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Tecuento T3 P 27 Flores de primavera / Biodescodificación · Tecuento

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A program to share. Drive Daniel Bilinsonic Friday Vitrice to fourteen hours on radio
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Trentopics Stories s the To, the golds the rooster will come. I write
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without thinking, without thinking where they are years or we teach. We know
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XA and what. How they are, say friends, how. They'
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re very good afternoon. Here we are starting another Friday. Conte. I
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' m counting on you, I' m telling you that we have three
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guests, as they would on some Saturday show to see we' ll see
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our guests who they are. Bethlehem vote believes. You think Creek' s
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not here? Catalina Torre, do you think? You think? You think,
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don' t you think she' s here? Felipe Lara cric believes,
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believes, believes, is not good. What happens is that today is
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cold, the game ended late and we are here starting on a Friday,
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as my friend Feynman says in the morning short river, square, beautiful.
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So we give you the avenue, the welcome with Juan Greco, which is
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in the operation and musicalization. Remember that to send new messages we have eleven
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twenty- six forty- two, twenty forty- two here in Argentina and
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if they call us from abroad, they put the prefix plus fifty- four
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nine that same phone. Eleven twenty- six forty- two, twenty forty
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- two. We' re gonna start and we' re gonna go this
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one until they come to our guests. He' s gonna kill us.
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They' re not signaling me to leave him out here that we won'
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t open the door for him. No. No, no, that'
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s not mostly with young people, people who are making an important cultural expression.
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Yeah, well, say hello to the radio director. All right,
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what are we gonna talk about? Our guests arrive or arrive and I no
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longer insist on the subject. The work where our guests participate is called Spring
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Flowers and here I send a very strong greeting to Mariano Bustos, who is
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with whom I have had the contact of the advertising person of the whole team,
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that I believe that there are more than twenty people here are arriving to
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the boys twenty people who are working for this work, this work in July
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on Fridays, at twenty- one to thirty Fridays, twenty- one to
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thirty in areas six, twenty- three. Where' s area 23?
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Is it a theatre, a space for innovation, for participation in Pasco six
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twenty- three? Here in Capital, Pasco six twenty- three? Remember
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that they go on Fridays of July at twenty- one thirty hours and it
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' s called spring flowers. Let' s take a musical break to settle
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down and start chatting with our guests. Two parents, I' ll ask
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you not to turn off, to take care of my mother and not to
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be late tomorrow your little sun of mine, I' m not acidic,
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even though it hurts and I' m ridiculous. Already sixth afternoon and I
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fall, even if I am far away again how difficult it is to see
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warm, I have nothing of two and even if it seems pale and not
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dark again holy guaria, solisito father, I will ask you not to shelter,
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that you take care of my mother and that tomorrow it is not late
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Holy warias soci everything, father, I will ask you that you can already
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watch watch and that tomorrow we will be late not that night I can remember
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face sadness about the city. I' m no longer a staff and a
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life, even if it' s another one and a love. Holy Warian
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solsito father, I will ask you or I may already take care of my
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mother, that morning it is late, geys are two good things, father,
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I will ask you to what to look after always my parents, that
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tomorrow it is late, güey or alone father, I will ask you not
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to tea so that you take care man, my mother and tomorrow it is
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not late, that I take care of my mother. All right, well,
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well, well for those who are seeing us they will see that the
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Mass I already know Pablo, so that those who are not seeing us tell
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them that he is with us vote Catalina Torres and Felipe lar how they are
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very well Free, All right, all right, to not make him we
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will call them spring flowers. I already passed the address pascuc twenty- three.
