El enfoque dramático, una experiencia de enseñanza-aprendizaje en el nivel
medio-superior con base en POL
Profesora: Elsa Yliana Iruegas Peña. Departamento de Idiomas. Prepa Tec Cumbres
I. Introducción
Dentro del currículo de las materias que comprenden el área de Español en las Prepas Tec, el
conjunto de actividades de aprendizaje diseñadas e impartidas por parte del personal docente en el
nivel medio-superior, se contempla a la literatura con el fin de desarrollar y mejorar las
capacidades de comprensión y expresión, atendiendo a diferentes tipos de necesidades y de
situaciones de comunicación. Con esto, el aprendizaje del alumno, de alguna manera se limita a la
lectura, análisis y memorización de textos; y con frecuencia, el producto carece de creatividad y
vida.
La importancia del destacar esta situación recae en que los alumnos que egresan de la
Preparatoria, no tienen las herramientas suficientes para actuar de manera adecuada en la vida
diaria ante situaciones complejas ya que carecen de un sentido, de un criterio o identidad que la
literatura, en especial la literatura encarada dramáticamente como un hecho creativo a través de la
representación de caracteres, puede facilitar. La búsqueda de información, la redacción de textos y
la expresión de sus ideas son factores que distan de ser óptimos en algunos de los casos.
Al no apropiarse de los textos, los alumnos no se ven reflejados en los otros, no se cuestionan, no
establecen vínculos, no comprenden. El individuo no se desempeña de la manera que su entorno
espera o necesita, ni se desenvuelven como seres humanos vinculados entre sí. Los textos que
producen, por lo general, son fórmulas que imitan lo que el maestro exige, o plagios, la mayoría
del internet, ya que no ven la razón de ser del sustentar y expresar sus ideas de una manera
correcta.
El estar conciente de esta problemática hace visible la importancia del pensar si las actividades
que se están llevando a cabo en las clases de literatura, son las adecuadas. Una de las propuestas
para que el alumno en el nivel medio- superior obtenga el mayor beneficio de la clase de
literatura, sin que esta caiga en una materia “de relleno” es que la clase sea a través del enfoque
dramático, fuertemente apoyada en la técnica didáctica: Aprendizaje Basado en Proyectos (POL),
una enseñanza- aprendizaje totalizadora y vivencial.
Ya no es el enseñar conceptos abstractos por medio de la teoría literaria, o de la historia de la
literatura con base en la memorización de datos biográficos de autores, o la lectura fragmentada de
textos, sino el leer textos literarios y a partir de estos, vivir la teoría y los personajes a través de
una representación creada por los alumnos como producto de un proyecto asignado. Tal como el
que se llevó a cabo en el semestre agosto-diciembre 2001, en la Prepa Tec Cumbres, en la materia
de Clásicos de la Literatura.
El propósito de presentar este proyecto ante la comunidad docente del Tec de Monterrey, es dar a
conocer la repercusión que un proyecto con enfoque dramático apoyado en POL a nivel mediosuperior ejerce sobre el alumno y así considere éste como un camino a seguir en la enseñanza de
la literatura. Se intenta presentar el por qué de este enfoque dramático como proyecto, el proceso
de implantación y los resultados que este trajo consigo. En pocas palabras, dar a conocer la
necesidad de recorrer nuevos y mejores caminos en cuanto a la enseñanza de la literatura, en
cuanto a la enseñanza de las humanidades, en el nivel medio-superior.
II. Objetivos del proyecto
El objetivo de este proyecto es dar a conocer que uno de los métodos para la enseñanzaaprendizaje de la literatura a nivel medio superior podría ser a través del enfoque dramático
apoyado en la técnica didáctica POL. Se busca que a través de éste, el alumno se sienta
comprometido con su aprendizaje, sea creativo, viva por medio del arte la experiencia estética,
cree valores, se conozca, cuestione e identifique a través de los personajes; se apasione; que el
alumno, crezca y se transforme.
III. Metodología
En la Preparatoria Tec Cumbres, se llevó a cabo un proyecto en la materia de Clásicos de la
Literatura, con base en el enfoque dramático fuertemente apoyado en la técnica didáctica POL
(Project Oriented Learning). La técnica didáctica POL, ha demostrado que el alumno logra un
aprendizaje de manera vivencial y totalizadora; reúne las capacidades y habilidades necesarias que
le ayudaran a confrontar, de la mejor manera, los complejos problemas reales ante los cuales se
enfrenta día con día dentro de su sociedad; en pocas palabras, el conocimiento adquirido no se
limita a la lectura de libros sino al desarrollo de habilidades y capacidades dentro de un entorno
real. Es aprendizaje por el arte: la literatura y el enfoque dramático son las herramientas a través de
las cuales el alumno será mejor de como era antes.
POL, es una técnica didáctica que establece un proyecto a corto, mediano o largo plazo. Pueden
participar una o más materias, éstas pueden integrarse de manera conjunta o de manera gradual,
según sea la necesidad. Ahora bien, en este caso, cada mes de octubre se lleva a cabo la Feria
Internacional del Libro, en CINTERMEX, la cual coincide con el principio del tercer parcial para
las Prepas Tec.
Tradicionalmente, a lo largo del semestre se leen y analizan siete obras literarias de diverso género,
y el trabajo parcial se evalúa a través de un ensayo y una adaptación teatral de entre cinco y diez
minutos. Durante el tercer parcial, se invita a las preparatorias para que los alumnos de quinto
semestre, de la materia de Clásicos de la Literatura, participen en la Feria, montando una obra
creada por ellos. Sólo se les provee de una caja negra, luz y sonido (sólo dos micrófonos por lo
general); deben ser responsables por la escenografía y la limpieza del espacio al terminar la obra.
Dentro de un mismo día, se presentan de 8 a 12 obras distintas, por lo tanto, el alumno debe crear
la
escenografía
práctica,
que
no
contamine
y
de
bajo
costo.
Bajo esta nueva metodología, el profesor se convierte en una especie de guía para el alumno;
facilita el conocimiento acerca de los recursos humanos y tecnológicos que hacen más eficiente la
labor de aprendizaje para el estudiante. Ambos trabajan bajo un constante intercambio de
información, se educan entre sí, desempeñan los roles de maestro y de alumno, satisfaciendo las
necesidades dentro de su sociedad; sobrepasan las expectativas y se convierten en seres proactivos, innovadores y creadores.
El proyecto se llevó a cabo en el grupo de quinto semestre de la Prepa Tec Cumbres; estaba
constituido por 20 alumnos que provenían de otras preparatorias. La materia, tradicionalmente, se
imparte en inglés en el sistema Bicultural y en español en el sistema Bilingüe. En esta situación,
debido a que era un grupo muy reducido de alumnos, sólo 8 eran bilingües y el resto biculturales,
se decidió que el proyecto se llevaría a cabo en inglés. La edad de los alumnos varía entre los 17
y 18 años. El proyecto se llevó a cabo desde agosto, hasta diciembre de 2001.
Éste consistía en crear una obra de teatro a partir de textos clásicos para después representarla en
la Feria Internacional del Libro, en CINTERMEX, el día 19 de octubre del mismo año.
El resultado del proyecto se presentó a manera de representación teatral, presentación oral y un
reporte escrito. Los alumnos trabajaron en equipo durante este tiempo y se evaluó el progreso,
tanto de manera cuantitativa como cualitativa. Se respetó el programa de estudio, pero se varió
sensiblemente el modo en que se impartió. La presentación oral y el reporte final se llevó a cabo
ante los directores de diversas áreas de la escuela, quienes fungían como sinodales. Se buscó
otorgar un panorama acerca de los valores culturales e individuales como consecuencia del
hombre inmerso en una sociedad.
Dentro de las capacidades que tenía fijado el programa a desarrollar, se encontraban: la capacidad
para aprender por cuenta propia; la capacidad de análisis, síntesis y evaluación; el pensamiento
crítico, la creatividad, la capacidad para identificar y resolver problemas, la capacidad para tomar
decisiones, el trabajo en equipo, una alta capacidad de trabajo, la cultura de calidad, y la buena
comunicación oral y escrita.
Dentro de los métodos y técnicas más sobresalientes para llevar a cabo este proyecto, se
encontraban: Aprendizaje orientado en proyectos (POL), círculos literarios, aprendizaje grupal y,
la más importante, el enfoque dramático. Aquí no dejamos de tener en cuenta que todo proceso de
enseñanza-aprendizaje está atravesado por el drama.
