Filus (Monologue) by Benjamín Gavarre Silva

Filus

(Monologue)

by Benjamín Gavarre Silva

 Followed by a dramatic, scenic, and thematic analysis, and ideas for casting, audience reception, relevance, and critiques of the text.

Characters:

Filus

(Voice of Bosca and Cavernous Voice)

(Voice of Abus)

1.

Basement, almost in total darkness. Some old, cluttered furniture is visible; various abandoned objects, some useful, others not so much.

Voices are heard from upstairs, an argument between Filus and his sister Bosca.

Shouting... Always, always in a comedic tone.

Voice of Filus. — You’re too young, and besides, you’re not married!

Voice of Bosca. — Oh, really?... Do you know what happens when you make me angry?

Voice of Filus. — I know what can happen if you touch a single hair on my head!

Voice of Bosca. — Ooh, how scary!

Voice of Filus. — You asked for it!

Voice of Bosca. — You’re gonna see right now… You’ll lose with me. (It's understood that Bosca is hitting her brother).

Voice of Filus. — Help! Bosca’s gone crazy! Help, Abus! Control your granddaughter!

Now the grandmother is heard, only scolding Filus.

Voice of Abus. — Filus! Leave your sister alone! What’s wrong with you? I believe I told you to clean up your basement. What have you been doing?

Voice of Bosca. — Filus has spent all day reflecting. He’s thinking about his marvelous, unachievable projects.

Voice of Filus. — My projects are transcendent, significant matters.

Voice of Bosca. — Ooh, you sound so important!

Voice of Abus. — Don’t fight. Filus, you have five minutes to clean the basement.

Voice of Filus. — Leave me alone, Grandma; I want it just as it is.

Voice of Abus. — Clean that pigsty.

Voice of Filus. — I’m no one’s slave.

Voice of Abus. — You do it or you do it.

Voice of Bosca. — Don’t do it, Filus! You save humanity!

Voice of Filus. — Shut up already!

Voice of Abus. — I’m going to take away your internet if you don’t clean it.

Voice of Bosca. — That’ll hurt him.

Voice of Filus. — (Shouts very loudly) — Alright, I’ll do it, Grandma! I’ll do it, but my way!

Voice of Abus. — As you wish, but you know.

Voice of Bosca. — And quickly, little brother, quickly. Byeeeee.

Blackout

2.

Filus, in the basement.

Filus. — (Comes down the stairs, very annoyed, but very determined. Picks up the broom and starts sweeping the basement) My way. Do I have to fix a hole? Oh, well, I, Filus, will magnificently transform it.

(Bursts, almost crying, always in comedy) Why me!

He puts down the broom and sits, exhausted, on a dilapidated piece of furniture.

Why me!

He searches in one of the drawers of the furniture and finds some stockings. He opens the old package that was still intact... and puts one of the stockings on his head.

(Mockingly) Woe is me! Woe is me that I have no face! Oh, my face is lost! I have no face, woe is me!

He opens the door of a dilapidated wardrobe and takes out an old, fake skull.

(Histrionic, talks to the skull) Is that you, great-grandfather? (He himself acts as his supposed great-grandfather) Me?... I am the legendary Viscount Filus III. I was assassinated in Cairo when I was spending the night with a camel. Could you take that stupid stocking off your head? (Filus "responds to his Great-grandfather") I’m bored, great-grandfather. I hate normality. I don’t know why nobody realizes that I am superior. My grandmother demands the same obligations, the same household chores which, of course, are fine for anyone, but which frankly bore me because I... (The Great-grandfather responds again) Yes, yes, yes… (Improvises a song) Why don't you rub yourself, why don't you scratch yourself, why don't you get tired of thinking… Give yourself a good massage, where you need it, I swear it’s sweet, it’s very pleasant, scratching, rubbing, mhhh, you have to know how to enjoy it! (Filus, falsely uncomfortable) Enough, grandpa… Great-grandpa, ahem… "That" is not what I need, it’s… it’s too… (Great-grandfather) Lubricious, extravagant, controversial?… And above all, your kingdom is not of this world. (Filus) I want to do something important in this life. Something transcendent. Something that transforms the world. (Great-grandfather) The world, ah, the world, Filus. In its origins it was nothing more than a gigantic incandescent mass. Then came the dinosaurs. They ate the smelly mass that was not yet well cooked, got indigestion and, of course, died. Then, from the dinosaurs men were born; they formed societies, various institutions... And then you were born. (Filus) I don't know. Your point of view seems very pessimistic, grandpa. I think I’d better leave you. (Great-grandfather) I am your great-grandfather, not your grandfather. (Filus) Whatever, goodbye.

He puts down the skull and remains thoughtful for a moment. Then, he goes to a cart with several jars containing unpleasant contents, like very old and dry laboratory samples.