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Yes, more accurately and ariac twenty- three. It' s a
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theater to do It' s not a conventional theater. See it' s
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a modern theater, I' d say it' s going, yeah,
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it' s a new theater and the truth that has a modern aesthetic and
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very nice rooms, especially the room on the first floor, which is where
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we are, that well, those who come to the bar will already know
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it, but that it has good, we can tell us that it has
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a very nice window And those things and the truth that does very well to
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what is the play. Space, yes, is a very wide space,
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because we are quite a few actors on stage. So eight, yeah,
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eight at the scene, dinner pussy. Well they stepped on them how do
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we do here? No, they didn' t tell you how we'
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re doing here? What the hell, what things do they say to Mariana,
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not Mariano, who' s the one who had to warn us.
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I don' t know anyone. Well, there I am Well, guys,
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I can tell you guys around and thank you. Here' s one
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that' s being sold to you. How you formed yourself. Well,
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I ripped it off. When I finished school, I started in a cultural
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center. I' m one of the most zamora. I started the theater
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by hobby. And well, when I started, I realized I liked it
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after a search through several places. I started studying at the National University of
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the Arts. I' m a student yet I don' t know if
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you know her the old yuna. I' m in my fourth year now.
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So, well, says master of the Roberto Sáiz I didn' t
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have it yet. Some master had Roberto not, not ready. I trained
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with Guillermo Flores, with Eddie Garcia. They were great teachers and good on
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the outside, well I was already in cultural center, as I said for
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quite some time, because good doing theater is expensive truth. So I appreciate
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that there is the possibility of, for example, cultural centers, because they
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give the possibility to those who could not be theater. Let' s find
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out what it was about and, well, when I did, I fell
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in love and here I am. That' s my training. If before
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I' m restless, there I' m very restless. That way I
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won' t listen to you. I' m very warm. I think
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I' m going to open up a little bit now. Well, I
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can do it here in c Yeah, it' s okay, all because
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of the obvious show. Yeah, or good. Timado Felipe, the esteemed
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Philip. Well, I started theater since I was big. Let' s
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call it a starter like that with an advanced and advanced age according to who
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doesn' t, but well and I started with concerns always, I always
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had concerns about that. I always liked the body, I liked it,
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I liked expressing myself at a family level, friends and everything I liked.
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I saw that I had as something that mobilized me and well, I decided
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to start. I started in San Telmo with some private lessons and then I
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lived outside. And living outside, I started with other theatre classes, which
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led me to join a group in which a play was made and from there
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I returned to the country and began to study in Timbre four and then also
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in the studio of Julio Chávez and also in the study of Luz Palazón in
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grass. And as a result, well, friendships, companions and possibilities emerged.
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And there I started with that path, this path that I' m
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passionate about and the truth that makes me very happy to have encouraged myself to
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do it, because I always had as fears, what I know limitations,
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I don' t know, things that I thought I couldn' t,
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I couldn' t solve and finally I could And thanks to that or I
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integrate this spring flowers that well, here I am accompanied by two beautiful companions,
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by the way, inside and out, and the whole group was a
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discovering a, discovering people and the work itself to all Juan, if we
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let him do pergram only Felipe Bueno Catalina, how you want to taste me
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so much, yes, yes. Me. The first time I did theatre
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I was eight or nine years old and lived in a small town called Pehuenc,
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south of the province of Buenos Aires, and at that time nothing insisted
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on my parents that I wanted. I don' t know, I wanted
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to take drama lessons. I don' t know why it would be,
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because I liked to watch movies and those things and well, my parents started
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taking me to a workshop that was happening. I don' t remember if
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in Punta Alta or Bahía Blanca, because it' s a little town that
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' s nearby and well there I did a little time. It was very
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small and just so, I did think that a year or six months and
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I resumed only when I was eleven years old that we returned to Buenos Aires.
