The Black Continent (El continente negro)

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0 height="100%"><tr> <td valign="top" width=25% BGCOLOR="#000000" TEXT="#F7F7FF" background="0d1ad653.gif"> <div> <FONT SIZE="3" COLOR="#FFFFFF" FACE="Arial" ><A HREF="index.htm" TARGET="_top" TITLE="home page"><IMG SRC="0d2b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="plays.htm" TARGET="_top" TITLE="Complete List of Plays"><IMG SRC="0d3b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="news.htm" TARGET="_top" TITLE="General Information Latest News"><IMG SRC="0d4b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A></FONT><A HREF="de_la_perra.htm" TARGET="_top" TITLE="Marco Antonio de la Parra"><IMG SRC="0d7b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="ramos_perea.htm" TARGET="_top" TITLE="Roberto RamosPerea"><IMG SRC="0d8b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="sieveking.htm" TARGET="_top" TITLE="Alejandro Sieveking"><IMG SRC="0e2b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="santana.htm" TARGET="_top" TITLE="Rodolfo Santana"><IMG SRC="0dab51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="rovner.htm" TARGET="_top" TITLE="Eduardo Rovner"><IMG SRC="0d9b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="schmidt_huber.htm" TARGET="_top" TITLE="Guillermo Schmidhuber"><IMG SRC="0e1b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><A HREF="mn.htm" TARGET="_top" TITLE="Maritza Núñez"><IMG SRC="123b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><FONT SIZE="3" COLOR="#FFFFFF" FACE="Arial" ><A HREF="kardun.htm" TARGET="_top" TITLE="Mauricio Kartun"><IMG SRC="0d5b51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A></FONT><A HREF="cpt.htm" TARGET="_top" TITLE="A Message from the Host of Latin America"><IMG SRC="0deb51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A><FONT SIZE="3" COLOR="#FFFFFF" FACE="Arial" ><A HREF="email.htm" TARGET="_top" TITLE="Place an order / Contact Us"><IMG SRC="0dfb51f0.jpg" border=0 width="181" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></A></FONT></div> <bR> </td> <td valign="top" width="100%" BGCOLOR="#000000" TEXT="#F7F7FF" background="0cf5c5c3.gif"> <bR> <bR> <div> <I><IMG SRC="0feb0d70.jpg" border=0 width="176" height="215" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></I></div> <div> The Black Continent (El continente negro)</div> <bR> <div> AUTHOR:  <A HREF="de_la_perra.htm" TARGET="_top" TITLE="Marco Antonio de la Parra">Marco Antonio de la Parra</A></div> <div> COUNTRY: Chile</div> <bR> <div> translated by Prof. Charles Philip Thomas</div> <bR> <div> SYNOPSIS:</div> <bR> <div> El continente negro (The Black Continent) is a portrait of post-Pinochet Chile which marked the beginning of a much more experimental stage in theatre works by de la Parra.   According to de la Parra, this play ``was inspired by stories by Raymond Carver; Balthus, Edward Hopper and Antonio López paintings, as well as certain films by Tarkovski, Bergmann, Rohmer, Altman.  It seems to be a series of short works, but it is just one.''  The play is also in the manner of a ``thriller'' or mystery movie, exploring relationships, discussing implied infidelities, secret meetings, phone calls, a planned journey  (or escape?).</div> <bR> <bR> <bR> <div> DIALOGUE SAMPLE</div> <bR> <div> `(A transposition to a romantic song.  The telephone rings.  NATALI A enters smoking like a fiend.  The volume is turned down.  She's pretty sometimes.  MARCELO enters from behind, somewhat uncomfortably, through a shadow in the semi-darkness.  He almost can't be seen.  Calm, distant, withdrawn.  She prepares a glass with ice and tonic water.  He enters and exits the room.)</div> <bR> <div> NATALIA     I don't intend to answer.  They always call.  Five times and they hang up.  In the beginning I used to answer.  They used to ask for a person named Mónica.  It sounded far away, as if it were the ends of the earth.  At any time. Mónica?  Mónica?... They've continued calling since then.  Five times.  The same, always.  Do you want a drink?</div> <div> MARCELO     No, thanks.</div> <div> NATALIA     No?  Are you sure?  I have whisky, vodka.  You used to like vodka.  I don't drink any more.  (She shows her glass.)  Just tonic water.  Smell it if you don't believe me.  I haven't touched alcohol for a long time.  Really.  How are you, Marcelo?</div> <div> MARCELO     Fine.</div> <div> NATALIA     I'm fine, too.  I'm singing again.  I've even gained some weight.  A lot of people find me better than before.  What so you think?</div> <div> MARCELO     What do you want, Natalia?</div> <div> NATALIA     So direct and to the point... Just like always.  Well... First of all I wanted to see you.  You're a super love for having come.  You're wonderful, besides.  Seriously.  Well, just like always.  (A pause.)  How's Luna?</div> <div> MARCELO      Fine.