El negro quiere bailar

Marcos Mundstock: The next piece of this recital is a very festive, very lively Latin American rhythm that is sung, danced, especially widespread in tropical countries such as Colombia, Venezuela, the Dominican Republic... in short, we are talking about nothing more nor less than famous meringue. Merengue is a dance…
Daniel Rabinovich: How are you doing?
Marcos Mundstock: Doctor!
b>Daniel Rabinovich: How are you?
Marcos Mundstock: Good. I'm glad you're here so we can share this short dissertation.
Daniel Rabinovich: Oh, of course!
Marcos Mundstock: And this, I say, stops being a simple monologue and becomes a biologue. We were talking about meringue.
Daniel Rabinovich: Meringue is a delicious dessert, a small cake or pastry with an egg-shaped or egg-shaped shape that is made by beating the egg whites until stiff, mixing it with the syrup and baking it for twenty minutes.
Marcos Mundstock: Doctor, no…
Daniel Rabinovich: Once…
Marcos Mundstock: I'm afraid there has been a slight misunderstanding. I was referring to merengue as a dance.

(Daniel looks at Marcos strangely and continues)

Daniel Rabinovich: Beat the egg whites until stiff, mix it with the syrup...
Marcos Mundstock: No, no, no…
Daniel Rabinovich: …and bakes it for twenty minutes.
Marcos Mundstock: …dance, dance.
Daniel Rabinovich: Well, you can dance while doing the batiment.
Marcos Mundstock: No, no. Therefore, leave it to me, I propose that we start from the beginning...
Daniel Rabinovich: You can't break it, it's a dry dessert. Everything falls apart...
Marcos Mundstock: No, I say that we start from History, you know that in Greek mythology there are the muses that promote the arts, for example the muse of theater, Thalia, the muse of music, Euterpe... well, there are others... more ...the muse of the beetles... the "escaramusa"... But given the nature of the dissertation that brings us together in this room, let's say that the muse of the dance is Terpsichore.
Daniel Rabinovich: Who?
Marcos Mundstock: Doctor, don't tell me you don't know Terpsichore!
Daniel Rabinovich: Not by name, maybe if I see her... Esther Píscore? Who is it? No, I don't know her... No, no, I would remember because I have a good memory for... Esther Píscore, how is she, is she nice? Well, bah, I don't care, is she good? I mean... Esther Píscore, with that name she shouldn't go unnoticed, right?... Esther Píscore, ha, ha, here's Esther Píscore

Marcos tries to warn him of his mistake in a low voice, twisting his mouth so that it is not noticeable.

Marcos Mundstock: I didn't say Esther.
b>Daniel Rabinovich: Esther Píscore…
Marcos Mundstock: I didn't say Esther.
Daniel Rabinovich: Do you have paresthesia?

Daniel puts his jaw back in place and Marcos breathes a sigh of relief.

Daniel Rabinovich: Esther Píscore said.
Marcos Mundstock: I didn't say Esther.
Daniel Rabinovich: How come he didn't say...?
Marcos Mundstock: I said "It's-Terpsichore."
Daniel Rabinovich: Ahhh! Oh, sure! Ésther Píscore, Ésther Píscore. That's the Greek pronunciation, of course. We call your Esthers Esthér, directly. If someone comes walking down the street and you say "Esther" they keep walking and don't notice; instead you say "Esthér", you turn around and say "Yes, were you calling me?" "Yes, I'm Daniel" and a... eh? "Nice to meet you," begins what can become... let's say... well, I don't always know... well, as long as her name is Esther, if her name is Alicia, she continues her journey, she doesn't always know... no matter how much one tells her Esther... Once someone came walking, I told her "Esther", she turned around and told me "My name is José Luis." And nothing was started, because I'm not into that type of… that type of… neither that type nor any type, I mean, it's not my thing, my parents raised me in a way and I have known how to respond to that education honoring… honoring it, let's say. I was educated in the freedom of being able to think whatever I wanted but yes, things were done in a certain way... but I also had to be able to respect others because everyone could do whatever they wanted with their life, No? But there was no "your aunt", right? In other words, there was no your aunt, there was my aunt, right? And she was the one who gave us when we behaved... right? I mean... but there was always a reason to tolerate, for example you had to respect others for what others wanted to be, you didn't have to be sectarian. Pluralism, otherness, and, let's say, freedom of expression, even... were the basis of... in my family, at least, I don't know in yours, right? If José Luis wants him there, I'm not going to get in the way... Well, I'm sure I'm not going to get in the way, that's for sure not... but let him do his thing... let him do whatever he wants, I mean. And if you want to go with José Luis, go, eh? also. Wants? I'm not going to introduce it to you, because what do I... but if you... Is Piscore a Greek surname? Píscore, Ésther Píscore. Oh, she married García, who was Greek. Ésther Píscore de García el Griego. Ésther Píscore... and the teacher called her by her first name, or drums. "Esthercita come here", and she didn't go because she was wayward, she was a discus thrower, it is said in Greek: "Esther, the discus thrower, from García", and she had done the… the… the… military service, she fulfilled… under the flag … "Ésther Píscore de García, present! Body to the ground, Píscore! Come… here…!" In it…

