The Swordsmen An original one-act play by Ben Gavarre

The Swordsmen

An original one-act play by Ben Gavarre

Characters:

Maravedí

Beltrán

Narrator

PROLOGUE

The Narrator enters, dressed as a character from Shakespearean theatre, but with fabrics, colours and accessories of our time.

Narrator. — Ah, woe is me! Those who have tasked me to speak of these two shall pay dearly. And as you know: these are two legendary swordsmen, Zafír and Agenón. Their names echoed in every corner of the kingdom, yet the reason for their rivalry remained an enigma.

Behind a large screen covered with translucent fabric, we can see the silhouettes of the swordsmen who are supposedly offstage, although they occasionally poke their heads or arms out. We can generally see their body language and hear their voices.

Voice 1 (Maravedí). — That idiot's got it wrong again. Zafir and Agenón, are we? Someone needs to tell him.

Voice 2 (Beltrán). — I quite like the names Zafir and Agenón myself. Just leave it for now. We can correct it next performance.

Voice 1 (Maravedí). — Oi, Narrator! We're not Zafir and Agenón. We're Beltrán and Maravedí. Maravedí and Beltrán. Get it right, or you know what.

Narrator. — Let me just consult my notes. Ah, yes, as I was saying, Maravedí and Beltrán were two enigmatic swordsmen. Their names resonated in every region of the kingdom, yet the reason for their rivalry is an enigma.

Voice 1 (Maravedí). — You've got it wrong again! You repeated the bit about the enigma. And you already used 'enigmatic', it sounds bad, you know. And to be honest, the reason for our rivalry isn't an enigma at all: we like a good challenge and adventure.

Voice 2 (Beltrán). — Yeah, we like to fight.

At that moment, the two swordsmen Beltrán and Maravedí emerge from behind the screen and begin a fencing match, complete with insults.

Beltrán. — You wretched cretin!

Maravedí. — You nincompoop!

Beltrán. — You piece of scum!

Maravedí. — Oh, so we're resorting to insults now, are we? Well, you're a blithering idiot!

Beltrán. — Are I? Well, you're an even bigger idiot, you conceited git.

Maravedí. — You laughing stock!

Beltrán. — No, you're the laughing stock!

Pause.

Maravedí. — Why are we angry again?

Beltrán. — Dunno. You started it.

Maravedí. — How about we carry on with the story?

Beltrán. — Sounds good to me.

Maravedí. — Right then, let's go.

They go back behind the screen and continue their fight.

Voice 2 (Beltrán). — See? It's easier when we don't insult each other.

Voice 1 (Maravedí). — Told you, you're an idiot.

Voice 2 (Beltrán). — You called me an idiot! You're the idiot! Whatever. This calls for a duel.

Voice 1 (Maravedí). — You reckon, you idiot?

They fight behind the screen. We hear bangs and clanging metal and some other strange noises.

Narrator. — Zafir and Agenón were constantly at odds; they were always duelling. All the time.

Voice 2 (Beltrán). — We've told you already: we're Beltrán and Maravedí!

Voice 1 (Maravedí). — Just leave it, he's a very clumsy narrator and he'll pay for his words. You're gonna die, you hear me? You're gonna die for your clumsiness.

Narrator. — (Correcting the names) Beltrán and Maravedí were two legendary swordsmen. Their names echoed in every corner of the kingdom, yet their rivalry was an enigma. They constantly faced each other in duels that shook the very ground, but the reasons for their hatred were never known. Some said it was an ancient curse, others that it was simply their nature.

Voice 2 (Beltrán). — You heard that, carry on with the enigma bit. This narrator's useless, we need to replace him.

Voice 1 (Maravedí). — Well, I don't agree.

Voice 2 (Beltrán). — You never agree.

Voice 1 (Maravedí). — Oi... I'm offended by your words.

Voice 2 (Beltrán). — Are you sure about that?

Voice 1 (Maravedí). — This calls for a duel!

Voice 2 (Beltrán). — Wouldn't have it any other way. En garde, you scoundrel!

Narrator. — They clashed on battlefields, in silent forests, in legendary cities. Each duel was a spectacle, a deadly dance of steel and agility. Despite their skills, neither managed to defeat the other definitively.

Voice 1 (Maravedí). — Shut your trap, Narrator! I have bested my enemy countless times!

Narrator. — It is necessary to say that Zafir has been capable of defeating Agenón countless times.

Voice 1 (Maravedí). — You've got it wrong again, Narrator! We're not Zafir and Agenón, we're...

Voice 2 (Beltrán). — Beltrán and Maravedí... And what Zafir says is false... I'm the one who has defeated him countless times... He's got little show-off hands; I'm the truly brave and courageous one.

Narrator. — It is necessary to say that Beltrán, that Agenón... that Maravedí... Hang on, I'm confused... Who is Maravedí and who is Agenor...?

Voice 1 (Maravedí). — Are you thick or what? Honestly. You're going to get your head chopped off.

Voice 2 (Beltrán). — We need to go tell him. Let's go out and explain who we are.