Se buscó que los alumnos fueran: honestos, responsables, innovadores, emprendedores,
poseedores de un espíritu de superación personal; que sean líderes. Asimismo, que desarrollaran
una cultura de trabajo, que mostraran respeto ante la dignidad de las personas y ante sus deberes y
derechos de verdad y libertad; que se adquirieran el aprecio por la cultura y una visión del entorno
a partir de su propia visión.
Los objetivos del programa educativo de dicha materia buscaron modificar los roles tanto de los
maestros como de los alumnos. Se puede decir que el currículo de la materia, buscó crear
conciencia por parte del maestro y del alumno, bajo la consigna de llevar a cabo el papel de
agentes creadores y recreadores del mundo; logrando así que el hombre adopte una actitud ante su
realidad para que ésta, convertida en objeto cognoscible, se someta a crítica.
IV. Resultados
El curso se evaluó de distintas maneras:
1) Cada parcial se evaluó con un ensayo comparativo con base en dos obras
literarias y un examen teórico. El ensayo se evaluó de acuerdo con los criterios
establecidos en la rúbrica correspondiente. (Anexo 1)
2) Los alumnos entregaron un reporte escrito en el cual describieron el proceso del
proyecto, existe una reflexión en cuanto a su trabajo y comentarios adicionales.
(Anexo 2)
3) Los alumnos llevaron a cabo una presentación oral ante cinco maestros de
distintas áreas. Los maestros después los cuestionaron en cuanto a lo que habían
escrito en su reporte. La presentación fue grabada. Duró media hora. Después,
se llevó a cabo la retroalimentación por parte de los maestros.
4) Los alumnos adaptaron una obra de teatro y la representaron en la Feria del
Libro en CINTERMEX. La obra de teatro fue escrita y representada en Inglés.
5) Los alumnos llevaron a cabo actividades durante cada mes, que conformaban el
proyecto final.
6) Por último, los alumnos fueron evaluados a través de un examen Institucional de
la materia Clásicos de la Literatura que evalúo a los Campus del Tec en la
República Mexicana que cuentan con Prepa. El examen se dividió en dos
partes: preguntas teóricas de opción múltiple y una sección en la cual debían
escribir un ensayo. El examen para el programa bicultural era en inglés y el de
bilingüe, en español.El Campus Cumbres, quedó dentro del rango promedio de
las cuatro preparatorias que conforman la VEMAE. (Anexo 3)
*Cabe mencionar que estos eran alumnos de quinto semestre que venían de distintas
preparatorias a formar parte de la primera generación del Campus Cumbres. No
cuento con información cualitativa previa acerca de su desempeño en otras materias
del área de Español en sus preparatorias anteriores.
Para evaluar cualitativamente, utilicé ensayos de semestres anteriores para compararlos
con los ensayos de los alumnos que llevaban el proyecto en 2001; videos,
autoevaluaciones y coevaluaciones con sus reflexiones y el reporte que aporta también
una reflexión. Así pues, el aprendizaje que el alumno adquiere en el curso con
actividades tradicionales y el curso con POL, se puede decir que hubo una mejora
considerable en:
1.
El conocimiento.
El alumno, no sólo a través de la investigación, lectura, análisis e interpretación de
textos, sino que también por medio de la experiencia, adquiere más que los
conocimientos mínimos que establece el currículo de la materia. Va más allá en cuanto
a la búsqueda y el análisis de la información.
2. Las habilidades.
El estudiante aprende a aprender, y a su vez, a hacer uso de aquello que ha aprendido
con el fin de analizar y sintetizar información con el fin de diseñar y crear soluciones a
los problemas ante los cuales se enfrenta. Se convierten en seres creativos, innovadores
y pro-activos.
Otra de las habilidades adquiridas es la de poder trabajar en equipo con el fin de
compartir tareas y responsabilidades y así hacer un cronograma de trabajo para
distribuir el tiempo y el trabajo de una manera eficiente. Lo que se intenta es que los
alumnos aprendan a compartir funciones, a cumplir con el trabajo dentro de un límite
de tiempo, y lo que resulta más importante que comprendan que solo en compañía es
posible lograr éxitos rápidos. Aprenden a organizarse y a comunicar sus ideas y
opiniones al resto del equipo; asimismo, aprender a escuchar, a disentir y a ser
tolerantes con un pensamiento distinto al suyo.
3.
La lectura.
En cuanto a la lectura, los alumnos desarrollan las habilidades de comprensión, análisis
de texto y contexto y entendimiento de los diversos textos leídos. Encuentran el sentido
que los guía, gozan del leer e interpretar.
4. La escritura.
En cuanto a la escritura, los alumnos desarrollan la habilidad expresar y organizar, a
través de su voz, ideas mediante la selección y el uso adecuado de palabras. Ya no sólo
son fórmulas o plagios. Se crea la necesidad de que el lector en verdad reciba la
información que están produciendo.
5. La expresión oral.
En cuanto a la expresión oral, el alumno expresa ideas y contenidos de una manera
organizada utilizando el lenguaje adecuado ante un público. El contenido es claro,
adecuado a la audiencia y al propósito. Las ideas principales llaman la atención del
escucha y se desarrollan por completo y presentan detalles importantes.
En resumidas cuentas, se puede decir que este proyecto:
 Promueve la curiosidad.
 Es una manera diferente y amena para aprender.
 Se puede aplicar en cualquier materia.
 Los temas se construyen alrededor de ideas que permanecen.
 Estimula la creatividad, originalidad y creación de ideas.
 Promueve la comunicación y el trabajo colaborativo.
 Exige complejos procesos de pensamiento.
 Desarrolla habilidades para resolver problemas.
 Facilita la comprensión de conceptos abstractos.
 Promueve, apoya y estimula el proceso de aprendizaje del alumno.
 Se generan hipótesis, preguntas, expresiones, pensamientos y creencias.
 Se genera una pasión por aprender.
 Se acomoda a diferentes estilos de aprendizaje.
 Crea un ambiente emotivo seguro y positivo.
 Se apoya en el aprendizaje interdisciplinario.
 La retroalimentación es frecuente e instantánea.
 Se dirige hacia las emociones.
 Incita al alumno a tomar riesgos.
 Estimula el comportamiento positivo.
 Se genera una pasión por el aprender.
El alumno:







Se compromete
Es entusiasta
Se mantiene despierto
Se motiva
Se inspira
Es competitivo
Confía en sí

Es exitoso
El maestro:




Lo puede utilizar como una herramienta.
Se motiva.
Procura ir más allá de la simple instrucción.
Aprende y disfruta enseñar.
V. Capitalización
En este semestre Agosto- Diciembre 2002, se está llevando a cabo una segunda versión
del proyecto como producto de una mejora. Se profundizó en el perfeccionamiento de
la técnica POL. Nos hemos dado cuenta de que mediante este proyecto, se apoya a la
Feria Internacional del Libro mediante la difusión del gusto por la lectura, se brinda un
bien a la comunidad. Es también un medio a través del cual se fortalece la imagen de la
VEMAE; es promoción para la Prepa TEC. También, nos dimos cuenta de que se
reduce el número de salones utilizados durante el semestre. Los alumnos becarios se
podrían convertir en tutores.
El curso está en plataforma, se necesitaría brindar una capacitación a los maestros del
área de español en cuanto a la técnica didáctica POL. Este proyecto podría muy bien
ser útil para materias como: Filosofía, Historia del Arte, Análisis Literario, Ética y
Creatividad. Se necesita de una adaptación en cuanto a los objetivos según las
necesidades de cada materia.
Hasta el momento, no se han llevado a cabo proyectos en el área de las Letras en las
Prepas Tec, bajo esta metodología. Podría ser un espacio para dar pie a la investigación
con base en técnicas didácticas y la enseñanza por el arte en el nivel medio superior.
Bibliografía
Dewey, John. El arte como experiencia. Fondo de Cultura Económica, México, D. F.
1949
Freire, Paulo. La importancia de leer y el proceso de liberación. Siglo veintiuno
editores. 14ª. Edición. México, 2001.
