domingo, 12 de octubre de 2025

An Interlude: The Water Must Not Be Lacking

  

















This work has been published for free and open dissemination, although all property rights are reserved. The public use of this work requires the author's permission and in order to obtain the corresponding authorization contact bengavarre@gmail.com or gavarreunam@gmail.com (Reg. Prop. Int. Expte. Inbox)





An Interlude: The Water Must Not Be Lacking




Characters:


  • Anita: Rul's cheerful sister.

  • Rul: A young lad.

  • Doña G.: The youngsters' aunt.

  • Neighbor: A presumptuous and boastful man.

  • (Audience): The spectators of the play.

(The action takes place in a courtyard, a space that alludes to the old Spanish "Corral de Comedias." The stage has some references to Cervantes's time, but also with objects that place us in our own reality, such as a modern faucet, a long garden hose, and an old cell phone. The costumes allude to the era but with mistaken or anachronistic pieces from our own time).


1: The Wasted Water

(Anita)

(Sneering)

What so great a task doth Rul perform, Auntie? 'Tis nigh on two hours he's been cloistered in the wash-room!

(Doña G.)

(Sanctimonious, a blabbermouth)

Good heavens! Let the devil not find him on his path, for I could tell thee tales of what was said of him in days of old.

(Anita)

(Wicked)

Doth he scrub the crusts from his face 'til his very skull doth gleam, like a fresh-faced, hale lad of the morning?

(Doña G.)

(Gossiping)

Not even close, my girl! What he was doing is a thing that nature doth not permit a fair and tender maid such as thee to even fathom.

(Anita)

(Obscene, yet playful)

Ah, I know! He doth rub and scrub himself 'til he doth scream as if a butcher's lad. Ahhhhhh!

(Doña G.)

(Feigning caution)

More or less, Anita, but hold thy tongue, for 'tis a delicate matter.

(Anita)

(Gossip-monger)

The lads from the block speak of naught else. But they enter not the wash-room; they use hoses upon their carriages. I have heard them, "Scrub 'til you drop," they say.

(Doña G.)

(Scandalized)

And that is to say quite enough! Hold thy tongue, devil's child! In my days as a maiden, one would not dare to conceive of such unseemly actions.

(Anita)

(Shameless)

But if he doth no harm, Auntie, I...

(Doña G.)

(Changing the subject abruptly)

Hold! Tell me of this Rul. Do ye mean to say he doth not leave the cistern?

(Anita)

He taketh the water from the cistern, leaving us without a tank, without a basin, without the very wellspring of our resources. He hath been locked in that room for more than three hours, and naught but a foul, sudsy, and very black water flows out.

(Doña G.)

He must be washing his tunic, his cloak, and his badges from the college choir. And, as vain as he is, he must waste all the water on each gold button, each tassel, each yellow, blue, and green ribbon! Ah, I recall thy uncle's serenades in the Tuna band of San Tormes! Such a grand and gallant sight!

(Anita)

Yes, Auntie, you have told me of it a thousand times! Doth it not anger thee that he wastes all the water? This Rul will bring us to ruin, to starvation, to desperation! We shall surely thirst!

(Doña G.)

Is there no more water for drinking?

(Anita)

And more than that! Naught for the privy, naught for washing the vegetables, naught for scrubbing the floors and windows, naught for bathing on Tuesdays for sorrowful matters, and on Wednesdays for sundry fortunes!

(Doña G.)

Enough! I must make this young boy understand that he must stop, or he will bring us to ruin.

(Anita)

But he would not listen to me just four hours ago...

(At that moment, a Neighbor enters, wearing fine silk clothes stained with mud. He sprays water with a long, thick hose at a perfectly clean cart, singing with an exaggerated voice.)

(Neighbor)

(Singing)

Oh, my fine carriage, so bright and so fair,

With this hose, so long, I do cleanse it with care!

(Doña G.)

(With a face of disapproval)

Oh, Neighbor! What poor use you make of this gift from heaven!

(Neighbor)

Why, not at all! 'Tis I who pay for it! And I have a hose so grand it looks like a boa! 'Tis the kind that Rul fancies, for certain!

(Anita)

(To Doña G., in a low voice)

Auntie, the lads from the block spoke of the very same!

(Doña G.)

(Turning to the audience, outraged)

We shall not permit this abuse! Come, all you pious souls! Chant with me! Shut that faucet!

(Anita)

(To the audience)

Let them hear us! He's wasting water, he's wasting!

(Doña G.)

Waste not the water, you lewd and abusive old man!

(Neighbor)

(Frightened by the chorus, he tries to justify his actions)

But... but... I am only cleaning...

(Anita)

Shut it off, for it's gushing!

(Doña G. and the audience chant once more, until the Neighbor, in a fright, drops his hose and flees).


2.  The Song Duel

(Music from a mariachi band begins to play, as if from nowhere. Rul enters the scene, soaked to the bone, with a cell phone in his hand, recording a video. He glares at Anita, while she looks at him with scorn. Both prepare to sing, as in a musical contest).