</div> <div> NATALIA     Great.  What about Charli?</div> <div> MARCELO     Good, very good.</div> <div> NATALIA     How old is Charli now?</div> <div> MARCELO     Eight.</div> <div> NATALIA     Wow!  Time goes by so fast.  Eight years.  So many things have happened in eight years.  (A pause.)  And Luna, Marcelo?</div> <div> MARCELO     I don't have a lot of time, if you're interested, Natalia.</div> <div> NATALIA     Just like always, right?  An important man is a busy man, with his head always somewhere else...  Or maybe you're wife won't let you see me?  Did you tell her?</div> <div> MARCELO     I didn't think it was necessary.</div> <div> NATALIA     Oh... (A pause.)  Then this is a secret meeting... I love clandestine encounters.  They're magical, Marcelo.  (The telephone rings.)  Again.  Count them up.  Five times.  I've even thought about changing the number.  It's unbearable...</div> <div> MARCELO     Why did you call me?</div> <div> NATALIA     There has to be a reason, right?  There are so many things going on.  In the clinic, now, the other day, the last time, I thought about you a lot, you know?  When we used to study, when we cut classes... It's good to have memories, Marcelo.  Something that doesn't disappear at least.  I've thought about you a lot.  A lot.  It was very intense...  Do you remember?  Awesome, isn't that right?  (With dissonant tenderness.)  Have you ever made love again like you used to with me?  I bet not.  That night on the beach, the moon was like a large sun.  I found out right away that I got pregnant.  (A pause.)   What happened to us, Marcelo?</div> <div> MARCELO     You're the one who left, Natalia.</div> <div> NATALIA     Yes, I know that.  What a crazy lady.  I've told that to Patricio... Don't believe it.  I don't know, I thought I was in love.  It was all so... so... intense... the Boris deal... Oh... I was so young.  Besides, I was smoking my brains out, do you remember?  Patricio tells me I was totally confused.  I thought desire and reality were the same.  Do you understand me?</div> <div> MARCELO     Who's Patricio?</div> <div> NATALIA     My doctor.  I see him three times a week.</div> <div> MARCELO     Who pays for you?</div> <div> NATALIA     Not a clue.  God provides.  It would even do you some good to go every once in a while.  Why haven't you ever done anymore theatre, Marcelo?  You were good.  Really good.</div> <div> MARCELO     Is it money that you need, Natalia?</div> <div> NATALIA     No, I've never needed money.  You know that.  Never.  I haven't changed in that way.  I need something else.  Something very different.  Love, Marcelo.  L-o-v-e.  I've been so lost.  (A pause.)  You're going to think it's real foolish, but I can't manage to forget you, Marcelo.  (A pause.)  I've changed, Marcelo.  The only thing I want to do is to be at home, I want to have a family.  No more tours... or trips... or photos.  Breakfast, eating together, watching TV..  You were right, Marcelo.  I was the one who was lost... I... Did you know they called me from the station?</div> <div> MARCELO     No, I didn't know.</div> <div> NATALIA     They're going to wait for me.  They want me to come back.  It's not a stellar role, but they think I can do it well.  I told them that on doctor's orders I couldn't do anything real demanding and they still agreed to it.  They even might interview me for CARAS magazine.  On the cover... Would you let them take a picture of me with the kids?</div> <div> MARCELO     Is that why you called me?</div> <div> NATALIA     It's a photo, nothing more.  It's not definite but they told me that maybe they'd do something.  And in that case... I think it would be very important, it's a part of my life.</div> <div> MARCELO     You know I don't like you going out with Luna and Charli.</div> <div> NATALIA     I understand but... it's just one picture... Marcelo... please , forgive me...</div> <div> MARCELO     You haven't seen them in four years, Natalia. (She rubs her face.  Upset.)</div> <div> NATALIA     Yes, yes I know.  But... I think about them... I've always thought about them.  This has been like waking up again... Don't they maybe ask about me?</div> <div> MARCELO     Not any more, Natalia.</div> <div> NATALIA     My God, this is so hard.  You probably won't believe me but I'm looking at you now and it's as if time had not gone by.  Think about it.  It would be good for everyone.  Luna, Charli, the four of us, like it should be, how it should have always been: going to take them to school, feeling us, having us.  Don't you miss me?... You don't?... Couldn't it be possible for us to be a family... again...?</div> <div> MARCELO     So we can be shown in pictures for CARAS magazine?</div> <div> NATALIA     No, really... I'm telling you the truth... I look back on things and the only good thing was you... and the kids... I'm a lot better... Really... You'll probably say that I'm crazy but I know that we're going to get old together.  