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I did a year at a school for Olivos and then spent several years
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at the Martín Blanco School in Martínez, where I had Martín Blanco and Cecilia
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Chahue as a good teacher. The school was called Designa cro It was like
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my second home during my adolescence and where I think I learned a lot from
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my expressive instrument and its possibilities. And then, well, I did some
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seminars in timbre four with Soledad Authier and then I started at Agustín Alesso'
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s school with Nicolás Dominici Fede Tombetti in two thousand nineteen and then I had
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in two thousand twenty, before I started the quarantine and all that, I
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had decided to get away from the theater like quitting and I stayed a few
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years without doing anything, nor training, nor being on stage, and just
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last year I went back to training today in the aleso that is where I
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continue to form and well, nothing excited about having also returned to the tables.
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The truth is, once the bug comes in, the bug didn'
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t tell you. You won' t be able to change the form of
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expression, where you' re going to be, who you' re going
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to be with. But the little bug is there then. We walk well,
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friends, we see that they are well prepared, so well trained,
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they have very good schools. People who guided them and how they fell into
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spring flowers, how they chose the work or chose them the work chose us.
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That' s how I personally got the casting through the networks. I
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was following the same as the producer. I liked what they were doing and
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when they gave the casting, something happened to me that, in fact,
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my colleagues don' t know. I saw the casting and I said I
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' m going to be in this play. I don' t know those
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things about life and I sent out the casting. Well, they called me
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to do it and when I went I felt that casting, I mean,
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it was a disaster, but there was something in me that said the same
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thing, I' m going to be part of this hour and well,
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when I got the message that I was left, it was like, well,
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there' s something special about this play and what' s going to
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happen and I actually trust that it was like that, because it' s
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a play that I think mobilized us all. I don' t know what
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you think. Yes, it didn' t grind and a lot of them
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didn' t know her before they got involved. It is not a new
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work of arrangement with free all the exact parts. Sure. We knew it
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was about coding, but we hadn' t read the script. Still none
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of you h I had coded. No, I did do Reike, I
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opened the records, but I had never scored. I never recommend you.
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I' m going to start my process now that, but I never did
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anything there I recommend, because all these alternatives, medicines, alternatives, half
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- alternative situation will help us. They help us and help us. For
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example, what happens to you when you begin to interpret your role, what
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you feel is a good question. For me it is quite mobilizing at one
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point, because, on the one hand, I have to play a character
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that I feel quite distant to me and at the same time are more reflective.
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No, no, I' m very emotional, very sensitive, very
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inward, yes I' m at times quite introverted, I think good,
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but we share the name with this character who is called Catalina too and in
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that sense I think that' s what mobilizes me quite suddenly to be able
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to separate. Not good. This is a behavior and it is different and
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at the same time good to lend a part of my expressiveness to that other
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Catherine. I think it' s a challenge. It depends on the function
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and well, on the trial days I perceive it differently, but I feel
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re- accompanyed in the process in that sense, with all the cast boys.
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I think we are all making way for you when you enter to act,
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it can be flowers or not what sense ay I could tell you that
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first that I am happy because I am doing what I like and what I
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love and then I try to engage myself as much as I can in the
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character and in the experiences of the character, in his story, in what
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happens to him and in that moment. And besides, I also feel like
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I turn myself in to my colleagues first and to the people who came to
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see us, that is, and that' s I don' t know
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it' s like you can' t explain like those who tell you when
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you go to the football field who likes football and says I can' t
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explain to you how I feel when I' m going to see that since
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we' re naming my team, that I' m from Racing Club de
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Villanera, I take advantage of it, but that' s what happens to
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me that sharing with my colleagues and the other one who comes to see us.