(Anita)

I know you're still a pig,

and you mock me with a laugh.

You spend your time on your hair,

ignoring a dry well's path.


(Rul)

I'm not a pig, but you're a cow,

you're a pain, and I can't stand you now.

I'm a happy pig, it's true,

but it's because I'm not like you!


(Anita)

You are a brute, a thoughtless fool,

You throw the water just to be cruel,

and you leave the cistern dead.


(Rul)

You call me names like "pig" and "slob",

but you are a chicken, without a soul,

a sow who hides behind a sob,

and loses all control.


(ANITA)

Oh, you're an ass. 

(RUL)

Ah, well, you're a chicken. 

(ANITA)

Moron, 

(Rul)

empty-headed. 

(ANITA)

How dare you? 

(Rul)

You better shut up. 

(ANITA)

Shut up, you silly 

(Rul)

caterpillar face. 

(ANITA)

Ah, your centipede face.

(Rul)

 Oh, yeah.

(ANITA)

 Did it hurt

(Rul)

Of course not. 

(ANITA)

Oh, well.




3: LATER...


The Judgment of Water



(Rul)

(Putting his phone away)

What are these shouts? Silence, I say! You have interrupted my broadcast!

(Doña G.)

Hang your broadcast! You are about to leave us without water!

(Rul)

'Tis naught but Anita's lies! She only wishes for the tub for herself.

(Anita)

(Approaching with a comb from which she pulls a hair)

What lies! I am not of thy kind! Look, Auntie, every time Rul uses the basin, he leaves it full of monkey hairs, and I am the one who must cleanse this filth!

(Rul)

See? She doth betray herself! Auntie, she bathes her entire body and then claims all the water for herself.

(Anita)

Filthy pig!

(Rul)

Slut!

(Doña G.)

Enough! I say to both of you that you have abused these aquatic gifts! And if you do not stop insulting each other, I shall give you a punishment.

(Anita and Rul)

(Meekly)

Yes, Auntie.

(Doña G.)

As a punishment, thou, Rul, shalt wash all the family's clothes, not just thine own, and thou shalt do it but once every fortnight.

(Rul)

What dost thou say, Auntie? I? I in that... that metal washing-contraption? 'Tis too great a punishment!

(Doña G.)

And I say it well! And thou, Anita, shalt bathe in the tub but once every six months.

(Anita)

(Horrified)

Nay, Auntie! I shall reek!

(Rul)

(With a smirk)

She speaks the truth, Auntie! She'll smell like a monkey's rump!

(Doña G.)

(To Anita)

I said in the tub! Thou mayest bathe with a sponge, with water that you collect from the rain.

(Rul)

And what of thee, Auntie? Thou shalt not wash? And thy knickers, Auntie, must I wash those, too?

(Doña G.)

Enough of these foul words!

(Rul)

And thy Lycra, too! And thy large bras! Listen, Auntie! Do not run away! (To the audience) What women!

END

lunes, 6 de octubre de 2025

 

Dog & Cat (Waffles & Boris)

 

 

 

 

CHARACTERS:

  • JAKE (Actor): Plays WAFFLES (Dog).
  • LEO (Actor): Plays BORIS (Cat).

SCENE 1: Rehearsal and Role Definition

(JAKE performs an exaggerated and loud diaphragmatic breathing exercise, howling like a mantra. LEO watches him with annoyance, drinking coffee.)

LEO

Are you done invoking the spirit of The Theatre yet? Or can we talk about the rehearsal?

JAKE

One must prepare. It is the dog's soul versus the feline's ego. A profound, millenary relationship, LEO!

LEO

I am The Cat. You are suited to be The Dog, with your blind enthusiasm.

JAKE

It's a comedy about a ball. In any case, it's a comedy about comedians and their inner animals.

LEO

I will be BORIS. The name is irrelevant. The important thing is that my aura is that of an aristocrat without a conscience.

JAKE

Perfect. I will be WAFFLES, the street terrier who limps, but then performs a perfect pirouette to prove he is fine.


SCENE 2: IMPROVISATION I – The Soliloquy of Superiority

(Challenge: Absolute Containment from BORIS vs. Explosive Energy from WAFFLES.)

BORIS

(Sits in an impeccable sphinx posture.)

WAFFLES. Slave of the leash. Your stupid happiness that prevents introspection annoys me.

WAFFLES

(Does an aerial spin and lands in a "give paw" pose.)

Humans love me. They tolerate you. We save lives. What do you do? Contemplate the dancing dust?

BORIS

(Only moves his eyes, with contempt.)

I am worthy of veneration. I am their owner. And they train you with dried meat bits. And that stupid ball.

(A HUMAN VOICE (LEO, squeaky) shouts: "BORIS! TIME TO EAT, my baby!").

BORIS

(Shudders with dramatic horror, but maintains the rigid posture.)

I won't eat anything... I'm not their baby. I will destroy the armchair with an indescribable fury and then I'll blame you.