Marcos Mundstock: Calm down doctor. You have been reflecting, let's say... well... along winding paths... let's say you have been reasoning outside the container. It's much simpler, notice how naturally, almost casually, I say it, "The muse of dance is Terpsichore", as if I didn't care at all.
Daniel Rabinovich: Ésther Píscore, I don't care either. Ésther Píscore, that's right, Ésther Píscore…
Marcos Mundstock: Terpsichore!
Daniel Rabinovich: Esther Píscore! Esther Pís…!
Marcos Mundstock: No, TERPSYCHORE!
Daniel Rabinovich: Ésther Pisis, Ésther Pisis, Ésther…
Marcos Mundstock: What Pisis?
Daniel Rabinovich: No, I don't know if he's a Pisces, I don't know when he was born. Estecis, he has cystitis, he has cystitis... If he is a Pisces he may have cystitis. It's Pisis tisis, it's from... Esther Pisis tis, estesis pis, stipis tisipi disis, isisdisis, isipisidisis, disis pisis disis, disis, disis, disis... This is the pencil! This is the pencil of Esther Píscore. This is not the pencil of Louis Jefferson. Is this pencil of Louis Jefferson? No, you know why? Because this pencil is of Esther Píscore. This pencil is of Esther Píscore. This pencil! Is this pencil of Esther Píscore? No! This is the pencil of Esther Píscore. Wait a moment, wait a moment, where is Esther Píscore just now? Is she cleaning the blackboard? Is she clapping hands at the "publico"? Is she looking for a bus at the avenue? Look at the… look at the feet, avenue? No, she went to the bathroom!

(Daniel turns around and leaves the scene. Marcos sits alone looking at the sky and after a while he calls him to come closer again)

Marcos Mundstock: My dear friend, my dear friend, you are… "arrr"... "wrong". And I think I know the reason for his mistake. What happens is that the word "Terpsichore" has a "p" and then an "s", what we could call a "consonant diphthong" or "diphthongonant", according to some authors. Yes, some already call it "consonantongo"... there they... But let's say it's a simple juxtaposition of consonants, and I think that's where the difficulty lies. Tell me, do you normally have problems with juxtaposition?
Daniel Rabinovich: I have not received any complaints so far.
Marcos Mundstock: Look how I pronounce it: "Ter-p-sychore." The upper lip on top and the lower lip on the bottom.
Daniel Rabinovich: In the traditional position.
Marcos Mundstock: Doctor, I suggest we practice.
Daniel Rabinovich: Here?
Marcos Mundstock: Yes, why not. Let's see, do "ps"
Daniel Rabinovich: Here? Ah, the consonantong! Ps, ps!
Marcos Mundstock: It works out perfectly. Very good.

(Suddenly Carlos Núñez Cortés appears on stage with a napkin in his arm and a letter in his hand and approaches them)

Daniel Rabinovich: Psss, psss…
Carlos Núñez Cortés: Were the gentlemen calling?
Daniel Rabinovich: … psss, psss, psss, psss, psss…

(Daniel Rabinovich looks at him surprised and Marcos gestures for him not to say anything)

Marcos Mundstock: Yes, what do we have to eat today?
Carlos Núñez Cortés: Well, for today we have... if the gentlemen like, they could start... well, first of all we have... first of all the chef recommends... we have... in a restaurant of this category, naturally, everything is very fresh... eh... we have... eh... eh… I imagined… eh… first… and second also… eh… well, imagine that when… eh…
Daniel Rabinovich: What's wrong with you?
Carlos Núñez Cortés: I have it on the tip of my tongue and no matter how… I don't… eh… I try.
Marcos Mundstock: And man, why… why don't you try to remember?
Carlos Núñez Cortés: Well, I try, the thing is that it costs...
Daniel Rabinovich: You have the letter in your hand, read the letter, man.
Carlos Núñez Cortés: Heh, heh, heh, of course... "Dear nephew: We are all very well here and we miss you. We miss the roof because we ran out of tiles, next month we will finish the roofing. Yours, your aunt Carolina. " Well, that's all it says...
Daniel Rabinovich: Thank you very much, leave, you have an eight.