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It' s a feeling. I don' t know, indescribable,
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inexplicable and beautiful in turn, I mean I felt happy what I said at
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the beginning right, just like I happened to me. Whenever before I go
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on stage I say why I' m doing this. I could be dedicating
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myself to anything else, because it grabs me like a and when I get
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out clearly all that goes away and it happens to me like a pipe just
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said it' s unexplainable. What happens to you is like a feeling that
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I don' t find anywhere else and that' s why I always go
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back there, a feeling that really, then, as a tasting, says
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to me that in life I said no well, I have to go the
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other way, look for something else and whenever I looked I never found another
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place where I feel the same. So yes, I couldn' t the
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other day. They just told me the meaning of the word sublime. And
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I think it' s such a sublime feeling that you can' t explain,
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that it' s amazing and I think you should add to this that
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it' s not only when you come out of the picture, but also
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in rehearsals, that it' s all a job and an important process,
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laborious and tedious God to you in the sense that sometimes you have a lot
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of things and you dedicate to it a time that sometimes you don' t
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have and you get into there. And it' s a discovery, that
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is, going to rehearsals, it' s a discovery in every essay and
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a breakthrough in the work. And it' s the process. It'
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s very nice to live it that that brings you after that beautiful process that
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you live beyond everything I told you about stones that you can' t find
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on the way to the process. When you come to show what you'
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ve been doing and working, of course it' s a double satisfaction.
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And besides the functions, they' re still for me as part of the
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process, as well as the public. It gives you a refund and invites
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you to follow, to want to continue as improving. That already is that
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normally, there is usually a round- trip and back that can be this
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let' s say of different facets. I don' t say good or
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bad, because you' re going to receive everything, because even the listener,
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the viewer who is watching me, because he gets into the work,
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he can also be projecting things about him, as you project things and more
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into this work, more in this hour? Of course, what is the
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work without burning, burning it? Well the play is about this character Catalina,
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who is a good young girl who goes to a biodecoding session because he
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is afraid of equal good engagement. As a result of this she begins her
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entire process with Maria Paz, who is the consultant and who accompanies her through
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regressions, investigating, knowing and healing everything that has to do with her family
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tree and her lineage. That, synthetically and without burning anything, is very
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good. All right. What did they tell you? How do biodecoding solve
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the issues? How do the topics of biodidiction work out? Or if not,
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I put it to you I knew because let' s say there'
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s a diagnosis. Someone says you' re depressed and if I had served
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as coding, the coding life was going to help me, to heal and
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I could tell you clearly to see that I could explain it to you very
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well director k that Barros, who is also the one who wrote the work
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and is also bio decoder, don' t say anything here that shut up
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let the guys this clarifying us from what we can know in all this process.
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I think what the coding bio allows you to do is heal these problems
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that you say, which have to do with the emotional or physical ailments,
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which can come from our ancestors' adn. And biodecoding helps you solve those
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kinds of problems. Of course our childhood also as it goes to the unconscious
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to find those causes that made him Enri Corbera at some point. Not good,
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one day have a little bit, read something about Enrique Urbera, which
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is one of those that we say updated or put an update, which is
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exact coding bio and how it solves talking, because all the problems that we
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have here in this program we have dealt many times with different approaches, not
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of coding bio alone, but in different arts. So let' s call
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it alternative medicines that lead you to be able to get things out, because
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what we see in the networks and so on. Juan oh Mira is pregnant.
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Today he' s having a snow and someone comes out and says put
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music on him. Talk to him a lot, already there, already there,
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they are impacting us. Of course, that situation already strikes us then.
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That is why my questions were not to question you, but simply to
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encourage you to find out more, because this which you express to pampers and
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would have to be doing something else or not that vulgarly already we call fear,
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those fears of exit to the bull directly what it does and sometimes makes
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us that we do not have all the script. We have a libretto because
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we stayed in our comfort place because we have to go around it. Not
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only because it helps me that if I have any detours, how many times
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this you how you study the libretto memorize it. I think that you first
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read and lead to an understanding of it and to understand what you' re
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doing and then, from there, it' s both things. Understanding what
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you are doing leads you to help you, to memorize it and to know
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what actions you have to perform or how you have to move and how you
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have to interact with each other. I think it part of there, first
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in understanding and then in trying to memorize a little too, but that'
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s a set of things. I don' t think I know, I
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don' t know what they think. Yes, for me the first reading
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of a work is always as fully subjective, as the work reads to you
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more than you may read to the work. So I liked this. I
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didn' t like it. This came to me. I don' t
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know about this. I feel that the first reading is always more subjective and
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then, already in a second reading, like one can start to delve into
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what it says. Pipe of good to investigate a little as the line of
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action of that character and what is happening, that is, a general analysis
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and then, well, in each character yes, the action that is under
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that that is said, which is what you really mean by that you say
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yes, I think that first you have to know the text well, I
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don' t know, depends on the way you study it, but then
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it makes another sense with what it says cata i e, the text is
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never what we learn. The first time he changes a lot with the rehearsing
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they take the body. Yeah, exactly, that' s just the word.