(With a jar in hand, he imitates his sister Bosca) Look, Filus, it’s not extraordinary… I took this blood sample the Monday before last (Then he takes another jar of laboratory samples and continues imitating his supposed sister) Then… I took this urine sample on Tuesday… Isn’t it a disgrace? I want to convert these undesirable samples into acceptable ones. (As Filus he responds to Bosca) Bosca, you’re crazy. Everything you do is disgusting. (Bosca) Oh… thanks, little brother. But remember… You have to clean the basement, otherwise your grandma will take away your Internet.

Filus moves away from the sample cart and picks up the broom again. He sweeps without conviction.

Thanks, Grandma. (Pathetic, but in comedy) You forced me as if I were your servant, as if I were your slave! With you, I always lose. I don’t know why you need to clean the basement if you never come down here. The basement is mine. Only mine. (Continues sweeping and arranging the furniture. Then he takes a bucket and mop and cleans, very comfortably, to the rhythm of the music on his cell phone.) (After a couple of minutes, he looks around and exclaims, satisfied with the slight changes he has achieved) Well, I must admit it wasn’t bad to clean up a bit! It’s amazing how I move an object… Like this, and like this, and like this… (Moves the old furniture and leaves it tidy.) …and the space changes. Amazing. In the same way, only inversely proportional, I sweep and throw this trash in this bin… and what happens? (Throws the trash he collected in the bin) Very amazing. (Leaves the entire basement truly tidy and clean) Here’s how I, with just a few movements, can transform the space. (He stops to see "the result") Yes, everything was so easy; a mere matter of making some modifications and thus… creating the room that didn't exist. In the end, then I will say: everything is image, all simple appearance. Therefore: space is form! (Records his voice on his cell phone) And in this way, today I discover that a slight change is enough for the entire structure to acquire: The Form… The new image! (To himself) I am definitely a genius. (Reflects) But, why limit myself to objects, or spaces. Why not…? I could create… The new image of a living being!...

Mmhh. It would be so easy… What do I need?... I know.

Blackout.

3.

Days have passed. When the light returns we see a photomontage painted in cheerful colors with an image of a kind, very traditional grandmother, very dedicated to her chores, with an apron, old clothes, curlers in her hair, the image of a housewife, but very old. In this image there is a hole to put one's face in and become the character.

Filus, always cell phone in hand, is behind a lectern, in the middle of a scientific conference. His audience is an imaginary group of specialists in the field of genetics.

(Filus acts didactically, comically vain) I designed the most ingenious cosmetic Transformation program. I was able to create the most attractive image, I was definitely able to achieve it.

With the help of his cell phone, Filus plays recorded applause and bows.

(Goes behind the image of Abus and puts his face in the hole, personifying her) Bravo, Filus.

(Resuming as Filus, he goes to the lectern) As we know, external image is fundamental in our days. Fortunes are spent on making ourselves more attractive, especially for our object of desire. (Supposed laughs from Abus) I concentrated all my wisdom on transforming the desires for appearance change even in infinitely old beings… like my grandma (Excited) And here I, Filus and only Filus, strictly converted my grandma into what she desired. (Plays recorded applause again).

And of course, the results, although satisfactory, are not yet conclusive.

I will have to refer to a few moments before the experiment. I’ll tell you what happened a few days ago:

4.

(Change of light, to sepia. Filus leaves the podium and interviews his grandmother. He approaches her sweetly.) Abus, I want you to think about what you have longed for all your life, that impossible thing to achieve in harsh reality.

(“Abus”). Filus, I couldn’t say it in public! I wouldn’t want to be inappropriate… but I’ll tell you. Well; as you know, I never lacked suitors... All aristocrats; some ambassadors and an occasional musician. Kind, yes. Very, very educated and of course of the oldest and palest lineage. You can't imagine the success I had. And of course, I let them court me because, although aristocrats, my suitors were after all human; but in reality none of them made me feel, well, absolutely nothing. And now the aristocrats are gone and the truth is I don't regret it at all... And no, it's not that I'm in love, no. Because, how could I be in love with... No matter how much I can't stop thinking about him since he became part of our service. It's not that I can't get him out of my head, out of my imagination I mean. And no, I don't feel any desire of any kind, no matter how young he is and walks around like that… so… shirtless…

(Filus) Abus, I don’t understand you, who are you talking about?

(Abus) And no, I don't think my vain intention to spend the night with him would be considered in bad taste. If nobody notices, well... Tell me, do you think it would be ill-seen for me to spend the night with... (In a whisper) with the gardener?...

(Filus, astonished, shouting) With the gardener! (Silence. Filus looks around and then continues with his scientific exposition. Vainly) Grandma. If I ask you to describe the kind of woman who would inevitably make the gardener fall at your feet… What would she be like?

(Grandma) Pretty, elegant, nice… elegant…

(Filus) Grandma. If you could make a wish and become the most attractive woman on earth… what would you be like? Describe that woman!

