:12:28
Nevertheless, most of the times he regrets like having found the depths of his soul. 00:12:30
His eyes seem to look like everybody else's. 00:12:35
His face and his words are like everybody else's, and his silence are empty. 00:12:38
At those times, he turns into a common man, losing his charm. 00:12:45
At those times, I believe he and I are not meant for each other. 00:12:49
At those times, he bothers me. 00:12:53
If he speaks about love, I can stand him, and I'm eager to lose sight of him. 00:12:55
At those times, I decide, hate him, love him, despise him. 00:12:59
This afternoon, he showed me the man I love. 00:13:07
We were seated under the almond tree where he loved to sit. 00:13:10
And when he asked me, will you come? 00:13:15
I knew he was talking about his mansion. 00:13:17
And I answered, yes, I will. 00:13:20
Mariana! 00:13:23
As you can see, I'm here. 00:13:25
But you had told me we were out. 00:13:27
The opera was excused. 00:13:29
We had planned to run away at the end of the first act. 00:13:31
But when I saw him, he turned into a man I love. 00:13:35
Even with a candle head, I would do what we planned. 00:13:38
But if you even didn't speak to him... 00:13:41
Yes, we just ran in the car without looking back. 00:13:43
You jumped in the car shouting, 00:13:47
Get in! 00:13:48
And before we realized, we were sitting on this air freshener cinema, 00:13:49
leaving the Ojedas behind. 00:13:54
Are you aware of where it is taking you? 00:13:55
To happiness? 00:13:58
Or misery? 00:13:59
Or to Fernando Velasco, Mariola? 00:14:00
I eat too much air freshener. 00:14:05
Oh, no, it's not that. 00:14:10
It's the Ojedas approaching. 00:14:11
I didn't think you would say hello tonight again 00:14:13
What a nuisance, you play a dirty trick on us 00:14:27
Sorry 00:14:30
I guess Mariana has her own reasons to play hide and seek with Fernando 00:14:30
But don't you think we're too old to play these games? 00:14:35
We are not in the mood for jokes 00:14:38
Here are we, do I look happy? 00:14:40
But why have you done this to me? 00:14:42
And you, why weren't you the same man this evening that you were this afternoon? 00:14:43
And why are you that man now? 00:14:48
Mariana 00:14:50
I know what I'm talking about. I'm not crazy, and if I were, you would be the one to blame. 00:14:51
I warn you, we are here because Fernando wanted to find Mariana. 00:14:57
Yes, yes. 00:15:02
We wouldn't have come otherwise. 00:15:03
Of course, of course. 00:15:05
That's unacceptable! 00:15:06
Excuse me, Tequila, are you talking to me? 00:15:07
Yes, I was, but you weren't paying attention. 00:15:10
I'm sorry, I was distracted. 00:15:13
I'm glad my conversation faces you. 00:15:15
Have you heard? He says... 00:15:17
What's wrong? 00:15:19
Gentlemen and ladies... 00:15:24
The movie's going to start, and I've missed the opera concert, 00:15:27
but I will not miss this movie as well, I swear. 00:15:29
But if you're the only one speaking... 00:15:32
What's wrong, Mariana? 00:15:34
Nothing. There's nothing wrong with me. 00:15:37
But listen, girl... 00:15:39
Leave me alone! Don't talk to me! Don't talk to me! Don't look at me! 00:15:40
But why is she running away from me again? 00:15:43
Bless me God! 00:15:50
Tonight is gonna be a good night after all. 00:15:51
Why, when she is looking at me with the greatest love, she suddenly changed, and changed it into hate. 00:15:54
Normie. 00:16:09
It's going to be tonight. 00:16:10
Tonight! 00:16:16
We know. 00:16:16
I couldn't live among us one more day. 00:16:17
But I wonder if you have to live like that until now. 00:16:20
I need her in my mansion. 00:16:24
I need to bring her there either way, because she is the only one that can free me from that hell. 00:16:25
Then go and join. 00:16:31
I'm not telling you. 00:16:33
Go. 00:16:34
Oh, we have the little motor with you. Give it to me. 00:16:34
Here you are. Good luck. 00:16:38
Good luck. 00:16:40
Can you... 00:16:40
Gentlemen. 00:16:42
One of the ladies passed me this note for you to read, secretly. 00:16:46
Thank you. Can I borrow your torch for a while? 00:16:51
Yes, of course. 00:16:54
Search for Clock Sharp at the garden gate in my house, Matilde. 00:17:00
Please, girl, can you call me in quarter to twelve? 00:17:06
Yes, of course. 00:17:10
Towards the beginning of the movie. 00:17:14
Enhorabuena al Instituto Fortuny y al Colegio San Cristóbal. 00:17:59
Muy bien, chicos. 00:18:04
Ambos de Madrid por estas dos estupendas escenas también interpretadas 00:18:05
y por haber sido propuestos para el primer premio de teatro en inglés 00:18:10
en la categoría de secundaria y de primaria. 00:18:14
A big round of applause for him. 00:18:17