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We have to put the body on it. Yeah, yeah, but
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you just have to put the body on it and get carried away, too.
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Yes, because there are times that you are in this process that you
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entered and that the viewer is going to enter. Every Friday, yes,
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they follow all July, if not Friday at twenty- one to thirty,
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at twenty- two, twenty- one, twenty- two or twenty-
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two hours, Friday twenty- two hours, yes, no, because at
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some point at first it was going to be twenty- one to thirty whores
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we started in June. They run what I said at the beginning at 22
28:48
hours. Easter I know twenty- three, very well, Ariah, six
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twenty- three. Don' t go elsewhere in that hi The address stays
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and girls stays. Sure, yeah, well, after July, what they
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' re gonna do in August. We' re sure to get on with
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the play. We' re in that that we don' t. The
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theater offered to continue in August. So a lot of people and for now
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they fill all of them up. Today too very well we come today are
29:21
also exhausted the tickets and from juven we start on the Sundays of June nineteen
29:25
hours and we spend now on Friday twenty- two hours in the same place,
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in the same theater. All right, all right. The truth is
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that it is a pleasure to have known them for us too that they are
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very, very expressive, they are very open, that pushes you to tell
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them keep on in this and try to get more informed every thing they do,
29:52
because he will always appear save and beginning and that moment when you start
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that says one who has been on the board, then now after that you
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forget. One of them came in from all over the world and I left.
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I always remember here I mention it. The first class I ever had
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in specialty narration. In the narrative I saw a lady who arrived destroyed greater
30:26
than me destroyed. What was she going to be. They were all young
30:32
here, most of them young, a few mediums, but the lady was
30:36
destroyed. You saw when they came in now, when they told him now
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it was your turn it was like they plugged in two hundred and twenty and
30:52
did all the excellent work and when he finished, well, he was better
30:56
than before. If it' s like you guys said it, it'
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s a little revitalilla. Art gives life, art gives life. That'
31:03
s good. What else do they mean not good. Speaking of which,
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I think it happened a little to all of us. I included that in
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rehearsals we all went through processes of our half- turbulent lives and I think
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that happened a little bit We waited every Monday and every Wednesday to meet and
31:23
relive for a little while and I think after that there was something that was
31:27
latent all week. I don' t know if you agree, but for
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me literally, I thank my colleagues, the director very much for this work,
31:37
because I think it changed me personally. I also think it was a
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growth at the beginning of the year. Now huge. Speaking of which,
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we want to name our companions. Yeah, that' s what we'
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re doing, since they were with us in the whole process. S We
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name him Bueno, Francisco Membrirez, Luna Javes, Carolina Tomé Alejo, Tixi,
32:05
Mariano Bustos and the three of us who are good here. And it
32:10
is also necessary to name Tomás Caya, who took care of the scenery and
32:15
the attendance, in the Chinese direction and assistance with the theme are like dux
32:21
there is Navarre. It' s also a little less, but we'
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re a bunch of grabs. In the management assistance, the artistic song,
32:28
the ctor, the director and director yes and everything else is a yes.