(Grandma) Pretty, elegant, nice… elegant…

(Filus) Grandma.

(Grandma) Elegant… with a little hat. With a bag. Nice.

(Filus. Taking for granted that his grandmother will not change her description… he begins the experiment) Okay. Good. (Very excited.) Ready, Grandma? Are you prepared? We are before one of the most glorious, most transcendental experiments! You will be part of this reality created by me and only by me! Here begins the history of the world transformable at will! Here is the first example of my brilliant intelligence. Share with me the fame and glory: now I am a decisive part of the history of humanity!

5.

Appropriate lighting and special sound effects. A blackout occurs, and when the light returns, we now see… another photomontage, but now with the grandmother elegantly dressed, without an apron, holding a handbag, and one could say she looks beautiful, as well as friendly and sweet. It’s the image of what Abus wanted to be, ready to conquer her gardener or go out with her friends.

Filus fills the hole in the image with a mask that has the peaceful, well-made-up face of the Grandmother.

(Filus. He moves away from the hole. He takes off the mask and addresses his audience.) And that was it. Nothing happened. Or yes, it was a complete success. The controls were good. The data was correct. The experiment was carried out as it should have been. But… what had to happen, happened. My grandmother asked to be a pretty, elegant, nice… elegant… woman, and well… she already was. She has always been like that. She is very comfortable with who she is… and that, ladies and gentlemen, is… Very good. Very good… Yes, truth be told.

(Filus, very sad, plays his recorded applause, but this time he doesn’t bow.)

Ah, but this couldn't stay like that. No sir. I had to continue investigating and doing experiments.

Blackout

6.

As the light comes on, Filus enters with a cart on top of which is a human-sized capsule. Inside the capsule, instead of a person, there is a doll of his sister Bosca, with whom he will interact.

(Filus addresses his specialist audience) Before starting the second experiment… I had an interesting chat with my sister. It was something like…

He interacts with the doll that represents his sister.

— “Bosca, little sister…”

— “What, Filus!”

— “Why don’t you tell me about your greatest desire, your greatest longing.”

— “Me? No, Filus, I don’t want anything, I like myself just as I am.”

— “Tell me your desires, Bosca!”

— “No, Filus, leave me alone. I don’t want any change, Filuuus! Help, Filus has gone crazy! Grandmaaaaa!”

(Filus, didactic, pleasant) We are undoubtedly in times when we all want powers. We all want to fly, read minds, make inter… inter… galactic trips. Whatever. We all desire at least one power that we can control and that is part of our daily lives. So, I was investigating. I made great progress in the science of quantum esdrosphere and was able to get the best results for a significant change in the subjects of the experiment. In this case the subject was… Bosca. My sister. I’ll tell you how it all went… (He takes the Bosca doll to the capsule and closes the lid. He says goodbye with a sad gesture).

(Filus goes to the podium and addresses his audience again) ...therefore, although the alchemists were right in their intentions, they were technologically and scientifically incapacitated to achieve the transmutation of elements. I, even with the positive results, although not the ones I expected, which is the most important thing… I learn like any good scientist and even more… I confirm my hypothesis: THE WORLD IS TRANSFORMABLE.

Voice of Abus. — (From above) Bravo, Filus; they’ll love that.

Filus. — (Resuming, slightly uncomfortable with the interruption) I performed a momentary modification taking a living being as an object of study. However, not being satisfied with the merely circumstantial change, although successful, right, Abus… (Abus’s laughter from above) I decided to take my experiment even further: To effect an intrinsic transformation of the basic structure. That is to say, a thorough, molecular and permanent transmutation. (Excited) A drastic alteration in the physiology of a living being taking the primary esdrospheric elements as a starting point. Yes, I mean exactly a total internal metamorphosis, but without significant external changes. (Very excited) That's right, I'm talking about the feasible quantum and chromosomal genetic alteration in a living subject. (Plays recorded applause on his own cell phone).

Voice of Abus. — That’s it, Filus… bravo!

Filus. — (Regains composure) I want to thank the infinite cooperation of my second and current study subject who cordially offered herself to be used in this experiment. She… She is supposed to… Be inside this capsule… You know. I asked her: Bosca, dear sister, what is your deepest desire… What do you want me to turn you into… More or less.

(His phone rings, and he answers the message) Yes, I remember… Yes, Grandma. “To fly, to have supernatural strength, to control whoever she wanted… And of course, to have the ability to pass through walls whenever she wished, yes, whenever she wished… to usurp anyone’s identity, to read minds… and… and… and… To become invisible.

(Records his voice on his cell phone, very professionally) The subject wanted to become invisible.

That’s it.

(He stands for a few seconds, in silence) And… well, it seems… the experiment… worked. I put her in this capsule. (He opens the lid of the capsule and it is clear that it is empty. If possible, the empty interior of the capsule will be shown to the audience, as if in a magic trick.) And well… She’s no longer here.