Vice-Consejera de Educación, Juventud y Deportes, Directora General de Mejora de la Calidad de la Enseñanza, 00:18:29
Directora del Área Territorial de Madrid Capital, Consejal Presidente del Distrito de Chamberí 00:18:36
and other authorities of the Consejera de Educación, Juventud y Deportes, students, families, teachers, 00:18:42
we welcome you to this joint act of closing of the 20th edition of the School Theatre Certificate, 00:18:49
3rd edition of the Dance Certificate and 1st edition of the English Oratory Competition of the Community of Madrid. 00:18:57
From here, we want to thank the effort and generosity of all of you who have collaborated in all possible ways 00:19:04
in any of these theatre, dance and oratory certifications in English. 00:19:12
In this act of closure, we want to give all the protagonism to our students, because without them, without their enormous illusion, without their imagination, without their immense and sometimes uncontrollable energy, without their passions and their thousands of things, this contest would not be possible. 00:19:17
But we also want to thank, and especially to those other main actors, hidden today, which are the teachers. 00:19:36
Without their enormous illusion, their imagination, their generosity, their perseverance, their patience, their sense of humor, their passions, their anger and their, their, their, their thousands of things, 00:19:47
no sería posible desarrollar una labor tan importante como es la educación. 00:20:00
Estos tres certámenes tienen como principales objetivos el potenciar y habilitar un espacio 00:20:08
para el desarrollo de competencias tan importantes como la sensibilidad artística, la creatividad 00:20:14
y el trabajo en equipo. 00:20:20
Por eso, insistimos en dar las gracias a estos profesores que dedican de forma altruista 00:20:22
their free time to any of these disciplines, of which today we will be able to see a small 00:20:28
sample. We all know the great effort and dedication that it takes to prepare any of 00:20:34
these shows, and for this reason, and with our enormous gratitude, we ask you for a 00:20:42
strong applause for all those faces, not visible, but present today. A strong applause, 00:20:47
With the aim of being able to show the greatest number of performances and thus share the effort of the centers, we have tried to select a varied sample of fragments of works, numbers of dance and pieces of oratory that represent the best of these contests. 00:20:52
A continuación, les mostraremos dos piezas de danza. La primera corresponde al primer premio propuesto del certamen de danza en la modalidad de primaria, que ha sido para el Colegio Nuestra Señora de Loreto de Madrid, con una pieza de folclore internacional de Richard Strauss. 00:21:19
La Consejería de Educación, Juventud y Deporte, además de apoyar la danza clásica y las danzas folclóricas, 00:21:43
quiere también animar y apoyar la danza moderna como modo de expresión de los jóvenes. 00:21:50
Muestra de ello es la segunda pieza que veremos a continuación, 00:21:56
que además de original y contemporánea, está llena de matices de gran calidad. 00:21:59
Esta segunda pieza ha sido realizada por el Colegio Santa Ana de Pedrezuela. 00:22:04
Y ahora sí, un fuerte aplauso para todos ellos. 00:22:09
Enhorabuena por estas maravillosas representaciones. 00:22:21
A continuación, damos paso a los tres primeros clasificados en el certamen de teatro en castellano. 00:32:06
Y que irán uno después de otro. 00:32:12
El primer espectáculo nos lo mostrará el Colegio San José de Clun, de Pozuelo de Arrozco, 00:32:15
que ha interpretado una escena del Don Juan Tenorio de José Torrilla, 00:32:20
por el que ha sido propuesto para el segundo premio de teatro en la modalidad de castellano. 00:32:23
The second one is in charge of the Clara Campoamor Institute of Moscow, which will present us a scene of the Lady Boa of Lope de Vega, for which it has been proposed for the third award in Castilian theater. 00:32:28
And the third show will be Blood Weddings of Federico García Lorca, represented by the San Isidro Institute and which has been proposed for the first award in Castilian theater. 00:32:39
Now, from here we wish you good luck and a big applause. 00:32:50
What do you want, good gentleman? 00:32:54
I want. 00:33:23
What do you want? 00:33:25
Let's see. 00:33:27
See? 00:33:30
See? 00:33:31
And what will you see at this hour? 00:33:33
Your lady. 00:33:37
And you, Hidalgo, in bad time. 00:33:41
Who do you think lives here? 00:33:44
Doña Ana Pantoja. 00:33:46
And I want to see your lady. 00:33:48
Do you know what day it is, Doña Ana? 00:33:50
Yes, tomorrow. 00:33:53
And should it be already, so unfaithful? 00:33:55
Yes, it will be. 00:33:57