(Carlos Núñez Cortés turns around and leaves the scene)

Daniel Rabinovich: I did not… I could not understand it in any way, dear colleague, because you stated it incorrectly. The muse of the dance is "Terpsichores".
Marcos Mundstock: What is "Terpsichores" going to be like if it's just one? Or your friends say to you: "Hello, how are you doing, Albertos"? It's one, Terpsichore.
Daniel Rabinovich: My friends call me Luis... He is also one of Aristotle, Archimedes, Euripides, "Platos"... meatballs... Platos of meatballs...
Marcos Mundstock: Excuse me, doctor, but I notice in you an uncontrollable and uncontrollable tendency and/or compulsion to refer everything to issues of ingestion and/or/u… ae-ae… gastronomic. From his words it emerges clearly…
Daniel Rabinovich: No, you beat the egg whites until stiff, mix it with the syrup and bake it...
Marcos Mundstock: Dance, dance, dear friend, one of the most genuine expressions of the human being that manifests itself with jumps, turns, contortions, clapping, dancers...
Daniel Rabinovich: No, you beat the egg whites until stiff, mix it with the syrup and…
Marcos Mundstock: No, no, they clap their hands. Didn't you see that the dancers set the rhythm by clapping their hands? For example…

(Marcos begins to clap, Daniel looks at him strangely but in the end he follows him and upon hearing the clapping, Carlos Núñez Cortés re-enters the scene with the letter in his hand and the napkin on his forearm)

Carlos Núñez Cortés: Were the gentlemen calling?
Marcos Mundstock: Eh… yeah, what do we have to eat today?
Carlos Núñez Cortés: Well, for today we have tongue with vinaigrette, stuffed chili peppers, Galician-style octopus and hake.
Marcos Mundstock: Gosh, gosh!
Carlos Núñez Cortés: No, "caramba" doesn't suit us, I'm very sorry, you're going to have to choose something from the menu.
Daniel Rabinovich: How can it be hake?
Carlos Núñez Cortés: Hake can be grilled or wrinkled.
Marcos Mundstock: Excuse me, after the stuffed peppers and the tongue with vinaigrette, what's next?
Carlos Núñez Cortés: A little acidity.

Looking at Marcos Mundstock Daniel Rabinovich comments:

Daniel Rabinovich: It's a lot better, huh?
Marcos Mundstock: Today he is fine, so we won't do the electroshock today. Anyway, continue with the pills, with the psychotropic drugs and see you on Monday...

(Carlos Núñez Cortés breathes a sigh of relief when he finds out that they are not going to do the electroshock, he turns around and leaves the scene again. As soon as he leaves, both Daniel and Marcos turn towards the audience and each one begins to speak at the same time. of a different thing without paying attention to each other)

Daniel Rabinovich
Beat the egg whites until stiff, mix it with the syrup and bake it for approximately twenty minutes until you have finished this small, hollow-shaped cake called meringue, which we are going to divide into two halves. We can cover the lower half, or lower hemi-meringue, with a little fruit jam or Chantilly cream, and the upper half, or upper hemi-meringue, or supra hemimeringue, can be decorated with a small fruit, for example a watermelon on the top. part...

Marcos Mundstock
Tropical dances have flourished in Western halls since time immemorial. For example we have the cha-cha-cha, which was actually a continuation with slight deformations of the mambo. But we had two origins for tropical dances, those of African American origin and also those of Andalusian origin such as tango, rumba, tanguillo, merengue, joropo, cumbia, even...

Marcos Mundstock: A watermelon?

Daniel Rabinovich: A small one, eight kilos…

(Marcos whistles when he hears the weight of the watermelon and a spotlight automatically turns on, illuminating a smiling Carlos Núñez, delighted to be able to return to the scene)

Marcos Mundstock: And doesn't the meringue crush you? Excuse me for saying it this way...
Daniel Rabinovich: Yes, sometimes the meringue is crushed because if you put the watermelon...
Carlos Núñez Cortés: Were the gentlemen calling?
Marcos Mundstock: Yes, what do we have for dessert today?
Carlos Núñez Cortés: For dessert we have… merengue.
Both: For dessert we have meringue!