One of the explanations I can give is that she is indeed invisible now… but… why doesn’t she communicate? And on the other hand. She is invisible, I say, but she is certainly not mute. No. She, yes, likes communication very much. You know. And even if she were invisible and mute… well, she could touch me, she could even give me a punch, a kick… Or something not so violent. She could take my hand.

(Resumes his place as a speaker) We can say that the experiment has been… a relative success. We have been able to transform the subject. But… We have not been able to make contact with him anymore. That’s it.

Recorded applause, sparse. Filus’s face shows resignation.

Blackout

7.

Filus is sitting on an old piece of furniture with a stocking on his head.

Filus. — (Disappointed) No, I am not the genius of all time. I am a failure. I have no face. Nothing I do goes well. (The capsule lid opens, and then it lights up. A high-pitched, distant sound is heard) Little sister? Bosca? Are you there? (Filus takes the stocking off his head and jumps up, excited. He stands next to the capsule and tries to make his sister communicate) Bosca...! (He taps the lid with his knuckles, opens and closes it several times) Hey...! (He closes the lid and tries to listen to what is happening inside. Nervous female laughter, male guffaws are heard) Bosca, what are you doing, huh?

A distorted female voice is heard.

Distorted female voice. — Filus...! Get away! Get out of here before it’s too late...!

Filus. — Bosca?... (Silence. Filus, bewildered, opens the capsule lid) And this book? It’s open to this page… It has a cat enclosed in a circle. A white cat… Why a white cat? (Filus picks up the book and begins to read) Special spell for when all is lost: Make a large circle; with the salt of a thousand years make a circle. Begin calmly and slowly reach a high night. Make the world darkness and the night a sphere. When the fire light is in the center, you will know the words... (Filus stands under a beam of light on the stage; then, he lights a candle and places it in the center. He carefully steps out and picks up the book again) Now, consult page two hundred forty-one... (Obediently) Page two, four, one: there it is. (Reads) If you know how many lives a cat has, go and stand in the center. (He reaches the center of the circumference. Filus picks up the candle and continues reading) Are you inside yet?... (Filus responds) Yes, and now what... (Reads) Now, if you truly know how many lives the cat has, count the necessary times over and over again until it arrives. (He stops reading) I understand… Thanks, Bosca, wherever you are. I hope you can forgive me. But I don’t understand any of this, about the book and the white cat… And… I think… I imagine… I’m sure it’s a spell for a cat to appear. Very interesting. (Longingly) It’s magic. (Recalibrates) No, but what am I saying. I hate magic and those idiotic things. (Reads again) This is super easy. Let’s see... (He steps out of the circle and places the book and the unlit candle on a piece of furniture. He places a whiteboard on the tripod and writes) A cat has seven lives. Seven cats once (Writes 7 x 1 = 7) That’s seven. (Continues to write down the quantities) Seven cats twice: fourteen… (Whiteboard: 7 x 2 = 14) Plus seven… (Writes and says: 14 + 7 = 21) equals twenty-one. And if we subject this result to an exponential value we will have twenty-one, plus twenty-eight, plus thirty-five plus forty-two… (Writes and says: 21 + 28 + 35 + 42) plus seven times seven which is forty-nine… (Writes and says: +49) we have as a result: One hundred ninety-six cats (Writes: 196 cats).

And if we add from back to front (Writes and says: 6 + 9 = 15 + 1) Or no... Better from front to back... we have: one, plus nine equals ten (Writes and says: 1 + 9 = 10) and if we add the six we will have...

(Writes and says 10 + 6 = 16) sixteen... And of course ONE plus SIX is logically and simply the final result... (Writes 1 + 6) It equals SEVEN!... Therefore, a cat has seven lives. Or didn't it have nine?… I’ll look it up on Google… (Searches on his cell phone) It has seven or nine… depending on the country. Well. Anyway, where’s the damn cat...?

The light goes out completely. Then, slowly, the center of the circle lights up and we see…

The image of a full-body demon, a statue or large doll, perhaps an alebrije or Judas figure. From inside, its voice is heard.

Cavernous Voice. — Here I am, Filus… You called me.

Filus. — (Disparagingly) I didn’t call you. I wanted an answer.

Cavernous Voice. — Come, come closer.

Filus. — I'm not coming closer. Where’s my sister? Do you have her?

Cavernous Voice. — Yes or yes…?

Filus. — Yes, what.

Cavernous Voice. — I am the solution to your problems, I am the solution.

Filus. — Really? I want my experiments to work; I want my sister back, are you able to help me?

Cavernous Voice. — Everything you do works. That's why I'm here.

Filus. — Nothing I do works. You don’t know. I turned my grandma into the same thing she was before, and then I made my sister disappear. Why do you say my experiments work? I’m a failure. I’m disgusting.

Cavernous Voice. — Help me, Filus… Give me your hand.