Well, isn't it of Don Luis Mejía? 00:34:00
Yes, another day. Today is not tomorrow, Lucía. 00:34:03
I have to be with Doña Ana today. 00:34:09
Tomorrow will be another day. 00:34:11
Ah, in welcoming you, is it? 00:34:16
It will be. 00:34:19
What are you going to do if I serve you? 00:34:21
Open. 00:34:25
Good. And who will open this castle? 00:34:26
That pocket. 00:34:31
Gold? 00:34:33
Soon it will give you the shine. 00:34:34
How much? 00:34:36
100 times more. 00:34:37
Jesus? 00:34:40
Count and tell me. 00:34:41
Can this house open this castle? 00:34:43
Oh, if it's the one that will give me the peak. 00:34:47
Very rich. 00:34:50
Yes? 00:34:51
What name is the gallant? 00:34:52
Don Juan. 00:34:53
Without a notorious last name. 00:34:56
Tenorio! 00:34:57
You're so courteous. 00:34:58
Are you Don Juan? 00:35:00
Quiet, Medrenta, if your eyes are very rich. 00:35:02
Don Juan Tenorio? 00:35:06
Rechina the lock. 00:35:08
Be sure. 00:35:11
And who will you give me for the zebu? 00:35:12
You. 00:35:14
And who will open the way for me? 00:35:16
Buentino. 00:35:17
Yes. 00:35:18
And give me the arms of destiny. 00:35:19
Give me some time for ten. 00:35:21
At ten. 00:35:23
Where do you want to go, Shami? 00:35:25
Here. 00:35:32
You'll be punctual, won't you? 00:35:34
I will. 00:35:36
Well, I'll bring you a key. 00:35:38
And I'll bring the same amount. 00:35:40
Don't miss me. 00:35:42
Not really. 00:35:44
At ten, I'll be here. 00:35:46
Goodbye, then. 00:35:48
And trust me. 00:35:50
And trust me. 00:35:52
Y en mí te fío. 00:35:54
Y en mí, el garboso galán. 00:35:56
Adiós, pues, franca Lucía. 00:35:58
Adiós, pues, rico don Juan. 00:36:01
En qué confusión me veo. 00:36:06
Hay mujer más desdichada. 00:36:31
Todos dan en perseguirme. 00:36:33
Detente en un punto firme, fortuna veloz y airada, 00:36:35
que ya parece que quieres ayudar mi pretensión. 00:36:39
Oh, what a great occasion. 00:36:43
Are you my good? 00:36:46
I don't expect to see me in Laurencia, never. 00:36:49
Everyone is mad at me for you. 00:36:52
Well, what have they told you about me? 00:36:54
You'll know that now. 00:36:55
Where is my thought? 00:36:57
Your thought? 00:37:00
Yes. 00:37:01
In you. 00:37:02
Because if it were in me, I would be happier. 00:37:03
You see? 00:37:06
I don't. 00:37:07
Never. 00:37:08
Mi hermana me dijo aquí que no has de pasarme a mí por el pensamiento más. 00:37:08
Por eso allá te desvía, y no me pases por él. 00:37:14
Piensa que yo estoy en él y echarme fuera querría. 00:37:17
Tras esto, dice que en mí pusiste los ojos. 00:37:21
Dice, ¿verdad? No lo contradice el alma que vive en ti. 00:37:24
Pues tú me has de quitar luego los ojos que me pusiste. 00:37:28
¿Cómo, si en amor consiste? 00:37:31
Que me los quites, te ruego, con ese lienzo de aquí, si yo los tengo en mis ojos. 00:37:33
No más, cesen los enojos. 00:37:39
¿No están en mis ojos? 00:37:41
Sí. 00:37:43
Pues limpia y quita los tuyos, que no han de estar en los míos. 00:37:44
¡Qué graciosos desvaríos! 00:37:47
Pon los anís en los suyos. 00:37:49
Ya te limpio con el lienzo. 00:37:51
¿Quitáselos? 00:37:53
¿No lo ves? 00:37:54
¡Laurencio, no se los des, que a sentir penas comienzo! 00:37:56
Pues más hay. Que el padre mío bravamente se ha enojado del abrazo que me has dado. 00:38:00
¿Más que hay otro desvarío? 00:38:07
También me le has de quitar. No ha de reñirme por esto. 00:38:09
¿Cómo ha de ser? 00:38:13
Siendo presto. ¿No sabe desabrazar? 00:38:14
El brazo derecho alce. Tienes razón. Ya me acuerdo. 00:38:17
Ahora alzaré el izquierdo y el abrazo desharé. 00:38:22
¿Estoy ya desabrazada? 00:38:26
Don't you see? 00:38:28
And I do too. 00:38:30
I'm so used to it that you won't say anything to me anymore. 00:38:32
I don't care about what Laurencio thinks of me anymore. 00:38:35
And I went back to my eyes because she gets married to you. 00:38:38
I took them in the canvas and she has already unhooked me. 00:38:41
You know what has happened to you, with a high laugh. 00:38:44
Not here. 00:38:46
Let's go to the garden. 00:38:47
I have something to tell you. 00:38:49
Wherever you want, let's go. 00:38:51
She takes him. 00:38:55
Anyway, what is this that makes me sad that he leaves with him? 00:38:57
I'm going after him. 00:39:04
What is this that makes me sad about my own freedom? 00:39:07
I can't live without Laurencio. 00:39:11
This is my father. Silence! 00:39:14
Shut up, tongue! Eyes! Speak! 00:39:17
Where is your husband? 00:39:20
I thought that the first thing you did when you saw me was to know if I obeyed you. 00:39:22
Well, what for? 00:39:27
Are you angry that you didn't tell me here that it was wrong to hug Laurencio? 00:39:29
Well, now that I unhugged him, I begged him, and the last hug has taken me away. 00:39:34