I'm sure... Marcelo?</div> <div> MARCELO     You're crazy, Natalia.</div> <div> NATALIA     Look at me.  We're still young.  Well, not like before but... we're okay... (A pause.  MARCELO becomes restless.)</div> <div> NATALIA     I'm not asking us to run off to the jungle, or go to live at the ends of the earth.  Think about it.  This is not a crazy idea.  (The phone rings.)</div> <div> NATALIA     That imbecile is going to drive me crazy.  Can you answer, please?</div> <div> MARCELO     This isn't my house.</div> <div> NATALIA (she answers abruptly)     Hello?  No, my name is not Mónica!  No!  (She hangs up violently.  She tries to control her nerves.)  Are you sure you don't want a drink?  No?  Marcelo...</div> <div> MARCELO     I have to go, Natalia.</div> <div> NATALIA     Can't you stay with me?  Tonight?</div> <div> MARCELO     I agreed to pick up Luna at a friend's house...</div> <div> NATALIA     You can come back...</div> <div> MARCELO (he takes out his checkbook)     There's no reason to continue with this conversation, Natalia:</div> <div> NATALIA     Think about it, at least, think about it.  Once...</div> <div> (MARCELO writes a check.)</div> <div> NATALIA     Marcelo?  Marcelo?...</div> <div> MARCELO     I'm leaving.</div> <div> (He hands her the check.)</div> <div> NATALIA     What's happening?</div> <div> (MARCELO leaves without answering.  NATALIA follows him, controlling her anger very badly.  She talks to him from the stairway.)</div> <div> NATALIA     That's the same old strategy, huh?  You always make me feel stupid.  You always leave.  Don't you?  (The sound of a door slamming shut.)  You always leave me. You've never understood me.  I was always... alone... (She pauses.  She plays with the check.  The phone rings.  She answers.)</div> <div> NATALIA     Hello?  (She listens.)  No, my name is not Mónica.  (She listens.)  I already told you that my name is not Mónica.  No, never.  No, I'm fine like that.  No.  Well... well... well... Goodbye.(She hangs up.  The phone rings again. She puts the check away.)  Poor guy.</div> <div> (The volume of the music increases.)</div> <bR> <div> (A transposition to a bathroom.  Maybe a different one.</div> <bR> <bR> <bR> <div> Other plays by <A HREF="de_la_perra.htm" TARGET="_top" TITLE="Marco Antonio de la Parra">Marco Antonio de la Parra</A></div> <bR> <div> <A HREF="king_kong.htm" TARGET="_top" TITLE="King Kong Palace ">King Kong Palace</A></div> <div> <A HREF="secret.htm" TARGET="_top" TITLE="Secret Obsenities (La secreta obscenidad">Secret Obsenities (La secreta obscenidad de cada día)</A></div> <div> <A HREF="dead_father.htm" TARGET="_top" TITLE="The Dead Father (El Padre Muerto">The Dead Father (El Padre Muerto)</A></div> <div> <A HREF="every_young.htm" TARGET="_top" TITLE="Every Young Womans Desire (El deseo de t">Every Young Woman's Desire (El deseo de toda ciudadana) *</A></div> <div> <A HREF="killer_tangos.htm" TARGET="_top" TITLE="Killer Tangos (Matatangos) ">Killer Tangos (Matatangos)</A></div> <div> <A HREF="raw.htm" TARGET="_top" TITLE="The Raw, The Cooked, and the Rotten (Lo ">The Raw, The Cooked, and the Rotten (Lo crudo, lo cocido, lo podrido) *</A></div> <div> <A HREF="dostoyevski_.htm" TARGET="_top" TITLE="Dostoyevski Goes to the Beach (Dostoevsk">Dostoyevski Goes to the Beach (Dostoevski va a la playa) </A></div> <div> <A HREF="monogamy.htm" TARGET="_top" TITLE="Monogamy (Monogamia)">Monogamy (Monogamia)</A></div> <div> <A HREF="god_has_died.htm" TARGET="_top" TITLE="God Has Died or the Will of power (Dios ">God Has Died or the Will of power (Dios ha muerto o La Voluntad del Poder) </A></div> <div> <A HREF="god_has_died.htm" TARGET="_top" TITLE="God Has Died or the Will of power (Dios ">The </A><A HREF="sleepless.htm" TARGET="_top" TITLE="The Sleepless Land, the Mother Whore or ">Sleepless Land, the Mother Whore or the Mother Country: Greek Tragedy Without Greeks: (La Tierra Insomne, La Puta Madre o La Madre Patria)</A></div> <div> <A HREF="ophelia_.htm" TARGET="_top" TITLE="Ophelia or The Dead mother (Ofelia o la ">Ophelia or The Dead mother (Ofelia o la madre muerta)</A></div> <div> <A HREF="small_history.htm" TARGET="_top" TITLE="The Small History of Chile (La pequeña h">The Small History of Chile (La pequeña historia de Chile) </A></div> <div> <A HREF="on_the_air.htm" TARGET="_top" TITLE="We are on the Air (Estamos en el aire)">We are on the Air (Estamos en el aire)</A></div> <div> <A HREF="seamstresses.htm" TARGET="_top" TITLE="The Seamstresses (Las costureras)">The Seamstresses (Las costureras)</A></div> <div> <A HREF="happyrevolt.htm" TARGET="_top" TITLE=" The Revolt of Happiness (La rebelión de">The Revolt of Happiness (La rebelión de la felicidad)</A></div> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> </td> </tr></table></body>