Anexos
Anexo 1
NOMBRE:
GRUPO:
TITULO:
FECHA:
CALIF:
Aspecto:
Completo
Falta algo
Deficiente
Ideas
Idea Central
Ideas de
Soporte
2
Está clara y se
cumple (2)
No se menciona o
no se cumple (1)
No se logró ni
mencionó (0)
3
Argumentos
están completos
y son
comparativos
sobre ambos
textos (3)
Los argumentos
están completos
para sólo uno de
los textos (1)
Argumentos
insuficientes o
inadecuados (0)
Puntos otorgados &
Observaciones
2
Proporciona
ejemplos
concretos de
ambos textos
para analizar el
tema (2)
Solamente resume
la historia sin
criticarla (1)
No usa el texto y
sólo vaga sobre el
tema (0)
2
El escrito tiene
las tres partes
esenciales (2)
Falta una parte
esencial (1)
Faltan la
introducción y la
conclusión (0)
2
Párrafos tienen
coherencia y
unidad interna
mediante el uso
de nexos (2)
Varios párrafos no
se relacionan con
el siguiente o el
anterior (1)
Escrito es muy
deficiente en
unidad y
coherencia
interna (0)
Grafías,
puntuación y
ortografía
2
No se permiten
errores (2)
Cada error
ortográfico es -1
punto
Hasta dos (0)
Sintaxis y
gramática
2
Cada error es 0.5
Manejo del
texto
Estructura
Introducción,
desarrollo y
conclusión
Coherencia y
unidad interna
Escritura
Anexo 2
ITESM
Hasta cuatro (0)
CLASSICS OF LITERATURE
Fifth Semester Play.
Teacher: Yliana Iruegas.
Date: November 9, 2001.
Index.
The Play……………………………………………………………….…3
Introduction…………………………………………………………….2
0
Cast……………………………………………………………………...21
What was our
project?……………………………………………...22
Why did we choose to carry out that specific
play?………….23
Which play is
it?………………………………………………………24
How did we adapt the
play?………………………………………...25
Synthesis………………………………………………………………..2
6
Music
…………………………………………………………………...28
Make up and
wardrobe………………………………………………..38
Settings……………………………………………………………….….4
0
Publicity………………………………………………………….………41
Obstacles, difficulties and
comments……………………………..43
Regards………………………………………………………..…………4
6
Bibliography……………………………………………………………..
47
The Play.
Lady of the River
FIRST ACT.
(Scene at the farmhouse: in the kitchen. Mother is sit in front of Grandfather. The
children are playing at their sides. Mother is hitting the dough, and Telva is making
tortillas.)
Daniel: If you don’t send us to school, we’ll never learn anything.
Grandfather: The children are right. They should be going to school.
Mother: They never will! To get to the school, you have to cross the river, and that river
will not ever be crossed by any member of this family!
John: Why can’t we cross the river? Even the girls cross it…
Mother: I wish no one from this house had ever gone near it.
Daniel: Hey John, come on!
(The children exit. Grandfather, Mother and Telva stay in the kitchen.)
Grandfather: You shouldn’t talk about that in front of the little ones. They have to
continue with their lives, and forget about what happened with Angelica.
Mother: She was their sister. I don’t want them to forget her.
Grandfather: But they are children. They need to run outdoors and laugh and shout.
You don’t have anything to fear. Lightning never strikes twice in the same spot.
Mother: Even if you don’t say her name, I know that you’re thinking of her when you
spend hour after hour in silence.
Grandfather: What good does it do to look back? What happened happened, and life
goes on.
(Mother takes a photograph from the chimney.)
Mother: Back then it was easy to be happy. Angelica was here; and whatever she
touched turned to joy.
Grandfather: You still have the other two. Think about them.
Mother: Today I can think only about Angelica. It’s the anniversary of the day she died.
Grandfather: (Deep in thought.) Four years already…
Mother: This isn’t a day for talking out loud. When we’re silent, we can remember
better.
Telva: Do me a favor, Mistress. Open up Angelica’s room, and let’s free her spirit.
Mother: (Upset.) Not even the sun has the right to enter her room. That dust is all that
remains from that day.
Father: (To Telva.) Save your breath. It’s stubbornness.
Mother: I’d prefer the stubbornness than forget…, as all of you have.
Telva: That’s not so. Just because you don’t talk about something doesn’t mean you’ve
forgotten.
(Martin appears, and Telva leaves.)
Martin: I am going to pick up the food for the party.
Mother: Tonight?
Martin: Yes, the party is soon.
Mother: Has it never occurred to you that I need you tonight more than ever?
Martin: Today? (He looks at Grandfather, who lowers his head. Martin understands
and lowers his, too.) Oh.
Mother: I know you don't like remembering. But I’m not asking you to say anything. It
would be enough to have you sit next to me in silence.
Martin: (Evasively) I must leave. It’s better to sow a new crop than cry over one that’s
been lost.
Mother: I Understand. Angelica was your sweetheart for two years, but your wife for
only three days.
Martin: (Angry.) She was mine, and that’s the end of it. I wouldn’t have loved her any
more in thirty years than I did during those three days.
Mother: (Going towards him, she looks at him intensely.) Then why, when all
Monterrey was looking for her and crying, did you lock yourself in the house clenching
your fists?
Martin: (Irritated.) That’s enough!
(He leaves.)
Grandfather: You’ll end up making Martin hate this house.
Mother: (Sadly resigned.) You, too?
(They hear the dogs barking. The children run towards the window. Again, they enter
running excitedly to tell what they saw.)
Daniel: It’s a woman, Mother. She’s coming here.
Mother: (Looking at Telva.) Open it. You can’t close your door at night to a traveler.
Pilgrim: Thanks to God. Forgive me for appearing at this hour of the night, but my car
is not working, and I just wanted to see if you could allow me to stay here until the
weather improves.
Mother: Sure. Please, come in.
Grandfather: Sit by the fire.
Mother: If we can help you in any way…
Pilgrim: I don’t need anything. A little warmth is enough for me.
John: (Softly to Daniel.) How beautiful she is!
Daniel: She looks like a queen in a fairy tale.
Pilgrim: (To Grandfather, who observes her intensely.) Why do you look at me like
that? Do I remind you of something?
Grandfather: I don't know… But I’d swear this isn’t the first time we’ve seen each
other.
Pilgrim: It’s possible. I have traveled so many roads, and through so many villages!
(Contemplating the house.) What a comfortable and happy home this is!
Mother: (Softly.) It used to be…
Pilgrim: This is Martin Narces’ house, isn’t it?
Mother: He is my son-in-law. Do you know him?
Pilgrim: I’ve heard of him.
(Martin enters to the farmhouse.)
Martin: I’ve to go. Where are the keys for the truck?
Mother: But Martin! You can’t be thinking of driving the wagon, when the paths are
slippery because of the rainfalls, and when you know that the brakes are failing!
Martin: You and your never-ending fears. Do you want to put me in a corner, like you
do with your children? I’ve had enough of it. Where are the keys?
(All remain in silence. Their heads are bowed, as if trying to avoid the question. Then
the Pilgrim calmly takes the keys down from the wall.)
Pilgrim: Are these what you’re looking for?
Martin: (He looks at her with surprise.) Excuse my talking so loud. I didn’t see you.
Pilgrim: No. Don’t worry about it. I’ll just be here for awhile.
Martin: Good. If I don’t see you again, have a good journey. And Mother; I don’t like
you all waiting up for me at night with a light in the window.
(He walks through the doorway and exists. The children go behind him so they can say
good-bye.)
Mother: I need to be by myself. Since no one wants to listen to me, I’ll stay in my room
and pray.
(Mother exits and Telva enters scene.)
Grandfather: I’ve been trying to remember since you arrived, where have I seen you
before…, and when? It had to be here: I’ve never traveled anywhere. So, have you been
here before? I mean… in Monterrey?
Pilgrim: Yes. The last time I came, was a day of great celebration. I believe it was a
wedding, in the month of April, I think.
Telva: The Gonzalez’ Wedding! My word, what a celebration!
Pilgrim: I saw it from afar. I was just coming by.
Grandfather: That was two years ago. And before that…?
Pilgrim: I remember another time, so many years ago; I came when the hurricane
Gilberto passed by.
Telva: Holy Mother of God, deliver us from those days!
(Telva exits to the kitchen and the children return to the scene.)
John: The lady must know some stories and ballads.
Grandfather: Children, don’t bother please…
Pilgrim: Let them be. Children are my good friends, and I’m only going to be here a
short time.
Grandfather: Good! I’ll split some wood and bring in some heath branches, which will
smell good while they burn.
(Grandfather exits towards the corral.)