Voice 1 (Maravedí). — No, better if he comes here.

Voice 2 (Beltrán). — Better if our scene just starts and he just announces us.

Voice 1 (Maravedí). — Hey, you daft narrator! Get over here! We're going to explain it to you.

Narrator. — (Shouting to them) No need, I understand! I'll just announce you and then you can come out, alright?

Voice 1 (Maravedí). — Alright then. Fine.

Narrator. — This is the story of two great swordsmen. Despite their skills, neither managed to defeat the other. One day, while they were preparing for another duel... one of the two swordsmen... called... Well... pay close attention... We're about to begin...

The Narrator exits.

Lights fade to black.

Scene 1

Tense music plays.

The sound of an excited crowd is heard.

Beltrán enters, a skilled swordsman with a cape and sword. He walks backwards.

Beltrán. — (To Maravedí, who is not yet on stage) Ah, you wretched traitor! You think cornering me like this will lead to my defeat?

Maravedí enters. He immediately attacks Beltrán fiercely with his sword. The crowd cheers his entrance.

Maravedí. — Get thee behind me, Beltrán Beltranejo! That's all you ever do, back away like a miserable coward because you have no skill in the art of fencing!

Beltrán skillfully parries Maravedí's attacks.

Beltrán. — Get thee behind me now, you! Get back, because you don't even know what 'get thee behind me' means! Get back!

Maravedí. — The one who knows nothing is you, Beltrán Beltranejo! I actually went to school! 'Get thee behind me' doesn't mean 'get back'! It means 'go behind'. "Go behind." Just like I'm telling you to go behind now.

Beltrán. — How so?

Maravedí. — What do you mean, 'how so'?

Beltrán. — How?

Maravedí. — (Strikes him with his sword) Like this! I've given you a thrust!

Beltrán. — (Unmoved) A thrust, you say?

Maravedí. — A thrust, I say! I've already given it to you! I've struck your gallant body with my sword!

Beltrán. — Well, I don't feel a thing.

Maravedí. — Well, I've given it to you! I can see you bleeding.

Beltrán. — It can't be that bad.

Maravedí. — Yes, it is! Blood is flowing from your fair form!

Beltrán. — No, it isn't.

Maravedí. — Yes, it is! I've undone some ribbons! Some red ribbons! Red ribbons like passion! A boundless passion, a passion that soars to the heavens!

Beltrán. — Calm down, my noble opponent! Don't come at me with poetry! Nobody, I swear, nobody wants to hear your sweet verses!

Maravedí. — And why do you call them sweet, then?

Beltrán. — It's just a saying. Saying things is a way of talking.

Maravedí. — Ah, yes, I understand. It's purely a rhetorical question.

Beltrán. — What?

Maravedí. — What do you mean, 'what'?

Beltrán. — Are you going to fight or just carry on with your showing off?

Maravedí. — (Gives him another thrust) Shut up, you jealous git! Here you go! I now give you a masterful thrust... and now admit that I have defeated you fairly!

Beltrán. — I don't agree! You cheated and you're trying to sweet-talk me with your so-called elegant words!

Maravedí. — That's how I usually speak! It's not my fault if you can't understand me!

Beltrán. — Right, right, stop insulting me! You know I've always been stronger... and braver... alright. I concede the victory to you.

Maravedí. — Don't be so magnanimous! I beat you!

Beltrán. — Maybe I am being very magna...nimous, whatever, but in that case, I demand a rematch!

Maravedí. — You know I'm always ready! But first, recover, my friend. Attend to that wound.

Beltrán. — No need, not at all! Heroes like me let their wounds heal on their own! We're strong, we're macho, we're... much more than macho, we're...

Maravedí. — Then, until three days from now.

Beltrán. — It's a date!

Maravedí. — No, no, it's not a date! Good heavens, it's an agreement!

Beltrán. — Right, right, we're agreed then.

Maravedí. — That's it, it's an agreement. Until then, sir!

Beltrán. — Until then, certainly! You.

The gentlemen exit and hide behind the screen.

Interlude

The lighting represents a sunset, and after a brief blackout, it represents a sunny day.

The Narrator enters the stage.

Narrator. — Even from a very early age, these two gentlemen showed signs of being very angry and eager to fight. They lived in the same kingdom and both shared a love of fighting.

(Consults his notes)

And well... the reason for their rivalry was an enigma... From a very young age... Yes. It must be said that little is known about them, yes, no. It is known that they grew up in the same kingdom... And no, they weren't brothers, although they were usually always together. They weren't princes, but they always received the best education. Well, at least one of them went to school. The other one also had... He took lessons in chivalry, in fact, both of them learned to use the sword from a young age. They weren't part of the kingdom... That is, they weren't the King's sons, but apparently the King held them in high esteem. He loved them very much and protected them.