(BORIS performs a slow, choreographed gliding movement, simulating savage scratching, and exits. WAFFLES sits down, does a furious contortion exercise and then barks to claim his betrayal.)


SCENE 3: Rhythmic Combat – The Boxing Ring

(Action: The stage becomes a stylized boxing ring. The rhythm is a constant shuffle or bob and weave, coordinated with the dialogue.)

WAFFLES

(Moving quickly, nervous energy.)

Yes!

BORIS

(Moving with elegance, slowly, dodging.)

No!

WAFFLES

Watch out for... BAD INTENTIONS!

BORIS

Yes!

WAFFLES

No! Never trust a... pensive cat!

BORIS

Yes!

WAFFLES

No!

BORIS

Watch out for the... HIDDEN PASSIONS of dogs!

WAFFLES

(Moves frantically.)

When I tell you that... CATS ARE apathy disguised as art.

BORIS

(Stops and glares at him, challenging.)

What I tell you is that... DOGS ARE obedience disguised as love.

WAFFLES

Watch out for... SELF-SERVING PETTING!

BORIS

Watch out for... UNCONTROLLABLE DROOL!

(The rhythm stops abruptly.)


SCENE 4: Post-Rehearsal and Conflict

JAKE

(Laughing and panting.)

I love the aesthetic terrorism!

LEO

Slowness is comedy, JAKE. But you need to challenge me more. My character needs to feel his ego is at stake.

JAKE

Elevated conflict? Understood. Five minutes.


SCENE 5: IMPROVISATION II – The Battle of Egos

(Challenge: Contrast of Movement and Voice.)

WAFFLES

(Jumps with euphoria and does a comedic moonwalk.)

I want my food! My loyalty is a muscle being exercised! The muscle of the ball you fetch!

BORIS

(Lies on a chair in a decadent diva pose.)

Listen to me, Karen. Your concept of reward is primitive. I accept the offering and that's it.

WAFFLES

(Barks frantically and spins on the floor.)

INJUSTICE! Why does YOUR Karen indulge you? I want MY KARENNN too!

BORIS

You are the sweet one, WAFFLES. The needy one. You are too predictable.

(JAKE removes his scarf, visibly annoyed.)

JAKE

Stop! This is going nowhere. Why don't we use the text for a vocal technique demonstration?


SCENE 6: The Supremacy Debate (Shift to Cynical Praise)

(Challenge: Uncomfortable Acceptance.)

WAFFLES

(Orator's voice.)

The beauty of total surrender. I call it loyalty.

BORIS

(Philosopher's voice.)

I call it emotional slavery. I am the master of necessary detachment.

WAFFLES

(With forced admiration.)

I must admit... you have a melancholy beauty when you sleep in the sun.

BORIS

(Cynical affection.)

And you... run and you return. It is a brutal optimism that bores me immensely, but which I secretly admire.

WAFFLES

Your flaw, BORIS, is your null capacity for remorse.

BORIS

(Gives a gentle tap on his nose.)

Remorse is for pets with a guilt complex. I am the consequence.

(They exit in silence, with a complicit smile.)


SCENE 7: The Project and the Grand Finale

(JAKE and LEO return to themselves.)

LEO

This is a mirror of people. Cynicism versus heart. It is a Manifesto.

JAKE

Yes! The ending has to be everything we did, elevated to SCENIC madness. A final SIGH with ELEMENTAL COSTUMES, BASIC COLORS, and APPROPRIATE MUSIC AND LIGHTING.

LEO

I'm in.

JAKE

(Double meaning)

What happened?


SCENE 8: Grand Finale - The Line Contest

(JAKE and LEO as acrobatic circus presenters. Dramatic lighting.)

BORIS

(With an operatic voice, making a dramatic turn.)

We won't speak much because we are animals.

WAFFLES

(Grandiose gesture, followed by a simple somersault.)

We won't tell you what every cat and dog has known for a long time.

BORIS

(Performing a back arch over the chair.)

I am the master of mystery and surprise! I am the sphinx, don't look at me.

WAFFLES

(Finishes his jump and makes an exaggerated chest bump.)

I am an expert hunter, I am a guardian, I am… Superdog?

BORIS

I KNOW MANY THINGS THAT WITCHES ALSO KEEP SILENT! HAHAHAHA!

(The music abruptly changes to joyful, chaotic jazz. JAKE performs an improvised tap dance step.)

WAFFLES

(With overflowing joy.)

BORIS! The Grand Parade has arrived! The moment of meaningless madness!

BORIS

(Enters the rhythm, smiles and joins the music with an elegant and VIRTUOSIC dance.)

BORIS... madness is my name.

(His body stretches like a rubber band.)

This is the first of my seven lives.

WAFFLES

I WALK DOWN THE STREET, ALL THE TREES ARE MINE, ALL THE GRASS IS MY HOME.

(They both hold hands, perform a coordinated and ridiculous bow to the audience. The light snaps off.)

(END OF PLAY)