Daniel: Now, will you tell us a story?
Pilgrim: Doesn’t your grandfather tell you stories?
John: Well, it’s just that, before, Angelica used to tell us hundreds of them, even some
with music.
Pilgrim: Who was Angelica?
Daniel: Our older sister. The whole village loved her, but one night she went away in
the river.
John: And since then, they don’t allow us to play. Do you know any games?
Pilgrim: I think I’ve forgotten them all. But if you teach me, I can learn.
Daniel: All right! Repeat after me, “Hither and yon, bits of wood from Saint John…”
Pilgrim: “Hither and yon, bits of wood from Saint John.”
(The Pilgrim breaks into laughter. The children surround her, and laugh as well. The
Pilgrim becomes frightened of herself.)
Pilgrim: But, what am I doing?… What is this musical sound?
John: (Still surprised.) It’s laughter.
Pilgrim: Laughter?
Daniel: (Amazed.) You’ve never laughed before?
Pilgrim: (Afraid, while touching her hands.) Never. It’s strange. My hands have
warmed up... And what is this beating in my chest?
John: It’s your heart.
Pilgrim: (Fearful.) It can’t be… It would be wonderful… and terrible! How sweet my
weariness is. I never imagined that laughter could have so much force.
Daniel: Do you want to get some sleep?
Pilgrim: Later; I can’t now. When that clock strikes nine, I have to be awake. Someone
is waiting for me at Constitución.
John: We’ll wake you up.
(Taking her to the chair by the fire.)
Pilgrim: Yes. But don’t forget… At nine o’clock sharp…
(The Pilgrim falls asleep.)
SECOND ACT.
(Grandfather enters scene.)
Grandfather: Now I know were I have seen you before (He takes her from her arms and
shakes her roughly.) Wake up!
Pilgrim: (Opens her eyes.) Who calls me? (Sleepy face.)
Grandfather: Look at my eyes, and don’t even dare to say that you don’t know me. Do
you remember the hurricane? I was in the river and I couldn’t get out of it, and
everything was flooding, the water level was up to my neck and I fainted, you thought
that my hour had arrived and then you got too close to me. When I waked up and I saw
your pale face and I have felt your cold hands….
Pilgrim: (Quiet and calm.) I expected this would happen... those who have seen me
once, never forget me.
Grandfather: You thought you could fool me.
Pilgrim: (Shows a nervous face, as if she has just remembered something.) What time is
it?
Grandfather: It’s half past nine.
Pilgrim: (Desperate.) why didn’t you wake me up? Now, it’s late.
Grandfather: Who were you looking for? If you were looking for the kids, you’ll have
to take them over my dead body.
Pilgrim: Who cares about your grandchildren’s, they are so helpless… no, I gave the
person I was looking for the keys for the truck that would bring an end to his days in
this world.
Grandfather: By now, it has surely stopped raining, it means his hour has passed!
Pilgrim: My hour never passes, he has only gained a little more time.
Grandfather: Then go, what are you waiting for?
Pilgrim: I just wanted you to say good bye to me in a kind way
Grandfather: I have nothing to say to you, after all the pain you have caused.
Pilgrim: But it is not because I want it, its because I got orders, besides people are
always complaining about life. You condemn me without even knowing how I suffer, I
have to witness countless amounts of pain without crying, be next to many men without
the possibility of being loved by one or love one, having so many kids around me,
without the possibility of being a mother, and worst of all, having these feelings of
women, without being able to use them.. cursed to kill, kill, kill, nothing more that that.
(She falls in the chair with the arms in the hand in the face, the Grandfather
approaches and puts his hand on her shoulder.)
Grandfather: Poor woman.
Pilgrim: Thanks, I asked for a little understanding, and you just called me woman,
which is the most beautiful word that could come out of a man’s mouth (She stands up.)
I must go now, I have nothing else to do in your house, people await me in other places.
(She goes to the door, when screams are heard form the outside.)
Martin’s voice: (Screaming.) Telva, Telva!
Grandfather: It’s Martin, go to the back door, so he doesn’t see you.
Pilgrim: Why not? His hour has passed, open up without fear…
(The voice is heard again, and Martin knocks on the door with his foot. Mother
appears.)
Mother: Who is yelling at the door?
Grandfather: It’s Martin. (He is about to open the door, and the mother goes near the
door. Martins enters with a girl in his arms. She has wet hair. The mother feels some
goose bumps.)
Mother: My daughter!.... Angelica!… (She runs towards her. Grandfather stops her.)
Grandfather: What are you saying, Are you out of your mind?
(Martin leaves the girl in front of the fire. Then the mother comes near and looks at her
disillusioned.)
Mother: But then, who is she?
Martin: I don’t know, I saw her as she was falling into the river. I arrived when she
had fainted.
Grandfather: We have to revive her, let her breath some vinegar, that will do it (She
takes a bottle of vinegar, but then the mother takes it.)
Mother: Allow me, I wish I could have done this before (She knees before Adela
putting the bottle on her nose.)
Grandfather: And you, has something happened to you?
Martin: When crossing Constitución, the truck slipped, but nothing happened to me…
Look, she is coming around.
(Everybody surrounds Adela, with the exception of the Pilgrim whom observes the
scene from afar. Adela slowly opens her eyes.)
Grandfather: Don’t be nervous, the danger has already passed.
Adela: Who brought me here?
Martin: I did…I was passing over the river, and I saw you fall in.
Adela: (Like a scold.) Why did you do that? I didn’t fall , I jumped, after finally using
all my strength to do it! But now, everything was useless…
Martin: Come on, have faith! Everything will pass like a nightmare.
Adela: Yes but still, I wont have anyone nor anything in the entire world…without
having anything to wait for…
Grandfather: You don’t have a family, a home?
Adela: I had never had anything of my own,… people say that drowned people
remember everything they have in blink of an eye, but I couldn’t remember anything
(She faints again.)
Grandfather: She fainted again, we can’t leave her here, we have to lay her on a bed.
Mother: Where?
Martin: There are no more places in the house…
Mother: (Against the idea.) Not in Angelica’s room! Don’t ask me to give her the place
of my lost daughter!
Telva: Think about it, she came form the same river , with the same water in her
hair…it’s like an order from God.
Mother: (Lowers the head, as if beaten.) An order from God (She sights.)…Take her
to Angelica’s room. Telva puts clean sheets on the bed. (Mother goes to the room and
Martin takes Adela in his arms.)
(Everyone goes out, and only the Pilgrim and the Grandfather stays.)
Pilgrim:(Thoughtful.)
Grandfather: Bad night, uh? You slept on duty and a man and a women, both, escaped
from you the same night
Pilgrim: The man yes, but the girl wasn’t part of the schedule.
Grandfather: What would have happened then if Martin hadn’t been there?
Pilgrim: Another would have saved her, or maybe herself, it was not her destiny yet.
Grandfather: Explain yourself, wasn’t it written in your book?
Pilgrim: Yes, all the rest of the details are the same, except it will be in the 7 th full
moon from now.
Grandfather: Forget about her. Can’t you forgive at least once?
Pilgrim: It’s impossible I only obey
Grandfather: Then, when will you return?
Pilgrim: Look at the moon, today it’s full (Pointing at the window.) When another
seven moons like this one have passed I will return.
Grandfather: Goodbye.
(The Pilgrim leaves and the grandfather continues to watch her.)
THIRD ACT.
(In the same place a few months later… Adela is playing
with the children while the grandfather is observing.)
Adela: Do you need something, grandfather?
Grandfather: No I was just looking at you, It seems like I was dreaming…. (He sighs.)
What blouse is that?
Adela: Mother wanted me to wear it for tonight.
Grandfather: It seems familiar to me. Wasn’t it from Angelica’s?
Adela: Yes, Mother gave it to me.
Grandfather: I find you different, every day, more like Angelica.
Adela: It must be the hair style, mother likes it like this.
Abuelo: I’ll rather prefer you to be yourself, instead of trying to be more like Angelica.
You are so like her that you are starting to scare me
Adela: You, scared? But why?
Grandfather: No. Forget it. It’s just a crazy thought.
(Grandfather leaves, Telva enters.)
Telva: Thanks God that I hear laughter again in this house.
Adela: These children are a blessing.
Telva: They are a blessing now that they can go to school and play freely, and it is all
thanks to you. In these few months that you’ve been with us you’ve brought happiness
to this house.
Adela: No matter what I do, I can never finish repay you what you’ve done for me.