Is there such a thing? 00:39:38
Well, say, beast, did you hug him again? 00:39:40
That's not it. It was the first time I raised Laurencio's right arm. 00:39:43
That hug. 00:39:49
Y agora levanto, que bien me acuerdo, porque fuese al revés, el brazo izquierdo, luego desabrazada estoy agora. 00:39:51
Cuando pienso que sabe más, ignora. 00:40:00
Ello es querer hacer lo que no quiso naturaleza. 00:40:03
Diga, señor padre, ¿cómo llaman aquello que se siente cuando se va con otro lo que se ama? 00:40:06
Ese agravio de amor, celos se llama. 00:40:13
¿Celos? 00:40:16
Pues, ¿no lo ves? ¿Qué son sus hijos? 00:40:17
El padre puede dar mil regocijos, y es muy hombre de bien, 00:40:19
mas desdichado es que tan malos hijos ha criado. 00:40:23
Luz va teniendo ya. 00:40:27
Pienso y bien pienso, que si amor la enseñase, aprendería. 00:40:29
¿Con qué se quita el mal de celosía? 00:40:33
Con desenamorarse, si hay agravio, que es el remedio más prudente y sabio. 00:40:36
Que mientras haya amor, ha de haber celos, pensión que dieron a este bien los cielos. 00:40:41
¿A dónde misesta? 00:40:47
Junto a la fuente, con Laurencio se fue. 00:40:50
¡Cansada cosa! 00:40:54
¡Aprenda no la mala a hablar su prosa! 00:40:56
¡Deje sedes, sonetos y canciones! 00:40:59
¡Allá voy a romperle las razones! 00:41:02
¿Por quién en el mundo pasa esto que pasa por mí? 00:41:05
¿Qué vi de Nantes? 00:41:09
¿Qué vi que así me enciende y me abraza? 00:41:10
¡Celos dice el padre mío que son brava enfermedad! 00:41:13
¡Huyendo su autoridad de enojarle me desvío! 00:41:17
Aunque, en parte, le agradezco que estorbarse los enojos de Nise. 00:41:19
Aquí están los ojos a cuyos rayos me ofrezco. 00:41:25
Señora. 00:41:28
Estoy por no hablarte. 00:41:30
¿Cómo te fuiste con Nise? 00:41:31
No me fui porque yo quise. 00:41:33
Pues, ¿por qué? 00:41:35
Por no enojarte. 00:41:36
Bésame si no te veo. 00:41:37
Y enviándote ya querría que te fueses. 00:41:40
Y a por fía anda el temor y el deseo. 00:41:43
Yo estoy celosa de ti, que ya sé lo que son celos. 00:41:46
That his hard name, oh heavens, my father told me here, but he also gave me the remedy. 00:41:49
What is it? 00:41:57
Unloose me, because I will be able to soothe myself by removing the love from the middle. 00:41:58
Well, that, how should it be? 00:42:02
The one who put the love on me, will remove it better. 00:42:04
There is usually a remedy. 00:42:07
What? 00:42:09
Those who come here, will help the remedy. 00:42:10
They will help each other. 00:42:12
Tengo frío. Mis cenizas de soñolientos metales buscan la cresta del fuego por los montes y las calles. 00:44:42
Pero me lleva la nieve sobre su espalda de jaspe y me anega, dura y fría, el agua de los estanques. 00:44:58
Pues esta noche tendrán mis mejillas rojas sangre y los juncos agrupados en los anchos pies del aire. 00:45:10
No haya sombra ni emboscada, que no puedan escaparse. 00:45:22
Que quiero entrar en un pecho para poder calentarme. 00:45:28
Un corazón para mí, caliente, que se derrame por los montes de mi pecho. 00:45:34
Let me in, let me in. I don't want shadows. My rays have to come in everywhere. 00:45:41
And there are in the dark trunks a rumor of clarities. 00:45:50
So that tonight they have my sweet cheeks of blood and the joints grouped in the wide feet of the air. 00:45:56
Who is hiding? 00:46:07
Out, I say. 00:46:09
No podrán escaparse. Lo ha de lucir al caballo. Una fiebre de diamante. 00:46:10
Esa luna se va y ellos se acercan. De aquí no pasan. 00:46:33
El rumor del río apagará con el rumor de troncos el desgarrado vuelo de los gritos. 00:46:40
¡Aquí ha de ser! ¡Y pronto! 00:46:48
Estoy cansada, abren los cofres y los blancos hilos 00:46:50
Aguardan por el suelo de la alcoba cuerpos pesados con el cuello herido 00:47:00
No se despierte un pájaro y la brisa recogiendo en su falda los gemidos 00:47:06
Huyá con ellos por las negras copas 00:47:14
O los entierre por el blanco limo 00:47:18
¡Esa luna! ¡Esa luna! ¡Esa luna! ¡Esa luna! 00:47:23
Ya se acercan 00:47:30
Unos por la cañada y otros por el río 00:47:32
Voy a alumbrar las piedras 00:47:35
¿Qué necesitas? 00:47:37
Nada 00:47:39
El aire va llegando duro, con doble filo 00:47:39
Illumina el chaleco y aparta los botones, que después las navajas ya saben el camino. 00:47:43
Pero que tarden mucho en morir, que la sangre ponga sobre mis dedos su delicado silbo. 00:47:50
Mira que ya mis valles de ceniza despiertan en ansia de esta fuente de chorro estrenecido. 00:47:57
No dejemos que pasen el arroyo. ¡Silencio! 00:48:04
¡Allí vienen! 00:48:07
¡Deprisa! ¡Mucha luz! ¿Me has oído? ¡No pueden escaparse! 00:48:07
Next, we move on to the English oratory competition. 00:48:13