For dessert we have meringue...…
For dessert we have meringue...…

(The three leave the stage while singing the merengue. The lights go out and Carlos Núñez Cortés is heard presenting the song)

Carlos Núñez Cortés: By Johann Sebastian Mastropiero, his merengue "El Negro Busca Bailar".

The weekend is coming
It's time to enjoy
The black man is already preparing
The black man wants to dance

can no longer contain itself
You can't stop it anymore
The black man wants to move
The black man wants to dance

Oh! What does the black man want?
The black man wants to dance
Quetequetey! What does the black man want?
The black man wants to dance

But there is a drawback
The black man wants to dance
A small inconvenience
The black man doesn't know how to dance.

The black man thinks about the dance
And he doesn't know how to do it
Finally the black man launches
Decide to go learn

The black man goes to the academy
To learn to dance
The teacher teaches him
The steps you must take

One step forward
One step back
One step forward
One step back

One step to the side
One step to the other "lao"

Jumping to the right
Jumping to the left
Jumping to the right
Jumping to the left

Hands up
Hands up
Moving the waist
Moving the waist
Moving the hips
Moving the hips
He turns around
He turns around

Hands
Hands
The legs
The legs
The arms
The arms
Hip
Hip

Hands
Hands
The legs
The legs
The arms
The arms
Hip
Hip

The black man is very happy
Hands, legs, arms, hips
Dancing all day
Hands, legs, arms, hips
And dance all night
Hands, legs, arms, hips
And dance with joy
Hands, legs, arms, hips

Dancing this way can be harmful to your health!

The black man dances, he dances, he likes to dance
The black man dances, he dances without resting

What did the teacher tell you?
Let him move his little hands
What did the teacher tell you?
Let him move his hips
What did the teacher tell you?
That moved the sternocleidomastoid

How beautifully the black dances
Just think about dancing
How beautifully the black dances
Non stop

Fifth position
Pas de bourree
A pirouette
A great jetée

The black man then suspects
who has suffered a setback
In the academy you've gone
What is taught is ballet

And no one guesses
Where the black dances today
He had a brilliant career
He is a Bolshoi dancer

(Marcos Mundstock is seen in front of the microphone to begin reading the introduction of the following work, when the voices of Daniel and Carlos Núñez are heard off-screen)

Daniel Rabinovich: Luisa… Luisa… Luisa… Luisa, come… Luisa… Luis Alberto, I'm calling you! The leg
Carlos Núñez Cortés: Yes?
Daniel Rabinovich: The blunder!

(Carlos Núñez approaches him and the second goes to Marcos, who waits in front of the microphone watching the scene and gives him a shoe)

Daniel Rabinovich: No, no, what are you doing? Come, come... The paw, take it to the north.
Carlos Núñez Cortés: Oh, but what happened to you?
Daniel Rabinovich: I had a horrible accident…
Carlos Núñez Cortés: But when?
Daniel Rabinovich: Just now, I'm stuck like this... I was doing "the death of the goose" and suddenly I overturned...

(Finally the two leave the stage and Marcos approaches the microphone and begins to read)

Marcos Mundstock: Hand-stitched cow leather, Argentine industry…

(He stares at the folder surprised by what he has just said and suddenly realizes that he is reading the label of the shoe that Carlos Núñez has just given him. When the audience begins to applaud Marcos proudly shows the shoe, giving it credit. Marcos calls Carlos Núñez to the scene and when he approaches, he gestures to him to take the shoe. Carlos, upon seeing him with the shoe in his hand, tells him to hide it.

Carlos Núñez Cortés: But what, have you gone crazy?

(He makes a gesture saying that he can't take out a shoe like that in front of the audience, that he should calm down because he is going to get him out of this predicament. He looks at the audience for a few moments, not knowing how to escape from the stage and finally he bows. of which only he knows and leaves. Marcos looks at him strangely, takes out the shoe again and tells him again that what he wants is for him to take it and Carlos goes back in and brings him the other shoe, a desperate Marcos returns to him. call, with both shoes in his hand and Carlos re-enters the scene, he puts the shoes back on his back so that the audience cannot see them)

Carlos Núñez Cortés: Dissimulate…

(They start whistling while Marcos with very little concealment hands Carlos the shoes and finally leaves the stage. Marcos is going to start reading and suddenly Daniel appears on stage with a flashlight in his hand illuminating the floor of the stage looking for He takes his shoes. He walks around and when he passes by Marcos, he shines a light on his feet, makes a gesture that indicates that the ones he is wearing are not his, and Marcos finally leaves the stage, leaving him alone and preparing to read the introduction. of the following work)