(Thoughtful.)
Telva: But why are you sad?
Adela: Sad?? It is not sadness, I was thinking, there is always something missing from
my happiness.
Telva: And that something is Martin?
Adela: Everyone else loves me, but he, he who brought me to this house is the one who
looks at me like a stranger. Every time we are alone he finds an excuse to leave. I
would like him to need me for once, like a sister.
Telva: Is that it? (Sarcastic.) Haven’t you thought that he is too young to live alone and
by his age he doesn’t need a sister but a woman?
Adela: Telva!!! (Surprised.) How can you think such thing, that would be the worst
betray? I’ve been taking Angelica’s place, little by little, but this one is betrayal.
(Martin enters addressing Telva.)
Martin: Do you have a bandage? My hand is bledding.
Telva: That’s your job Adela!
(She leaves the scene.)
Adela: (She gets closer with the band in her hands.) Does it hurt?
Martin: Tie it stronger…. More (He looks at her while she finishes the bandage.) Why
are you wearing that blouse?
Adela: It wasn’t my idea.
Martin: You don’t need to wear someone else’s clothes, you can wear whatever you
like,…but anyway, thank you …
(Martin leaves. The voice of Grandfather is heard, who is searching for Adela.)
Grandfather: Adelaaaa!!
Adela: What is it Grandfather?
Grandfather: Nothing, I just wanted to see if you were ready for the party.
Adela: Yes I’m ready (Looking at the window.) Look Grandfather: tonight is full moon!
Grandfather: (He shakes listening to those words.) It’s the seventh one since you
arrived.
Adela: That long? How short the days are here.
Grandfather: (He takes her in his arms, and looks directly to her.) Tell me the truth, are
you really happy?
Adela: Very much.
Grandfather: Aren’t you hiding something?
Adela: Grandfather, why are you asking me so many questions? What are you trying to
tell me?
Grandfather: Don’t pay me any mind, I don’t know what I am saying. I have the
feeling that a great danger surrounds us and we can’t defend ourselves.
Adela: Grandfather you’re starting to scare me. I should call mother.
Grandfather: No please, don’t worry ,just tell me that you are completely happy so I can
be calmed.
Adela: I assure you that I’m completely happy.
Grandfather: Ok my child, just promise me you will stay with me tonight and you will
not leave me at any moment.
Adela: I promise.
(Grandfather hugs Adela and leaves.)
(There is a lot of noise outside, and the children and the Pilgrim enter the house.)
John: Adela, Adela, look who is here.
Daniel: We’ve missed you so much (The children surround her.)
Pilgrim: Good evening my girl, I’m looking for your grandfather.
Adela: Let me go to search for him. Do you need anything else from me?
Pilgrim: Not yet. Are you going to go to the party ?
Adela: Yes, by midnight.
Pilgrim: The party is by the river, right?
Adela: Yes, that’s right.
Pilgrim: (Looking at her intently.) Fine. We’ll see each other again at the river.
(Adela lowers her eyes, touched, and exits through the backdoor.)
Daniel: Why did it take so long to come back?
Pilgrim: I have been traveling a lot.
John: Would you come with us to the party.?
Pilgrim: I will go, but later.
(She caresses their hair. Grandfather returns, and seeing her with the children stifles a
shout.)
Grandfather: Leave the children alone! I don’t want to see your hands on their heads!
(Fair music.)
Daniel: the preparations for the party have already begun, lets go!!
(The kids run away.)
Grandfather: You’ve finally come back. I was hoping you might have forgotten us.
Pilgrim: I’m not able to choose. I can only obey.
Grandfather: please, pass by without stopping here!; on my knees, I beg you. You have
already done enough damage in this house.
Pilgrim: I can’t go back alone.
Grandfather: Take me if you want to. Take everything I have . but don’t leave my
house empty again, as you did when you took Angelica.
Pilgrim: (Trying to remember.) Angelica.... Who is this Angelica you all keep talking
about?
Grandfather: And you’re the one who’s asking? You who took her away from us?
Don’t you remember four years ago at the river? (Showing her a locket that he takes out
of his pocket.) Take a look at her.
Pilgrim: (Looking at the locket.) She is a beautiful girl... I have never seen her before..
Is she Martin’s wife? …
Grandfather: She was for three days. Why do you pretend you don’t remember
Her?
Pilgrim: I’m not lying, Grandfather. I’m telling you don’t know her. I never seen her
before! (She gives the locket back to him.)
Grandfather: (He looks at her without daring to belief.) But, then.... where is she?
(Taking her by the arms with deep emotions.) Tell me!
Pilgrim: Did you look for her in the river? Did Martin look for her too?
Grandfather: All the neighbors looked for her, except Martin; he locked himself in his
room when we were looking for her. Why do you ask that?
Pilgrim: There is something strange here that the two of us need to find out,
maybe Martin himself can give us a explanation. Now get out of here, let me alone.
(The grandfather tries to ask something but she covers his mouth and pushes him out,
when she is alone. she screams....)
Pilgrim: Adela! (As she hides, Martin enters and then Adela enters too.)
Adela: Were you calling me?
Martin: No, I wasn’t, but I was looking for you. I have something to tell you. I’m not a
man of many words. So ... good bye.
Adela: Good bye?... Are you going on a trip?
Martin: Yes, tomorrow.
Adela: Are you going to be away a long time?
Martin: As long as I need to be. It doesn’t depend on me.... It will be best for both of us.
Adela: For both of us? Are you saying I’m the one who’s causing you problems.
Martin: Not you, the entire neighborhood. We’re living under the same roof, and I
don’t want your name bandied about.
Adela: But that is not the real reason, there’s more that you don’t want to tell me.
(Martin can’t look at her eyes and Adela take his face with a hand and turns his head to
hers.) Look in my eyes! There is something more? Tell me!
Martin: (Evading the issue, he takes off her hand.) Leave me alone!
Adela: If it’s nothing more than people’s suspicions, I will take care of the matter for
the two of us. I’ll shout in their faces that it’s a lie!
Martin: Why is it good for you if I can’t say it? If I flee when we are alone, if I can’t
dare to look at your eyes, that’s why I try to defend myself against the impossible...
against what they knew before I knew!
Adela: I was afraid someday you would say these words to me... And now that you
have, I don’t want to hear anymore!
Martin: (Taking her in his arms.) Adela....
Adela: (Surrendering.) Not another word!..
(Martin kisses her in an intense silence.)
Martin: That’s why I have to leave.
Adela: No!! You’ve told me you love me, and even if its not possible, having heard it
from you just once is worth a life time. Now, if someone has to leave this house it’s
going to be me.
Martin: No, you won’t!
Adela: I must, I don’t think that mother would accept our love, because it would be the
worst betrayal to Angelica’s memory.
Martin: Listen to me Adela, because I can’t take it anymore. Angelica was not the
beautiful image you all make of her.
Adela: How can you talk like that about a woman you loved so much!
Martin: You have to know that her entire life was a lie. As was her death.
Adela: What do you mean?
Martin: Don’t you get it?....She is alive!
Adela: It can’t be... its impossible.
Martin: We were happy until she went to Mexico to pick up her wedding dress. When
she came back she had changed and she couldn’t look me in the eyes. And, after we
married, during the nights, she cried and cried, and on the third night, I saw her
running away to the river and I followed her but it was too late I saw that she was
escaping with another man, no matter how fast I ran I couldn’t catch them.
Adela: Why did you keep silent when you came back?
Martin: What else could I do? At first, I didn’t even think about it. But when they
found her scarf in the river, and the talk started circulating that she had drowned I
realized I should remain in silence. It was the best thing to do… That’s why I have to
go.
(Martin exits and Adela starts to cry.)
Pilgrim: (She gets out of her hiding place and says in a lower voice.) Uh! So, that was
the secret .
FOURTH ACT.
(Some time happens. Adela and Martin enter scene.)
Adela: Just a question. When I opened the window in my room, I found it decorated
with white flowers.
Martin: From hawthorn and cherry trees. Those who see the wreath will know who’s
placed it there…
Adela: Thank you, Martin… With the words you said me earlier, you’ve already given
me more than I could hope for. The flowers from the cherry tree will be gone with the
wind by tomorrow; your words won’t be.
Martin: I’ll keep thinking them at every moment and with such force that, if you close
your eyes, you’ll be able to hear them from far away.
Adela: When are you leaving?
Martin: Tomorrow, at daybreak.