This competition is organized by teams of five components each, 00:48:48
who must pass through various tests and communication skills. 00:48:53
In order not to extend ourselves too much, each team has selected a representative 00:48:57
who will offer us a small sample of their interventions. 00:49:01
Next, and by order of classification, the following centers will come out. 00:49:04
Propuesto para el primer premio, Colegio Internacional John Henry Newman, de Madrid. 00:49:09
Propuesto para el segundo premio, Colegio IBM Gavirón, de Alcoventas. 00:49:15
Propuesto para el tercer premio, Colegio Retamar, de Pozuelo de Alarcón. 00:49:20
Y propuesto para el cuarto premio, Colegio Senara, de Madrid. 00:49:24
Un fuerte aplauso para ellos. 00:49:28
Good afternoon, ladies and gentlemen. 00:49:31
I'm going to talk about integration of people with disabilities. 00:49:41
I would just like to know how to give a solution to something that has been solved already. 00:49:44
What does integration mean? Does it mean to be recognized, to be popular, to be fully accepted in society? 00:49:51
My brother has Down syndrome and I'm telling you, he is recognized, popular and even more accepted than me in the society we live in. 00:50:00
He doesn't know how to hate, he only knows how to love. 00:50:10
love. What an amazing person to know, someone who can only love. Disabled, he isn't. More 00:50:13
able, he is. How can I solve that? Because I don't see it as a problem. In fact, the 00:50:20
problem is me and you, not him. Sometimes when people meet my brother, or hear that 00:50:26
I have a brother with Down syndrome, they smile and tell me that people with Down syndrome 00:50:32
are God's angels sent down to earth, and I can see how this is true. I mean, I just 00:50:38
can't imagine my life without him. My family wouldn't be the same, and that would be a 00:50:43
problem. My brother has a friend, a very talented friend, who is a model for children's clothes. 00:50:49
But when you think of a model, what's the first thing that comes to your mind? A cute 00:50:56
little girl, blonde hair with a bowie knit, a pink dress, and a pretty smile. Right? That's 00:51:01
comes to my mind. But did you think the model would have Down syndrome? What do you see here? 00:51:07
A cute little girl, blonde hair with a bow in it, a pink dress and a pretty smile. She is 00:51:16
the perfect model of a disabled person in society. Tintin Abbey by William Wordsworth. 00:51:23
Five years have passed, five summers, with the length of five long winters, 00:51:36
and again I hear these waters, rolling from their mountain springs with a soft inland murmur. 00:51:43
Once again do I behold these steep and lofty cliffs, that on a wild secluded scenic press, 00:51:52
thoughts of more deep seclusion, and connect the landscape with the quiet of the sky. 00:51:59
The days come when I again repose here under this dark sycamore and view these plots of cottage ground. 00:52:06
These orchard tufts, which at this season, with their unripe fruits, are clad in one green hue and lose themselves with groves and copses. 00:52:16
Once again, I see these hedgerows, hardly hedgerows. 00:52:27
These are lines of supportive wood plant wild. 00:52:32
These pastoral farms bring to the very door 00:52:37
and wreaths of smoke sent up in silence from among the trees. 00:52:40
With some uncertain notice, as might seem, 00:52:47
of vagrant dwellers in the houseless woods 00:52:50
or of some hermit's cave where by his fire the hermit sits alone. 00:52:53
Imagine for a moment that I have a box in one hand and some sand in the other. 00:52:58
I start to fill the box with the sand, but at some point there is no more space in the box. 00:53:13
We have a problem, right? 00:53:18
Well, this is what is happening right here on Earth with all the rubbish that we produce. 00:53:20
There is too much and there is no more space for it. 00:53:25
So, what can we do? 00:53:29
To save space, we can recycle. 00:53:31
Recycling means that we take things that we would usually throw away and we make new products from them. 00:53:33
Recycling is also important because it uses less energy and saves a lot of the Earth's natural resources. 00:53:40
If we use less energy, we also make less pollution, and we all know how bad pollution is for our environment. 00:53:47
Recycling is something that all of us need to do. 00:53:54
need to do. Each and every one of us is responsible for this plant. And the good thing is that 00:53:58
it's not difficult to do. You only need to know which materials we can recycle and which 00:54:05
ones we can't. Start with paper, plastic, tin and glass. The first step is to get organized 00:54:11