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We' re a big group. It is not something to mark for those
32:38
who want to go, they want to experience spring flowers that with all the
32:45
equipment that is behind. It is not an improvised play, because it has
32:52
all the elements that have a play. Let' s call him a grown
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- up would be well- assembled. Yes, so I want you to
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follow the successes ahead. Here we always have the rule that whatever you do
33:10
or when you want to express something, the doors are open. Thank you
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very much, thank you, Call. On behalf of the Group, personally,
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Mira Daniel tells me, I' m in on this. I want
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to talk about it well, they come and fight them. We' d
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love to see you in the play if you' d come and see us.
33:30
They' re all invited. It' s all right, everyone'
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s invited. Barbaro pron you all take for spring and with the cold not
33:39
today, just good that it' s full, It' s there,
33:45
it' s full, and people will open up and come to see the
33:46
heat that gives you. The play can be against all this cold that is
33:51
telling the truth that it is so and it is not, because we are
33:57
there but yes, it is an hour to go to see, because it
34:00
is mobile, it is enriching and they will have a great time. And
34:07
we forgot to name Juani because we have live music. We also love you
34:13
exactly and that he does very well and is an incredible accompaniment and creates an
34:19
atmosphere with his music throughout the work. So that' s why we invite
34:23
you both and all the listeners so you can come and see her, because
34:28
you won' t regret it. Well, something else to invite the audience.
34:32
I don' t think so, this is a play that I think
34:36
is very human and that any person of any age at any point is going
34:43
through it and I don' t think it' s good. Yeah,
34:47
it' s really nice to see the audience and be able to chat and
34:54
everybody gets something nice out of the play and I think that' s very
35:00
enriching for us, too Yeah, I appreciate you coming. I repeat again
35:02
that I am delighted to have met you. I didn' t know you
35:07
saw when for the first time you' re going to meet someone and who
35:13
they are and what they' ll come from. No, no, but
35:15
they' re very fresh, very natural. And yes and without doubt,
35:22
because of the theme that the work deals with. The viewer has to take
35:25
something, because it is to talk about the subjects that one sometimes talks about,
35:35
but many times it silences Catherine I imagine that things have been silenced many
35:40
times and Catherine I imagine that they will take things away from her. Then
35:50
we invite you to us, also Radio Treintopic, invites you to participate in
35:55
this experience that I would say that in what you say this n moment of
36:01
the triatal market is unique. Guys, thanks, no thanks, thanks,
36:05
famous listeners, they talk to you just, very nice, not that tickets
36:09
for those who want to go to see us are in the theatrical alternative.
36:14
There you can get the tickets and you can also look at our instagram,
36:20
which is spring flowers. He works very well, very well. Thank you,
36:23
Chico Juan. We pause. Thanks, or depending on the weather,
36:28
if the story goes, you know, we' ve been talking for a
36:37
while, I have so much to tell you. Something important happened. He
36:39
put you on a hill counter. You know, it was like a giant
36:46
talk. He took off with all interest, left naked in front of the
36:53
sea, but you know, you see what it' s like to live.
36:57
There is no time to hate anyone now to be rer maybe it had
37:07
to happen to us just, but only then will it be learned to value
37:15
and if I rise look up to heaven of the graces of my dingo told
37:21
me to whom I want what gives me to ponder away that is to stop
37:30
me from learning to fly and if I look all at a child, the
37:35
pains are intense. God pleases me here, if I think so, when
37:39
they look at me, they' ll know who it is to be happy,
37:52
you know I' ve gone through a lot of fear this bug is
37:58
falling apart, my body gets tired, you kill your soul and cry,
38:04
but you know I' ve learned so much this life. He offered me
38:06
a new voice for your life and open up to know well what to say,
38:14
there is no time to hate anyone now he laughs maybe he had to
38:23
go through the right thing, but only if he knew now and without standing
38:32
up and looking up to heaven or thank you. Without time he told me
38:35
that I want what I don' t get. Let' s go,
38:39
I' ll give you my feet. I learned how to fly, and
38:47
I like everything like a child. The pains are intense. Oh, my
38:52
God. If you approve of it like that, when you look at me,
38:59
you' ll know what gives me to do now. Today' s
39:15
account is called the lady' s question at max Lange. It is an
39:24
account of Abelardo Castillo that was published in nineteen ninety- seven in an anthology
39:34
called Argentine Police Tales by Jorge Laforria. Abelardo Castillo one thousand nine hundred thirty
39:45
- five two thousand seventeen was an Argentine writer, considered one of the best
39:53
fundamental writers of Argentine literature of the twentieth century. He received numerous international awards
40:01
for his literary production, as well as having translated into English, French,
40:08
Italian, German, Arabic, Russian and Polish, among others his works.