Adela: Let’s forget that this night is our last. Perhaps by tomorrow you’ll no longer
need to go.
Martin: Why? Can someone erase the dark shadow that separate the two of us?
Adela: I’m only asking you not to think about it tonight.
Martin: We will forget together, dancing in front of the entire village. Let them see my
eyes fixed on yours, just as my wreath is fixed to your window!
Adela: I know, and that’s enough for me… Quiet…, someone is coming.
Martin: (Softly, taking her hands.) Shall I wait for you at the dance?
Adela: I’ll be there.
(Martin exits, and Mother appears.)
Mother: I’ll be back. I have to stop by the chapel. I have so many things to thank God
for.
Adela: Have you asked Him for something?
Mother: Many things that perhaps can never be. But He gave me the best thing of all
without my asking Him for it the day He brought you. And to think that back then I
didn’t know how to thank Him…, that I was about to close that door to you!
Adela: Don’t think about that, Mother.
Mother: Now that it’s over, I want to tell you about it, so you’ll forgive me for those
days when I looked at you with hatred, as if you were an intruder. You understand,
don’t you? I was only living to keep her memory, and every word you spoke was a
silent thought of hers that you were taking away from me.
Adela: I didn’t realize until later. That’s why I wanted to leave.
Mother: By then, I had already learned the great lesson: that the same river that took a
daughter away from me brought me back another, so that my love would not be an
empty madness. (Pause. She looks at her lovingly, caressing her hands.) Do you
recognize the shawl? It’s the one Angelica was wearing on her shoulders that last night.
Martin had given it to her. (She puts it on Adela’s shoulders.) Now it, too, has a place.
Adela: (Embarrassed. Softly.) Thank you…
Mother: Now, answer me frankly, woman to woman. What does Martin mean to you?
Adela: (Looking at her, afraid.) Nothing. I swear to you!
Mother: Then, why are you trembling?… Why can’t you look me in the eye as before?
Adela: I swear to you, Mother! Neither Martin nor I would be capable of betraying that
memory.
Mother: Am I betraying it when I call you my daughter? (She puts her hands on her
shoulders, calming down.) Listen, Adela. I often thought this moment would come.
And I don’t want you suffering needlessly because of me. Do you know that Martin
loves you? I do; I’ve known it for some time… The first time I saw it in his eyes I felt a
chill that made me shake all over, and my fingers became tense. It was as if Angelica’s
jealousy had arisen within my blood! It took some time for me to get used to the
idea…, but I’m over it now.
Adela: (Anguished.) I’m not… It’s just now beginning for me…
Mother: If you don’t feel the same way, forget about what I’ve said. But if you love
him, don’t try to stifle that love, thinking it will cause me pain.
Adela: (Holding back tears.) For whatever you love most…, be still. You cannot
imagine all the pain you’re causing me saying those words to me today…, today of all
days.
Mother: (About to leave.) I’m not trying to show you the way. I only wanted to tell you
that if you chose him, I will not stand in your way. It’s the law of life.
(She exits. Adela falls into the chair, exhausted, thinking deeply, her eyes fixed in a
stare. The Pilgrim appears and contemplates her, as if she heard her thinking.)
Adela: To choose a way… Why did they take me off the one I had already chosen if
they couldn’t give me another that was better! (With anguish, tearing the shawl from
her neck.) And this shawl that caresses my neck as a reminder of water!
(Suddenly she seems to make a decision. She puts the shawl on again and makes a move
to get up. The Pilgrim stops her, putting a firm hand on her shoulder.)
Pilgrim: No, Adela. Not that! Do you think the river will be a solution?
Adela: If I only knew what I want! Yesterday everything seemed easy to me. Today
there’s only a wall of shadows holding me down.
Pilgrim: Yesterday you still didn’t know you were in love…
Adela: Is this love? Why do they paint it as happy if it hurts so much? You’ve never
felt it before?
Pilgrim: Never. But we’re almost always together. And how I envy those of you who
can feel that pain that binds the flesh like a belt lined with nails that no one would want
to pull out!
Adela: Mine is worse. It’s like a burning at the roots…, like a buried shout that can’t
find a way out.
Pilgrim: Perhaps. I don’t know any more about love than the words that surround it and
not even all of those. But the only words I hear are the desperate and final ones… The
ones you were thinking out loud a moment ago.
Adela: (Getting up, resolved.) Why didn’t you let me go? There’s still time!…
Pilgrim: (Stopping her.) Quiet!
Adela: It’s the only way out for me!
Pilgrim: No. Yours is not that one. And Martin is waiting for you at the dance.
Adela: And tomorrow…?
Pilgrim: Tomorrow your path will be free. Have faith, child. I promise you you will be
happy, and this will be the most beautiful night the two of us have ever seen.
(The children enter scene, so as Grandfather.)
John: Let’s go to dinner, or we’ll be late!
Daniel: (Going up to the Pilgrim, with a crown made of roses and sheaves of wheat.)
Take it. Tonight all women will be wearing one.
John: Aren’t you coming to the dance?
Pilgrim: I have to be on my way at daybreak. Adela will go with you. And she will not
leave your side even for a moment. (Looking at her with authority.) Isn’t that right…?
Adela: (Lowering her head.) Yes. Goodbye, ma’am… And thank you.
Daniel: Will we see you again soon?
Pilgrim: Don’t be in such a hurry. A lot of grain will have to ripen beforehand.
Goodbye, my little ones…
Children: Goodbye, Wanderer!
(They exit with Adela. Grandfather stays a moment.)
Grandfather: Why did Adela thank you?… Isn’t she the one you were looking for
tonight?
Pilgrim: That’s what I thought, too, but now I see my confusion clearly.
Grandfather: Then, why are you staying here?
Pilgrim: I can’t go back alone. I told you before that tonight a woman from your house,
crowned with flowers, will be my companion by the river. But don’t be afraid: you will
not have to shed a single tear you haven’t shed already.
Grandfather: (Looking at her suspiciously.) I don’t believe you.
Pilgrim: When you return from the dance, my mission will have ended. (With decisive
authority.) And now leave me alone. It’s my final word for this evening.
(Grandfather exits. Long pause. The Pilgrim, alone now, looks with elusive sadness at
the crown of roses. Finally her eyes light up; she puts it on her hair, takes a mirror
from Adela’s sewing box and contemplates herself with feminine curiosity. Her smile
vanishes. She lets the mirror fall, takes off the roses and begins to pull out the petals
coldly, with her eyes staring absently.)
(There’s a new silence. The Pilgrim is seated, her back to the back of the stage, with
her elbows on her knees and her face in her hands. Through the back door a girl of
faded beauty furtively appears, her face partially hidden by a shawl. She sees the
Pilgrim with her back to her and takes a fearful steps towards her. The Pilgrim calls
her name in a loud voice without turning around.)
Pilgrim: Angelica!
Angelica: (Turning back, disconcerted.) Who told you my name? (The Pilgrim gets up
and turns around.) I’ve never seen you before.
Pilgrim: And I’ve never seen you either. But I knew you would come, and I did not
want you to find your house empty. Did anyone see you coming?
Angelica: No, no one. That’s why I waited until evening, so as to keep myself hidden
from everyone. Where are my mother and my brothers and sister?
Pilgrim: It’s better that they not see you either. Would you have the courage to look
them in the eye? What words could you say to them?
Angelica: They don’t need words… I will get down on my knees crying, and they will
understand.
Pilgrim: Martin, too?
Angelica: (With instinctive fear.) Is he here?
Pilgrim: He’s at the festivities, dancing around the fire with everyone else.
Angelica: With everyone, no… It’s a lie! Martin probably has been able to forget me,
but not my mother. I’m sure she would wait for me every day of her life without
counting the hours… (She calls out.) Mother!… Mother!…
Pilgrim: It won’t do you any good to call her. I’ve told you she’s at the festivities. What
are you coming to this house in search of?
Angelica: What was mine.
Pilgrim: No one took anything away from you. You yourself left everything behind.
Angelica: Above all else, it’s my house and my family.
Pilgrim: Tell me Angelica, during those dark days back there, after you left home, did it
never occur to you there might be other ways out?… A sweet journey of silence that
you could take by yourself… and where it is so beautiful to sleep, always in quiet,
without pain and without end!
Angelica: (She turns, looking fearfully.) Who are you who is reading what’s inside of
me?
Pilgrim: A good friend. The only one you have left now.