Filus. — And how am I going to give you my hand? You don’t have a hand.

Cavernous Voice. — I need you, Filus.

Filus. — Oh, really. Then you’re not a very powerful demon.

Cavernous Voice. — Come, you’ll have fun.

Filus. — I don’t know... I don’t think so.

Cavernous Voice. — If you don’t come, your sister won’t come back to you.

Filus. — That’s what I thought. You have her.

Cavernous Voice. — Uh-huh. Uh-huh.

Filus. — What? Is that how you answer? Uh-huh and uh-huh. Honestly, as a demon, you leave a lot to be desired.

Cavernous Voice. — And you, as a scientist, are pathetic. Imagine turning your sister into a gravitational field of the esdro… esdro… pheresphere.

Filus. — What? Esdropheresphere… How do you know that?

Cavernous Voice. — I stay informed.

Filus. — (Surprised) You...? (Suspiciously) Good that you stay informed…, I’m very happy… Little sister.

Cavernous Voice. — What makes you think I'm your sister?

Filus. — Very simple. You got the gender wrong, you said "informed" (feminine), unless you’re a she-devil and not a demon… And… even clearer… The gravitational field is a concept I was developing in my latest experiments, as well as quantum reality and the intersectional esdropheresphere… Absolutely my research… the esdropheresphere especially is mine… I mean…

Cavernous Voice. — Oh… Yes, of course, the esdro… pheropher…

Filus. — And frankly, Bosca, I think it’s in very bad taste that you were spying on my phone, because that’s where I have everything recorded… and that you’re using privileged information.

Cavernous Voice. — Damn!

Filus. — (Annoyed) That’s what I say… (Suddenly optimistic) But it occurs to me, Bosca, that the process is about to reverse. At first you were mute, invisible, and you had no touch. You had no sense of touch, right?

Cavernous Voice. — (Hesitantly) Nooo.

Filus. — (Sincere) I can be at ease now, and you even more… I assure you that in a few days… You will….

Sudden blackout and explosion.

8.

A few days have passed. When the light returns, the demon and the capsule are gone. Filus is once again standing by the lectern. The lighting is warm and everything is tidy.

Filus. — (Serenely happy) The truth is that Bosca is happier now than she used to be. And no, it’s not that anyone forced her to remain in the esdrospheric gravitational state, my invention, and she can, if she wants, learn to return and then leave according to her desires. The transformation has not been definitive and she has the option of living like this, invisible… Her voice is getting clearer every day and well, it seems… that she can use her touch at will… If she wants, they can feel her, and if she doesn't want… You know.

My Abus is very happy now that she is single again… it seems the gardener was just another adventure, but she is definitely happier with her friends. What else? Me? If that’s the most important thing… No. That’s not true. I’ve actually become a little more humble, especially since I published my, you know, esdrospheric gravitational research and… well, I’m on scholarship and very soon I’m going to work at… at the center of… (Filus behaves strangely, as if a force suddenly pushes or pinches him) At a very prestigious institution… you know… and… Bosca?… It’s you, of course it’s you. Speak, little sister, I know you can speak, even with your hoarse voice… Hey, stop… Let me go. Well… I think that’s all for today. I’ll leave you, I have to go upstairs for a moment and leave this basement… because it’s here… where I spend most of my time and I also have to… go out and get a little… fresh air…. Free… Please, now… Grandma… Abuuus… Abuuuuus…. Bosca has definitely gone crazy!… Abuuuus. Grandmaaaaa.

Final blackout.

Dramatic, Scenic, and Thematic Analysis

"Filus" is a captivating one-act monologue that masterfully blends comedy, absurdity, and a poignant exploration of self-perception, societal expectations, and the human desire for significance.

Dramatic Analysis

The play is structured as a monologue, though ingeniously it incorporates multiple "voices" that Filus interacts with, creating a dynamic and rich aural landscape. These voices—Bosca, Abus, and the Cavernous Voice (revealed to be Bosca)—serve not merely as off-stage characters, but as projections of Filus's internal world, his anxieties, his inspirations, and his self-delusions.

 * Conflict: The central conflict is internal, within Filus. He struggles with a profound sense of underestimation and a burning desire for recognition as a "genius" whose ideas can "transform the world." This clashes with the mundane reality of his life, his grandmother's demands, and his sister's playful teasing and ultimate disappearance.

 * Character Arc: Filus begins as a pompous, self-important, and slightly petulant young man who believes himself superior to ordinary tasks and people. He is driven by a need to prove his genius through grand, world-altering experiments. Through the course of his "experiments," particularly the "disappearance" of Bosca and his confrontation with the "demon," he undergoes a subtle but significant transformation. While still prone to grandiosity, the final scene suggests a newfound, albeit fragile, humility and a reluctant acceptance of the unpredictable nature of his "discoveries." His closing cries for Abus, tormented by Bosca, show that his "success" has come with unexpected, and somewhat comedic, consequences.