at home. Today, it is easy to find bins with separate compartments to hold the different 00:54:18
kind of rubbish. Then, if you need your colours, you can do it. In the streets, the blue bin 00:54:23
is for paper, the yellow bin for tin and plastic, and the green one for glass. Every time you 00:54:30
put your rubbish in the correct bin, you're taking care of our planet, making it greener 00:54:37
and cleaner. But don't stop at home. Start recycling at your school or where you work. 00:54:42
Just think of all the trees that we could save by putting all the paper in the blue 00:54:48
Speak to friends and family about the need to recycle and explain why it is necessary. 00:54:52
You can make a change. 00:54:58
Snow White and the Seven Dwarfs 00:55:00
When little Snow White's mother died, the king, her father, up and cried. 00:55:10
Oh, what a nuisance! What a lie! Now I must find another one. 00:55:14
It's never easy for a king to find himself the share of king. 00:55:18
He wrote to every magazine and said, I'm looking for a queen. 00:55:22
for a queen. At least 10,000 girls replied and begged to be a royal bride. The king said 00:55:26
with a shifty smile, I'd like to give each one a try. However, in the end, it was a lady 00:55:32
called Miss Maclawhose brought along a curious toy, the same to eat her unless toy. This 00:55:37
was a mirror, framed in brass, a magic token looking glass. Ask it something, dead or not, 00:55:43
you always got the answer right. For instance, if you were to say, oh mirror, what's for 00:55:49
Today, the thing wears her in a trance. Today, it is homeworks and rots. 00:55:54
Now, every day, week in, week out, this poignant, stupid queen would shout, 00:55:59
A mirror, mirror in the wall has the first time of all. 00:56:04
The mirror would answer every time. 00:56:07
Oh, madam, you're a queen sublime. You're the only one to charm us. 00:56:09
Queen, you're the cat's pyjamas. 00:56:12
For ten whole years, the silly queen repeated this absurd routine. 00:56:15
Then, suddenly, one of a day, she heard the magic in her sleep. 00:56:20
For now, I'm queen door number two. Snow White is prettier than you. 00:56:25
The queen went absolutely wild. She yelled, 00:56:30
I'm going to spark that child! I'll cook her flamingos! I'll scare her! I'll have her rats and guts for dinner! 00:56:33
Congratulations to these four centres for your excellent work at a high level. 00:56:39
From the Consejería de Educación, Juventud y Deporte, we want to support and encourage the centres to take part in the English theatre competition, mainly for two reasons. 00:57:05
The first is because learning English using an artistic discipline such as theatre makes this learning much more fun and motivating for the student. 00:57:17
The second reason is that the student, having to face a different language than he usually uses and which in many cases is a great difficulty, 00:57:27
is forced to use and develop other communication mechanisms such as body expression and intonation, so important and useful in this theater. 00:57:37
Muestra de ello es esta escena de la obra Stage Seagulls del Instituto Alpagest que veremos a continuación 00:57:49
y que ha sido propuesta para el segundo premio de teatro en inglés en la modalidad secundaria. 00:57:59
¡Un fuerte aplauso para ellos! 00:58:06
Hey! Did you have a look at the super this morning? You've been looking pretty good this year, hm? 00:58:07
That's ancient history! 00:58:40
Well, you know, history sometimes repeats itself. 00:58:42
What? 00:58:46
Hi! 00:58:48
Hi, this is, um, Sandy from Sydney, Australia. 00:58:49
Hmm, how are things out under? Fine, thanks. 00:58:54
So, have you seen my new glasses? Don't you think they make me look smarter? 00:58:59
Nah, you can still see your face. 00:59:04
So, how do you like school so far? 00:59:07
It's different. 00:59:10
Hi, kids! 00:59:11
Oh, but this thing pops back up right there. 00:59:12
Oh, I just love the first day of school, don't you? 00:59:15
It's the biggest thrill of my life. 00:59:17
You never guess what happens. 00:59:19
Probably not. 00:59:21
They just announced the nominees for the Students' Council, and guess who sat for Vice President? 00:59:22
Who? 00:59:28
Me! Isn't it the most to say the least? 00:59:28
The very least. 00:59:31
Oh, I just hope they don't make too poor a showing. 00:59:32
Well, we certainly wish you the best of luck, don't we, girls? 00:59:35
Yeah, I kept my fingers crossed here and here. 00:59:38
Oh, you must think I'm terrible at introducing myself to your friends. 00:59:43
Hi, I'm Patricia, welcome to Riot. 00:59:48
Oh, I just had a girl be at the cheerleaders' tryout. We will have so much fun and get to be lifelong friends. 00:59:51