Angelica: (Withdrawing instinctively.) I haven’t asked you for friendship or advice.
Leave me alone. Don’t look at me like that!
Pilgrim: Would you rather your mother and brothers and sister knew the truth? They
imagine you purer than ever. But asleep in the depths of the river.
Angelica: It’s not possible. Martin followed me to the shore.
Pilgrim: But he knew how to control himself and be quiet because of you, because he
still loved you.
Angelica: But then, he loves me… He still loves me!…
Pilgrim: It’s too late now. Your place is taken.
Angelica: She will not steal what is mine without a fight! Where is this woman?
Pilgrim: It’s too late. Your place is taken. Your mother has another daughter now.
Angelica: No… It’s too cruel. I don’t believe they’ve robbed me of everything. Can
someone take my mother away from me?
Pilgrim: She no longer needs you. She has a memory of you, which means more to her
than you do. Think about it, Angelica. You destroyed your house once when you went
away. Do you want to destroy it again by coming back?
Angelica: (Defeated.) Where can I go if I don’t…?
Pilgrim: To save the only thing you have left: their memory of you.
Angelica: What’s the use, if it’s an image that’s false?
Pilgrim: What does it matter, if it’s a beautiful one? I will show you the way. Come
with me, and tomorrow the village will have its legend. (She takes her by her hand.)
Angelica: Let go… There’s something about you that scares me.
Pilgrim: Come on! A moment of courage, and your memory will be planted in
Monterrey like an oak tree filled with nests. Shall we go?
Angelica: (Closing her eyes.) Let’s go. (Staggering as she walks.)
Pilgrim: (With infinite tenderness.) Lean on me. And put on your best smile for the
journey… I will bring your boat over to the other shore…
(She exits with her.)
(While that happens, a nice atmosphere is being lived in Monterrey. Grandfather and
Telva enter scene, so as the children playing.)
Grandfather: It’s probably true that this is the shortest night of the year, but I’ve never
felt so anxious to see the sun rise.
Telva: It won’t be long now.
John and Daniel: Mother! Grandfather! Everyone, come quick!
(Everyone runs afraid towards them.)
David: A miracle has happened! Isn’t that Angelica?
(Everyone looks at the dead body.)
Mother: (Crying.) No, I can’t believe this! This cannot be happening!
Grandfather: She is miracle! Look at her: she has been conserved by four years of
water!… Where have you found her?
David: She was found in the river Santa Catarina!
Mother: Look: They’re bringing her here to you, more beautiful than ever… And with a
lovely smile, as if she had just died!
Voices (Everybody): It’s a miracle!… A miracle!…
Mother: (Falls down on her knees, and hugs Angelica.) God must have heard me!…
My beloved Angelica!… My saintly Angelica!…
THE END.
Introduction.
The play "La dama del río" based on the play “Lady of the Dawn",
was written by Alejandro Casona, and performed by the 5th
semester students. It duels with feelings towards life, such as love
and hate, along with a northern feeling. It presents the story of a
family, which is affected by death, lies and passionate desire to
recover true love.
The deceive form the prodigal daughter and her mysterious
vanishing, generates absolute sadness within each member of the
family.
The arrival of a young women who slowly began to take the place
of the lost daughter, causes a great relieve in the family.
The sudden appearance of the lost daughter, and the influence
that death has over the family, its the story that unfolds before the
eyes of the spectator.
Cast.
Juan Carlos Caballero.
Daniel Cuevas.
Mónica L. Duarte.
Cristina A. Ordaz.
Eric D. Gallardo.
Juan Carlos García.
Roberto García.
David Gomez.
Alejandro Lecea.
Cecilia S. López.
Omar A. Lozano.
Cristina Martínez.
Diana de la Fuente.
July Ann Urdiales.
Israel Sanchez.
Myrna Castellanos.
Luis Espinosa.
Amado García.
Biagio Rizzo.
Daniel Sepúlveda.
What was our project?
Our project was that we had to carry out a play. We had to take one of the classics
we were reading and transform it to a play.
After choosing the classic we were going to perform, we made the script and we
adapted it to the way of living in Monterrey nowadays. Also we made the
settings, we chose the make up, wardrobe and music, we set the movements, we
acted the play and made the publicity.
Our project was a half an hour play, but the important fact is that we made it all by
ourselves from the beginning to the end.
Why did we choose to carry out this specific play?
In the beginning of the course, teacher Yliana Iruegas allotted a classic to
everyone because we have to become experts in that classic. After we read the
classics, we chose between them which one would be the best to turn it into a
play. We thought that the best classics were “The stranger” and “Lady of the
Dawn” but we decided that “ Lady of the Dawn” would be easier to perform
because the text was already in dialogue form. This is not the only reason we
decided “Lady of the Dawn” over “The Stranger”, we also chose it because it
unfolds inside a house: the settings were going to be easier to make because they
would be just of the interior of a house, and it was also easy to adapt it to the way
of living in Monterrey .
Which play is it? Who was the author? Why is it important as a classic?
The play is “The Lady of the Dawn” and its author is Alejandro Rodríguez Álvarez,
best known as Alejandro Casona. The importance of “The Lady of the Dawn” is that
it established a margin to literature in that time, by mixing different styles and
combining them into a breathtaking story. The author describes an atmosphere of
complete sadness and melancholy, adds a character whose sole presence has created
fear among history for decades, and lastly by mixing adding a missing daughter, the
story completely drives the reader into the story. That’s because the style used was new
and the people and it managed a metaphoric method of writing.
How did we adapt the play? What was the title? Why?
We discovered that the story included many details regarding a farm and another epoch.
So, what we wanted was to relate it more to our way of living in Monterrey, and make
it easier. For example, the clothing was changed for a style we use in here, cowboy and
ordinary. We changed the horse in which Martin rode, for a truck. We also add some
typical aspects. In a scene where Telva is preparing food, we included some dough used
to make tortillas. Adela’s hawthorn crown was changed for a ficus and roses one. The
places where the Pilgrim took people’s lives away, were changed for Avenida
Constitución, and Río Santa Catarina.
The title of the play was “Lady of the Dawn.” It was changed for “La Dama del Río”,
because the story’s most important scene occurred there. The river was the place in
which Adela was found, and Angelica died. “The Lady of the River”, as said in
English, stands either for Angelica, Adela or the Pilgrim; since they were the women
whose role changed dramatically in this place.
Synthesis.
Act 1
In a place near the river Santa Catarina, one family is reunited in their house arguing
the anniversary of the lost and beloved daughter Angelica. They didn’t know that a
non expected visitor would arrive.
Act 2
The grandfather recognizes who is the mysterious visitor, meanwhile Martin finds
something in the river that will bring back the happiness to their home.
Act 3
The grandfather is anxiously waiting the return of The Pilgrim. Martin reveals to
Adela a terrible secret..
Act 4
Adela and Martin begin a special bonding, suddenly an unexpected character
appeard that culminates an enigmatic labor.
What was the music? Why?
The music that we used in this play was very important in order to get the people into
the play itself. The music was adapted to the story according to the place where it takes
place, the time when it takes place, the people that get into action in the play and the
type of sounds that are heard around the place. Monterrey, the place where this play is
actually taking place, is located at the north of Mexico, which is mostly characterized
for the regional music. The list of the music that we used in the play, along with its
explanation about why and when was it used, is the following:
Artist/Author
When is it used?
Why is it used?
“The
Rainforest”
Ambient Sounds
This sounds are used to
make the audience feel the
place and the environment
around the play
“Hoy duele”
Used when Martin,
the typical guy of the
north wearing his hat,
enters for the first
time into scene in Act
1
This song is used because he
is the typical guy living at
the north of Mexico, so
regional music is used
“Large dog
aggressive
bark”
Used when the
Pilgrim gets for the
first time towards the
house and dogs start
barking, in Act 1
This sound effect is used to
show when the dogs are
barking at the Pilgrim that is
walking towards the door of
their house
Carl Orff
“O Fortuna”
Used when the
Pilgrim enters the
house for the first
time, in Act 1, and
when the Pilgrim
starts talking about
the dates when she
had been there, in Act
1.