40:17
The story is this. It was already night when he came home, the
40:27
secondary professor of mathematics came from the chess circle with the concern of analyzing a
40:34
play. He was worried about what' s going on in the most lench
40:44
attack The white pieces make a bold move by attacking the black lady where she
40:50
' s going. The lady went into her studio, turned on the light.
40:57
His wife hadn' t come home. That night he looked for the
41:01
chess board, played the play, analyzed it for a while. From the
41:08
studio he could see the bedroom deduced that his wife' s laura was dressed
41:15
in a hurry because of the disorder she saw where she would have gone.
41:21
Any Chess player knows that many times a play is better analyzed if you don
41:27
' t have the pieces in front of you. He got up and went
41:32
to the bedroom. The dresser was open, featured a paper and was the
41:39
draft of a letter. He didn' t have the habit of reading his
41:45
wife Laura' s stuff, but one word, word caught her fucking attention.
41:55
The truth was the mania of the drafts. It was insecure, terrible,
42:00
beautiful, pathetically empty, and so I could glimpse that infidel draft I
42:08
had written. I' m my God, I' m your whore.
42:13
You can do anything you want to do to me. The professor was perplexed,
42:20
shuddered. His wife, with whom he had lived for ten years,
42:25
had become a stranger. He' d be the one to blame for what
42:31
was going on. He left the paper in the same place where he found
42:37
it. At that time, the perfect and complete idea of killing Laura at
42:45
the time was born. He came back to the wife, they said hello
42:50
and he, as if he were playing a game, attacked what herbus you
42:58
are, we' re going out to dinner at work oro, on,
43:01
I didn' t understand anything. In the end he agreed to leave.
43:07
Mind of him played with variants of what to do with his wife. He
43:12
made the night pleasantly romantic and when he returned to the house, he asked
43:16
his wife for a time to continue analyzing this play, which he had so
43:22
worried about. He wanted to punish him brutally at the time, but to
43:28
take revenge on her and her lover. For that, in general terms,
43:34
it required Laura to fall in love with him again. He had to get
43:37
her to start making comparisons between him and his lover, to start doubting.
43:46
He made his inquiries about his wife' s encounters with the lover. They
43:52
met once a week on Thursdays. It wasn' t hard on this because
44:00
Ramayo is a small city. The house where they were seen was near the
44:05
river. It was about ten or fifteen blocks from the center, that is,
44:10
about two or three minutes drive from the Chess circle. Falling in love
44:20
with his wife did not prevent him from continuing to analyze the mclenge attack,
44:25
as soon he would start the match for the Chess Circle championship, which would
44:31
take place on Mondays and Thursday afternoons who would defend the title was engineer Gotran
44:38
a very difficult player. He was the type of player capable of meditating fifty
44:45
minutes or an hour, a certain right move. What the professor needed was
44:53
those minutes on a Thursday afternoon, any of the six games he would wear
45:00
the white pieces. What I had to prepare was an exact play to have
45:07
that time and that was the Max Lenge. For three months he went on
45:14
to recapture Laura. Little by little. She saw Laura grow her husband'
45:20
s discovery and the guilt that devoured her inside. Maybe she never stopped loving
45:27
him. Perhaps the fact of sleeping with another was a form of inverted love
45:31
for him. Hill was going to say that when the date of the first
45:37
game was approaching with the engineer, the professor was a little scared. He
45:45
saw another draft of letters. Laura could no longer tolerate her affective duality and
45:50
was about to abandon the lover. The teacher needed to play on a Thursday
45:55
with the white pieces. The draw for the color of the pieces to use
46:01
in the tournament. It turned out how he wanted the first game to be
46:07
played on a Monday. On Thursdays, the professor would wear the white pieces.