So, what do you think about her? You think she could be part of our pink ladies? 00:59:58
Nah, she looks too pure to be a pink. 01:00:03
Yeah. 01:00:06
Oh, double doo-doo! 01:00:07
What's up, doll? 01:00:08
One of my diamonds just, ugh, fell on the macaroni, ugh! 01:00:09
Hey, you can eat it. You want a piece of salami? 01:00:15
Are you kidding me? 01:00:18
Dad, I don't smell like you. 01:00:19
What's this thing? 01:00:21
Hey guys, look! 01:00:22
Woohoo! 01:00:24
Ladies and gentlemen, Jingleberry's on parade! 01:00:25
Yeah, hey look! 01:00:28
You really put your foot into it this time, too son! 01:00:29
Yeah, try half scotch! 01:00:32
You heard that? 01:00:34
What a gabon! 01:00:35
Gamblers, man! 01:00:36
Hey! 01:00:38
Any of you guys see the new chick in registration? 01:00:39
Oh... 01:00:42
She's got a piece of foam dust around here. 01:00:43
You mean her jacks were bigger than Annette's? 01:00:45
What is jacks? 01:00:48
That's a bigger diamond than us. 01:00:48
Right. Hey, guys. Hey! 01:00:50
Hey, girls! 01:00:54
You're a sick man. 01:00:56
Well, I want to know what Danny did at the beach. 01:01:00
Nah, it was nothing. 01:01:02
Sure enough, it's circle, right? 01:01:04
You got in here through our ears, right? 01:01:06
Come on, tell us about that girl. 01:01:08
He did at the beach. 01:01:10
I'm a boy there. 01:01:15
You hauled your cookies all the way to the beach for some guy? 01:01:17
He was sort of special. There ain't no such thing. He was really romantic. 01:01:19
Oh, come on! 01:01:23
Come on, you're the one to know they hold me eternal. 01:01:25
Man, are you kidding? 01:01:27
All right, all right, I'll tell you. 01:01:29
I was droppin' in harmony at last 01:01:31
So I'm lovin' happy so fast 01:01:35
I met a girl who was crazy for me 01:01:39
I met a boy who was new to me 01:01:43
Tell me more, tell me more, keep you in the report Tell me more, tell me more, let me see how it goes 01:01:47
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. 01:02:02
Tell me more, tell me more, we should put up a fight 01:02:32
Tell me more, tell me more, we should put up a fight 01:02:36
Tell me more, tell me more, we should put up a fight 01:02:59
Tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more, tell me more. 01:03:10
So I told her, we'd still be friends 01:04:01
And we made love to love them 01:04:07
I wonder why it's so hard 01:04:12
Summer dreams, we've tried to see 01:04:19
And if you see the faces of all the actors who have come down to see them there, they have already 01:04:27
done it. 01:05:10
Well, now we will move on to the delivery of the honorary mentions, that is, to the awards 01:05:11
que no tienen cuantía económica, pero sí el valor de un trabajo bien hecho y que merece 01:05:18
ser reconocido por todos nosotros. Rogamos a las autoridades, doña Alicia de Libes, 01:05:22
Viceconsejera de Educación, Juventud y Deportes, doña Rocío Albert López Ibor, Directora 01:05:28
General de Mejora de la Calidad y de la Enseñanza, y doña Belén Aldea, Directora del Área 01:05:34
territorial de Madrid capital, suban por favor al escenario. Este año, y al igual que el 01:05:40
año pasado, por motivos de dar prioridad a los alumnos y a sus interpretaciones, y 01:05:49
por no extendernos demasiado y hacer un acto de clausura muy largo, no daremos aquí, en 01:05:54
el escenario, los diplomas a los propuestos para primeros premios, ni los premios económicos, 01:05:59
ni los premios a las mejores direcciones. Pero sí, queremos llamar a los alumnos que 01:06:05
han obtenido alguna mención honorífica. Queremos que nuestros jóvenes se sientan 01:06:11
protagonistas y reciban el aplauso que se merecen. El resto de los diplomas los enviaremos 01:06:16
a los centros. Así pues, os pido que según vaya nombrando a los premiados, estos se dirijan 01:06:21
rapidísimamente al escenario a recibir su premio. Y que todos les demos el mayor y más 01:06:28
affectuoso de los aplausos de esta tarde. Así pues, comenzamos. Menciones honoríficas 01:06:34
alumnos. Modalidad Teatro en Inglés de Secundaria. Mejor actor, Miguel Antonio Rivero Benici, 01:06:41
por el personaje de presentador en Stage a Seeing Eyes del Instituto Alpagés de Aranjuez. 01:06:49
Mejor actriz de Don Escofinao en Don Escofinao del Instituto Fortuny Madrid. 01:06:54
Mejor actor de reparto, Jesús Paquero Viñas por Dani Succo en Gris en Stage of Thing I. 01:07:23
Mejor actriz de reparto compartido, Marta de Puyés Morcillo por el personaje de Candidata a un puesto de trabajo. 01:07:38
in Don't Stop Me Now, from the Instituto Fortuny Madrid. 01:07:47
Eze Esposito Galloso, 01:07:53
for the character of the interviewee, 01:07:56
in Don't Stop Me Now, from the Instituto Fortuny Madrid. 01:07:58