 * Comedy: The play is steeped in comedic elements, often bordering on farce and absurdism. The bickering with Bosca and Abus at the outset, Filus's histrionic monologues with the skull, his imitation of Bosca, and his comically over-the-top scientific presentations are all sources of humor. The "recorded applause" is a particularly effective comedic device, highlighting his vanity and self-deception. The escalating absurdity of his "experiments" and the eventual revelation of the "demon's" true identity maintain a lighthearted tone even amidst his despair.

 * Pacing: The pacing is brisk, moving quickly between the external demands of his family and his internal world of grand scientific ambition. The shifts in scene and the rapid-fire dialogue (even if he's performing all voices) keep the audience engaged.

Scenic Analysis

The setting, a basement, is highly symbolic. It represents Filus's inner world—a cluttered, neglected space where his "projects" germinate, hidden from the "normal" world upstairs.

 * Initial State: The opening description of "Sótano, casi en la oscuridad total. Se vislumbran algunos muebles viejos arrumbados; objetos varios también abandonados; algunos útiles, otros no tanto" (Basement, almost in total darkness. Some old, cluttered furniture is visible; various abandoned objects, some useful, others not so much) sets a tone of stagnation and untapped potential.

 * Transformation of Space: Filus's initial act of cleaning, though begrudging, becomes his first "experiment" in transforming space. His satisfaction with the "slight changes" ("no le venía mal un poco de limpieza!") and his realization that "el espacio es la forma" is a pivotal moment, mirroring his larger ambition to reshape reality. The transition from cluttered darkness to a "truly tidy and clean" space signifies his initial success in imposing his will on his immediate environment.

 * Props and Visuals: The props are crucial:

   * Old furniture, objects: Emphasize the neglected, forgotten nature of his world.

   * Stockings: Used for comedic effect and to represent his "lost face" or identity struggle.

   * Fake skull: A prop for his Hamlet-esque, self-indulgent theatricality.

   * Frascos con contenidos desagradables: Juxtapose his "transcendent" ideas with the mundane and grotesque.

   * Photomontages (Abus and "transformed" Abus): Visually represent his "experiments" and their perceived "success." The hole for his face is a clever device for quick character changes.

   * Capsule: The central prop for the "transmutation" experiments, symbolizing his attempts to contain and control his subjects. Its emptiness at the end is a powerful visual.

   * Whiteboard: Highlights his pseudo-scientific attempts at logic.

   * Demon statue/doll: A striking visual representation of the unexpected "result" of his magic-based calculations, and later revealed as Bosca's manifestation.

 * Lighting: The script explicitly uses lighting changes (darkness, sepia, warm light) to denote shifts in time, mood, and the nature of Filus's reality (e.g., sepia for the "flashback" to his interview with Abus, warm light for the "successful" conclusion).

 * Sound: The voices from above (Abus, Bosca) establish the familial context and ongoing conflicts. Recorded applause is a key comedic and character-revealing sound effect. The "sound of a cat" and the "distorted female voice" enhance the mystery and absurdity of Bosca's transformation.

Thematic Analysis

"Filus" delves into several compelling themes:

 * The Nature of Genius vs. Delusion: Filus sees himself as a misunderstood genius, constantly striving for "transcendent" and "significant" achievements. The play humorously questions whether his "genius" is genuine insight or simply an elaborate form of self-delusion, particularly as his "experiments" often yield results that are either mundane (Abus was already what she wanted to be) or accidental and beyond his control (Bosca's invisibility).

 * The Desire for Transformation and Control: At the heart of Filus's endeavors is a deep-seated desire to transform his reality and exert control over it. He wants to reshape spaces, appearances, and even the fundamental nature of living beings. This speaks to a universal human impulse to improve, to perfect, and to leave a lasting mark.

 * Reality vs. Perception: A central theme is the blurred line between what is real and what Filus perceives or wills into existence. His "transformations" are often more about his interpretation than actual change. Abus, for instance, already embodied her desired self. Bosca's "invisibility" might be a result of his experiment, or simply her active choice within a new, expanded reality. The play suggests that our perception heavily influences our reality.

 * The Absurdity of Modern Life and Human Endeavor: The play uses humor and absurdity to comment on the human condition. Filus's lofty scientific ambitions are juxtaposed with the mundane demands of his grandmother and the trivial nature of his sister's desires (or lack thereof). This highlights the often-absurd disconnect between our grand aspirations and the messy, ordinary details of existence.

 * Family Dynamics and Interdependence: Despite his grand visions, Filus is inextricably linked to his family. His interactions with Abus and Bosca ground him in a relatable domestic reality. Their influence, whether through demands or playful torment, shapes his actions and reactions. The ending, where Bosca's influence persists even in her "transformed" state, emphasizes the enduring bonds of family.