46:14
The match was twelve games away. That gave him six chances to prove
46:19
his play in the first game. In play fifteen he did an experiment.
46:27
He chose almost without thinking of an unusual variant and stood up like the one
46:32
who knows perfectly well what has made a murmur between the audience and the engineer.
46:39
He started to think after five minutes, the teacher left the game room,
46:45
had a coffee at the bar, went out on the sidewalk until he
46:51
made a little tour of his car in the direction of the river. Twenty
46:59
- five minutes later he entered the game room again. It was just what
47:06
I had calculated. His opponent not only kept thinking, but he and no
47:14
one had repaired in his absence. Weeks passed and Thursday arrived so long awaited.
47:24
The game began and the teacher made the play prepared with almost sadness.
47:34
He stood up. He didn' t stop to check if his opponent was
47:39
waiting for that move. One minute later he had arrived at the river house.
47:45
He left the car at the planned location, picked up his briefcase from
47:51
the trunk and walked to the house. He heard it argue hit a sorcerer
48:00
silence. When the lover asked him who the teacher is. The husband simply
48:07
said. After a few seconds, the door opened and he walked in.
48:17
He looked at Laura and told her you' d lock yourself in the bedroom
48:23
and wait. When the teacher and lover were left alone, the professor opened
48:30
the briefcase and brought a der magnum. That' s from the movies.
48:37
You saw the big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big, big,
48:40
big, big, big, big, big, big, big.
48:43
He pointed to the gunman and asked him to relax, not come to kill
48:49
him, to pay attention and not interrupt him, that he was not in
48:54
danger. He did what he told him to do. I' d give
49:00
her a smaller revolver with a single bullet, with which she had to kill
49:05
Laura. If he did, he' d let him go quietly wherever he
49:10
wanted. Finally, he explained that if he refused to do so, he
49:16
would kill us both by setting up a diamond fight scene that would convince the
49:22
police. He asked her not to make him suffer and not disfigure her,
49:30
advising him to point to his heart. Then they entered the bedroom in front.
49:38
The lover behind the teacher, pointing the magnum laura at him. Upon
49:45
seeing them enter she thought they were going to talk and she approached. He
49:52
didn' t notice anything. The lover fulfilled his task. The professor was
50:00
meticulous, wearing gloves to leave no prints and set up the scene. He
50:06
suggested that the lover leave town as quickly as possible and forget to go to
50:12
the police. He gave him a deadline until dawn, when he would call
50:17
the police worried about his wife who had come back. The man' s
50:23
gone. Why did he leave? Because if he stayed or went to the
50:37
police, there were certain details that were prepared to convict him or, in
50:46
the first instance, die under the bullets in his hand. The teacher finished
50:55
this, he went back to the circle, where that well, before he
51:00
kept thinking. Thirty- seven minutes had passed. The engineer spent ten more
51:07
minutes and played the worst. And the engineer was so but so disoriented by
51:15
the play and the moves the teacher made that in the thirty- five move
51:22
he stopped the clock and won the game. Three o' clock in the
51:30
morning, the professor called the police. There' s not much to add.
51:36
The match ended up tied and the title was left in the hand of
51:40
the engineer, for it was he who defended it. Anyway, the teacher
51:45
doesn' t play chess anymore. Sometimes at night you get a little distracted
51:52
by analyzing the consequences of a play or marriage n u s