Mentiones en Teatro Español de Secundaria. 01:08:09
Mejor Actor Compartido. 01:08:12
Álvaro Nogales Gómez Imán, 01:08:14
for the character of Don Juan, in Don Juan Tenorio. 01:08:17
Y el submanual Kiko González, 01:08:20
for the character of Mosquito in the beautiful Don Diego of the Carlos Bounsoni Institute, Mazalaona. 01:08:26
Best Actress, Laura Ibáñez Peco, for the character of Luna in Blood Weddings of the Instituto Clara de Cáceres. 01:08:38
Best Actress, Laura Corchón Martín, for the character of Belisa in La discreta enamorada, 01:08:53
Dance Certamen, Modalidad A, Los Sauces-Torrelodones School, 01:09:20
student Marsa de Adino Diez for her performance in the choreography 01:09:39
Danza Creativa, Cantando bajo la lluvia. 01:09:44
To the San Jose Franciscanas de Madrid School for their performance 01:09:48
in the choreography Folklore Internacional, Son Naciente. 01:10:01
To the students of the entire group. 01:10:05
Ana Cristina Dinú, Vanessa Marcos, Laura Frutos, María José Luna, Amanda Casanova, Almudena Castillo, Maui Bartolomé, Sara Alonso and Violeta Rivera. 01:10:07
Colegio Nuestra Señora de la Merced, Crescant, Alumnos, Almudena Alonso, Sangrador y Yago Alonso, Sangrador, por su interpretación en la coreografía mixta, clásica, español, hip hop, danza libre. 01:10:21
Thank you very much. 01:10:44
Colegio Los Auges de Torrelodones, 01:10:52
alumna Itziar Barriover Ortiz, 01:10:55
for her performance in the Flamenco Choreography. 01:10:58
Itziar Barriover Ortiz. 01:11:05
If you all want, we can take a picture, 01:11:13
we are being recorded. 01:11:16
Let's say hello to the camera. 01:11:18
Can we hold on for a second? There was an error and we are missing some diplomas, okay? 01:11:20
So, we continue, sorry. 01:11:45
Don't move. Esperanza Siafaoya, from the Santa Ana College. 01:11:48
Domicel Gerardo Trita, from the Joaquín Vicenta College of Madrid, for his interpretation in contemporary choreography. 01:12:04
Cristian González-Ferrante, from the Rayuela-Móstoles Institute, for his interpretation of the choreography in the mode of combination of technique, classical and modern dance. 01:12:15
Martínez Lanzés, from the Rayuela-Móstoles Institute, for his interpretation of the choreography in the mode of combination of technique, classical and modern dance. 01:12:31
A round of applause for all of you. 01:12:49
If you want to sit in the patio, you can go down there. 01:13:27
We only have to thank all the participants. 01:13:41
Whether you have been awarded or not, 01:13:50
we encourage you to continue participating 01:13:52
and, little by little, to improve, 01:13:54
both in quality and variety, 01:13:56
these three festivals of theater, dance and oratory in English. 01:13:59
And now, to say goodbye, we leave you with a last stage of theater. 01:14:03
It corresponds to the work of Don Stofninau, from the Fortuny Institute, 01:14:08
which has been proposed for the first award of theater in English in the secondary modality. 01:14:12
After this performance, the Board of Education, Community and Sports, 01:14:19
to greet you and say goodbye to this closing act of the Theatre, Dance and Oratory of the English Community of Manila. 01:14:24
Thank you very much. 01:14:33
Last call for Mr. Don't Stop Me Now. 01:14:35
Long Distance Life, Destination Melancholy Corner, Rope J23. 01:17:11
For your safety, we ask you to keep an eye on your luggage at all times. 01:17:18
Well, I just have to say goodbye to this act that really, from all the years that I have been in the community of Madrid, 01:19:44
I have always come to this end of the course where each institute and each school represents something of what it has done during the year. 01:20:16
I think it was the best, I don't know what you would say, but I was impressed, excited, 01:20:26
And if anyone really wants to know what we call excellence in the community of Madrid, 01:20:32
I would tell them to come again this year to be here. 01:20:38
Let's see if they know that they are the key to that excellence. 01:20:43
To the General Directorate of Quality, 01:20:56
because they have worked fantastically with them, 01:20:59
and to those who have done a great job. 01:21:02
Thank you very much. 01:21:05
Thank you very much, and have a good week. 01:21:14
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Autor/es:
Consejería de Educación, Juventud y Empleo. Dirección General de Mejora de la Calidad de la Enseñanz
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Fecha:
2 de diciembre de 2013 - 18:02
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C RECURSOS Dirección General del Mejora. Gestión de Aplicaciones
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