 * The Unintended Consequences of "Progress": Filus's scientific breakthroughs often lead to unforeseen and somewhat chaotic results. His "success" with Bosca leaves her invisible and partially in control of him, rather than the other way around. This serves as a cautionary, albeit humorous, tale about the unpredictable nature of scientific or personal "progress."

Ideas for Production

Casting

Filus: This role is demanding, requiring a highly versatile actor with strong comedic timing and a knack for physical comedy. The actor must be able to convincingly portray:

 * A petulant, self-important "genius."

 * Histrionic and dramatic shifts in emotion.

 * Different vocal qualities for his impressions of Bosca, Abus, and the "Great-Grandfather" and later, the "demon."

 * A sympathetic vulnerability beneath the bravado.

 * The ability to maintain audience engagement throughout a monologue.

   An actor in their late teens to early thirties would be ideal to capture both the youthful energy and the slightly immature aspirations of the character.

Voices of Bosca and Abus (and Cavernous Voice): These could be pre-recorded or performed live by off-stage actors.

 * Bosca: Needs to sound playful, teasing, and a bit exasperated, later transitioning to the distorted, then hoarse "Cavernous Voice" which still carries an underlying mischievousness.

 * Abus: Should sound authoritative but also loving, embodying the classic "grandma" archetype with a touch of world-weariness.

Audience Reception

The play's comedic tone and relatable themes would likely resonate well with a broad audience.

 * Laughter: Audiences would certainly find humor in Filus's exaggerated self-importance, his bickering with his family, and the absurd situations that arise from his experiments. The "recorded applause" and his interactions with the props would elicit laughs.

 * Relatability: Many might identify with Filus's desire for significance, the struggle between lofty ambitions and mundane realities, and the quirks of family dynamics.

 * Intrigue: The mystery surrounding Bosca's disappearance and the appearance of the "demon" would keep the audience engaged and curious about the outcome.

 * Thought-Provoking: Beneath the comedy, the play subtly touches on deeper ideas about identity, perception, and the nature of reality, which could lead to interesting post-show discussions.

 * Target Audience: Likely appealing to audiences who enjoy absurdist comedy, character-driven pieces, and plays that offer both entertainment and a bit of intellectual stimulation. It could work well in university theater settings, fringe festivals, or smaller professional theaters.

Relevance and Critiques

Relevance

"Filus" is highly relevant in today's world, particularly regarding:

 * The Cult of the Self and Social Media: Filus's desire for fame and recognition, his use of recorded applause, and his recording of his "discoveries" on his phone (to publish them, as suggested by his final lines) strongly echo the modern phenomenon of social media and the pressure to present a curated, often exaggerated, version of oneself to the world. His need for external validation ("Share with me the fame and the glory") resonates deeply.

 * The Pursuit of "Transformation" (Cosmetic & Personal): The initial experiment with Abus directly addresses the societal obsession with physical transformation and the beauty industry. The play playfully suggests that true contentment might come from within, rather than from external alterations.

 * Technology and Its Unintended Consequences: Filus's "scientific" experiments, though comically presented, touch upon contemporary anxieties about unchecked technological advancement and the unpredictable outcomes of manipulating fundamental aspects of nature or even human experience. His "esdrospheric gravitational field" is a humorous stand-in for complex scientific concepts often misunderstood or misused.

 * Escapism vs. Reality: Filus's retreat into his basement "laboratory" and his grand fantasies can be seen as an escape from the mundane demands of his life. This theme is universally relatable in an age where digital worlds and personal narratives often offer more appealing alternatives to everyday reality.

Critiques of the Text

While "Filus" is strong, a few points could be considered for refinement or interpretation:

 * Clarity of "Science": The pseudo-scientific jargon ("esdrospheric gravitational field," "esdropheresphere interseccional") is intentionally absurd for comedic effect. However, a director or actor might need to ensure that the audience understands it's meant to be nonsensical rather than genuinely confusing.

 * Resolution of Bosca's Transformation: While the ending implies Bosca's "invisibility" is a form of freedom and empowerment for her, and that she retains some control over Filus, the precise nature of her transformation and her ultimate relationship with him remains somewhat ambiguous. This ambiguity can be a strength (inviting audience interpretation) but could also leave some wanting a more concrete resolution. Is she truly invisible, or is Filus simply experiencing a form of delusion/hallucination? The play leans towards a supernatural outcome, but leaves room for doubt.

 * Filus's "Humility": Filus claims to have become "a little more humble" at the end, but his final lines show him still tormented and somewhat controlled by Bosca, and still caught up in grand pronouncements ("Mi investigación ya saben gravitacional esdrodosférica"). The extent of his true humility is debatable, and perhaps this is the point—that profound self-change is rarely a straight line. This creates a nuanced ending, but an actor would need to carefully balance the stated humility with the lingering eccentricities.