El Poder del
Norte
“Oye como
late mi
corazón”
Used when Martin
enters the scene for
the second time in
Act 1
This song is used because he
is the typical guy living at
the north of Mexico, so
regional music is used
“Only time”
Used when the
mother says to
everyone to leave her
alone, in Act 1
This song is used because
the melody of this song goes
according to the situation
where the mother is feeling
sad because nobody agrees
with her
Carl Orff
“Dance”
Used when the
children play with the
Pilgrim, in Act 1
This song is used because it
has a funny melody that
goes according to the
situation where children are
playing
Sound FX
“Heart beats” Used when the
Virtual Audio
Environments
Intocable
Sound FX
Enya
Title
This song is used because
the beats and the melody of
this song goes according to
the mysterious situation
Sound FX
Sound FX
Carl Orff
Pilgrim realizes that
her heart is beating
after she played with
the children, in Act 1
This sound effect is used to
show the sound of the
Pilgrim’s heart beating
“Rooster
crowing”
Used when Act 2
starts and the rooster
starts crowing in the
morning
This sound effect is used to
show the sound of the
rooster crowing
“Door knock
sequence”
Used when Martin
gets to the house and
knocks at the door, in
Act 2
This sound effect is used to
show the sound of the door
when it is knocked
“Olim lacus
colueram”
Used when the
Pilgrim talks to the
grandfather about the
date when she will be
back, in Act 2.
This song is used because its
melody sounds a bit creepy
and goes according to the
scenes in which this song is
This song is also used played
when the Pilgrim
talks with Angelica,
in Act 4
“I do it for
you”
This song is used because
Used when Adela
the calm melody and the
helps Martin putting
sweet vocals go according
him a bandage, in Act
to the situation presented in
3
this scene
“In taberna
quando
sumus”
Used when the
Pilgrim enters into
the scene, in Act 3,
and when the Pilgrim
talks with the
grandfather, in Act 4.
This song is used because
the creepy melody goes
according to the situation of
the Pilgrim entering this
scene
SBS
“Esta noche
hay fiesta”
Used when the
children notice about
the music at the
festivities started
playing, in Act 3
This song is used because of
the vocals and the melody of
the song talking about a
party
Intocable
“Vuelvo a
creer en el
amor”
Used when Adela and
Martin talk about
their relationship, in
Act 3
This song is used mainly
because of its vocals that go
according to the situation in
this scene
Sound FX
“Woman kiss Used when Adela and This sound effect is used to
Bryan Adams
Carl Orff
and moan”
Martin kiss each
other, in Act 3
show the sound of the
kissing between them
“You’ve got
a way with
me”
Used when Adela and
Martin are talking in
a sweet way about
their relationship, in
Act 4
This song is used because of
its sweet vocals and slow
calm melody that goes
according to the situation in
this scene
“Fallen
Embers”
Used when the
mother is talking
about Angelica in a
melancholic ambient,
in Act 4
This song is used because of
its melancholic melody and
slow beats that go according
to the situation in this scene
“Tempus
Vernum”
This song is used
when the Pilgrim
enters and talks with
Adela, in Act 4
Enya
“Pilgrim”
This song is used
when the Pilgrim gets
sad about her
situation and starts
meditating, in Act 4
This song is used because
the melody with a touch of
sadness goes according to
the situation in this scene
Enya
This song is used
when the body of
“Deora ar mo Angelica is found and
chroi”
everyone is surprised
and say that it is a
miracle, in Act 4
This song is used because
the sweet and calm melody
in this song goes according
to the miracle situation in
this scene
Shania Twain
Enya
Enya
Enya
“Wild Child”
This song is used as
the ending song.
This song is used because of
its mystical melody and
creepy beats that go
according to the situation in
this scene
This song is used as the
ending song because its
melody its calm but at the
same time gives the
audience a feeling that goes
deep into their hearts and
makes them think about the
story of this lady.
What kind of makeup? Why?
The makeup is one of the most important things in a play, because
it helps to look the shape of the characters and also identify the
good ones with the bad ones .In the play “La dama del Río” an
adaptation of “Lady of the dawn” by Alejandro Casona .
We used with The Pilgrim an evolutionary makeup because The
Pilgrim had different transformations during the play. She started
like a normal person and finished like the death.
In the other characters the makeup was more easy to use for
example: the kids and the mother only used blush in the chicks .In
Martin we take more time because we put him a beard and liquid
makeup in the face . Telva was an important character in makeup
because she used a wig and exaggerated makeup in the mouth
and the face. The grandfather used powder in the hair and in the
beard, also he used a cane.
In customs The Pilgrim was important because she was all dressed
in black. Martin used a cowboy hat , a square t-shirt , jeans and
boots. Adela used actual clothes, the kids used shorts and colored
t-shirts. Angelica used actual clothes and a rose crown. Telva used
a custom of a maid in colors of black with a white apron. The
grandfather used a shirt of squares and beige pants. The mother
in the beginning used a black squirt and a black blouse because
she was in mourning but later she used normal clothes .
Settings.
We decided to make the settings with a blanket because we had no economic resources.
The play took place inside the house, so we painted things that could decorate the
scenery, just like an actual house. In the top part of the blanket we decided to paint a
sky just to make it more attractive. The chimney was included in the setting because it
was necessary and was an essential part of the play. We also placed two trees just as a
comic part in the play.
We had problems with the materials to create the setting because they couldn’t give us
what we asked for. The blanket that “Difusión Cultural” gave us was in parts, so the
problem was that we had to staple it and then painted it. Also the brushes that they lend
to us were very small compared to the size of the blanket that we had to paint.
Publicity.
For the play of the “Lady of the river” it was made a series of publicity to give
promotion about and information including a brief resume about the play, the
characters, and the job everyone involved made.
It was made a Triptych which includes:
 Title of the play.
 Picture of a painting about the play.
 A resume about the 4 acts inside the play.
 The characters and who made them.
 The role that everyone made inside the play.
 The slogan of Prepa Tec and of Tec de Monterrey.
There was also made a promotion paper that occupied ¼ of a
page, so it was printed 4 by 4. It included:
 Title of the play.
 Place where it was presented.
 Time of the presentation.
 Slogan of Prepa Tec.
 Picture of a painting related to the play.
Problems involved in the making of the publicity:
 There were some problems of writing, because the resume has
to have enough ideas but at the same time it must not tell the
story.
 The finding of a painting that was related to the play. It was
considered to use one of Rossetti “Beata beatix” from pre
Raphaelist period.
 The number of triptychs should be exactly to the number of
audience and the promotion papers should be doubled and be
delivered before the play to promote it.
What were the obstacles difficulties?
Manager: Roberto García
Comments:
·
We did not have the right material to work.
·
There was confusion in the moment we arrived to Cintermex,.
·
Omar, Cristina, and Israel asked for brushes and they got small brushes.
·
We did not have enough microphones. The audience barely heard.
·
The play should be presented at night.
·
The blanket was in pieces, it was not complete. We had to staple it.
Manager: David Gomez.
Comments:
.
Everybody did a little bit of everything including us.
·
Due to the date of the play we didn’t get as much audience as we expected.
·
The script was a little difficult to memorize because it was in English.
·
We started to work 3 weeks before the play.
·
We improvised things at the last moment (trees, par lament.)
· The people who went to see the play found it difficult to understand.
The regards.
We want to thank all the people that helped us, the people that are at the bottom
did not helped us less. We appreciate very much what they did and the support they
gave us.
Ing. Martha Maqueo.
Prof. Lic. Yliana Iruegas.
Difusión Cultural PEGS Martha Quiroga.
Prof. Ing. Arturo Méndez.
Ing. Arturo Sánchez.
Myriam Moreno.
Profra. Lic Anilú Soriano.
Profr. Ing. Ernesto Figueroa.
Bibliography.

Casona, Alejandro. Lady of the Dawn. Ed. Vicens Vives. España. 1996.
Anexo 3
Bicultural
matrícula
594583
595209
595298
595325
595757
595862
596078
913080
913678
913680
913702
913750
913800
Preguntas
18
14
18
21
25
16
27
26
22
15
18
32
18
50%
35.6
27.6
34.5
41
41.4
32.1
44.4
36.8
31.7
29.4
30.8
44.5
34.5
Ensayo=50
18
22
32
40
14
28
28
36
18
40
48
42
46
total
54
50
67
81
55
60
72
73
50
69
79
87
81
Preguntas
21
22
21
17
18
16
27
50%
32.9
37.5
37
30.3
29.3
26.2
45.6
Ensayo=50
16
30
40
40
22
32
46
total
49
67
77
70
51
58
92
Bilingüe
matrícula
595467
595524
596073
596167
596243
610612
913873