 * Repetitive Dialogue: The "Bonita, elegante, simpática… elegante…" exchange with Abus is humorous but slightly extended. Depending on pacing, this could be tightened if a director felt it slowed the momentum. However, it also effectively highlights Filus's impatience and Abus's simple, unchanging desires.

Overall, "Filus" is a clever, funny, and thought-provoking monologue that offers rich opportunities for performance and interpretation, dealing with universal themes through a uniquely absurd lens.

Comprendido. Dado que no puedo generar imágenes directamente, te daré descripciones detalladas de cómo podrían ser los dibujos tipo viñeta al estilo de Picasso para cada una de las ocho escenas numeradas de "Filus". Estas descripciones son lo suficientemente claras para que un artista las interprete y las convierta en imágenes reales, manteniendo ese estilo simple y expresivo de trazo único que mencionaste.

Viñetas Estilo Picasso para "Filus"

Aquí tienes la descripción de las viñetas, una por escena, para tu obra:

Escena 1: Viñeta - El Laberinto del Sótano y el Grito

 * Descripción: Un dibujo lineal simple de un espacio angosto y desordenado. Se podrían ver algunas líneas que sugieren cajas o muebles viejos apilados de forma caótica. En el centro o ligeramente desplazado hacia arriba, una burbuja de diálogo o una forma que emana de la parte superior, con líneas onduladas que sugieren ondas de sonido o un grito. El estilo es de un solo trazo, sin detalles superfluos, evocando la energía de una discusión.

Escena 2: Viñeta - El Pensador Frustrado

 * Descripción: Una figura de Filus sentada en un taburete o silla vieja, con la cabeza ligeramente inclinada y un brazo levantado en un gesto de exasperación o reflexión profunda. La forma de la cabeza podría ser redonda o ligeramente ovalada, y el cuerpo apenas esbozado con unas pocas líneas. Sobre su cabeza, un signo de interrogación o una espiral que simboliza el pensamiento o la confusión. El enfoque estaría en la silueta y la pose.

Escena 3: Viñeta - El Científico y la Ilusión

 * Descripción: Un podio o atril dibujado con líneas rectas y limpias. Detrás o a un lado, una silueta de Filus en pose de orador, con un brazo extendido o señalando. Justo al lado del podio, una figura circular o cuadrada con un agujero central, representando el fotomontaje de Abus. Dentro del agujero, se sugiere apenas una silueta de una nariz o un ojo, indicando que alguien está dentro. La simplicidad del trazo resalta la idea de una presentación o una fachada.

Escena 4: Viñeta - El Confesionario Silencioso

 * Descripción: Dos perfiles de cabeza simples, uno frente al otro, casi tocándose. Uno (Filus) con una pequeña espiral o punto cerca de la oreja, sugiriendo escucha atenta. El otro (Abus) con una línea ondulada saliendo de la boca, representando el susurro o la confesión del jardinero. El fondo es minimalista, enfocándose en la interacción de los dos perfiles, con un aire de intimidad y revelación.

Escena 5: Viñeta - La Abuela Transformada (o No)

 * Descripción: Una silueta elegante y estilizada de una mujer, con un sombrero de ala ancha y quizás una pequeña silueta de bolso de mano. El dibujo debe ser fluido, sin muchos detalles, capturando la esencia de la "belleza" y la "elegancia" que Filus cree haber creado. No hay elementos que sugieran el rostro, dejando la interpretación de la "transformación" a la vista del espectador.

Escena 6: Viñeta - La Cápsula Vacía

 * Descripción: Un cilindro o forma ovalada alargada dibujado con un trazo grueso, representando la cápsula. La parte superior de la cápsula está abierta o levantada, con una línea discontinua que sugiere que algo "salió" o "desapareció". Alrededor de la cápsula, unas pequeñas líneas en espiral o puntos dispersos que insinúan movimiento o una alteración. La clave es la sensación de vacío y la ausencia.

Escena 7: Viñeta - El Círculo y la Revelación

 * Descripción: Un gran círculo central, dibujado con un trazo dominante. Dentro del círculo, una figura abstracta o geométrica que sugiere la forma de un demonio o una entidad no humana, pero con un trazo sorprendentemente familiar (quizás con dos "ojos" o una "boca" que recuerdan sutilmente a Bosca). Fuera del círculo, una pequeña figura de Filus, con una pose de asombro o confrontación, mirando hacia el centro. El contraste entre el orden del círculo y la figura en su interior sería clave.

Escena 8: Viñeta - El Genio Atormentado

 * Descripción: La figura de Filus en el centro, pero esta vez con algunas líneas que irradian o lo "pellizcan" desde diferentes lados, o una mano invisible que lo agarra, sugiriendo la presencia de Bosca o las consecuencias de sus experimentos. Podría haber un signo de exclamación o una línea ondulada sobre su cabeza que denota su continuo tormento cómico, a pesar del "orden" en el sótano. El estilo sigue siendo lineal y minimalista, capturando su nueva realidad agridulce.