The King favoured them with his grace, and they grew up together, but they had different fathers. No. It's not really known who their parents were, but the King ensured they received a very good education... And as is well known, the reason for their rivalry was an enigma, or perhaps not so much, they liked challenges and fights. They always fought, but they were always together, and no, they weren't brothers... although they were always together... And... And let's move on to the next scene, if you all agree. And thank you. Onwards. We continue.

Thank you.

Scene 2

Maravedí enters and begins to fight alone against an imaginary enemy.

Maravedí. — Ah, you son of a bitch, Beltrán! So you hide from me, do you? You know you're behaving like a coward by not coming to fight me as we agreed!

Ah! Ah! Ah! I'm going to disfigure your face! Watch how I slice your nose clean off! Watch how I cut your cheek with the sharp point of my sword! Ah, sir, you have dishonoured me by not coming to fight me! We had an agreement! How could you break your word? Beltrán, listen! You must come, because I want to have a sword fight with you! Ahem. It is my very desire that you come so I can chop off your head with my sword! Like this! Like this I cut you with my sword! I disfigure your face! I give you a thrust! And another one! And another one! And the crowd goes wild! Everyone screams! An enthusiastic multitude acknowledges my triumph over you!

(The sound of an enraged crowd is heard, then silence.)

It's not possible that you've stood me up!

Beltrán enters with great energy and demonstrates his skill with his sword. A satisfied roar is heard from the crowd.

Beltrán. — Ahoo! Ahuuu! Here I am! I am a great swordsman! Look! Look at the power of my sword! I am the best swordsman of my generation, and I wield my sword with mastery! Look! Look how well I move my sword!

Maravedí. — Ah, you're late, Beltrán Beltranejo! We agreed that we would have a sword fight this morning, and you're late!

Beltrán. — It's never too late for a sword fight! That is, it's never too late. Here I am, my friend! Let's do it!

Maravedí. — Do what? I don't understand.

Beltrán. — You want to fight or what? Here I am, full of energy to fight you! Let's have a sword fight!

Maravedí. — Of course! Let's show them we are the best swordsmen!

Beltrán. — Ah, that goes without saying! And it will be very clear that I am the best swordsman!

Maravedí. — Not at all! I am the best! It's clear to me that I move my sword better than you! Besides, I've already cut your nose and left a gash on your cheek!

Beltrán. — Don't tell me! How come I'm perfectly fine and haven't received a single thrust?

Maravedí. — Yes, I think I confused you with someone else.

Beltrán. — You've been fighting someone else?

Maravedí. — Yes, no, I mean; it's complicated.

Beltrán. — You fight someone else on the day we had agreed upon?

Maravedí. — No, it's just a saying! You arrived late and...

Beltrán. — And nothing! I consider that a major affront and you will have to pay!

Maravedí. — There's an explanation for everything!

Beltrán. — Nothing doing! Today you will pay for your affront! I'm so beside myself, I can't even stand to be inside my own skin! I want to get revenge on you! I'm going to crush your nose and twist your neck!

Maravedí. — Not at all! We agreed there would be no crushing or twisting! We will only fight with swords!

Beltrán. — You're not the one to remind me of the rules! I'm going to twist your neck! Drop your sword, because you're going to die by hanging at my hands!

Maravedí. — No, my friend, listen!

Beltrán. — I'm not your friend! This is the end of the line for you! I must kill you! Let me strangle you!

Maravedí. — No, no, no! It's not wise! Ah, and look! Here comes Justice!

Beltrán. — Justice, you say? But how?

Maravedí. — They're coming running! Look! Two officers are running towards us! I think word got out that there are sword fights happening here!

Beltrán. — We'd better get out of here. Are you hungry?

Maravedí. — You know I always am.

Beltrán. — Let's go, I'll treat you to a meal.

Maravedí. — And I fancy a drink too.

Beltrán. — But we mustn't overdo it with the drink! You know what you're like!

Maravedí. — Look who's talking! The last time we drank, you wanted to destroy everything in your path! It was so exciting... I was sure that...

Beltrán. — Calm down, calm down.

Maravedí. — Calm down, nothing! Run! Justice is approaching! Let's get out of here!

Beltrán. — Let's go quickly, my friend! Food and drink it is!

Maravedí. — That's what I'm saying! Let's go quickly, my friend! Come on!

The End

Análisis Dramático y Escénico:

Estructura y Género:

 * Farsa Meta-teatral: La obra se inscribe claramente dentro del género de la farsa, utilizando el humor absurdo y la ruptura de la cuarta pared como principales recursos. La constante interacción de los personajes con el narrador y las referencias explícitas a la propia representación teatral la convierten en una pieza meta-teatral.

 * Prólogo y Escenas Cortas: La estructura en un prólogo y dos escenas cortas facilita un ritmo ágil y dinámico, ideal para mantener la atención del público en una obra de corte cómico.

 * Conflicto Central: El conflicto principal reside en la incapacidad del narrador para seguir el hilo de la historia y los verdaderos nombres de los espadachines, lo que provoca constantes interrupciones y un caos divertido. A esto se suma la peculiar relación de rivalidad-amistad entre Beltrán y Maravedí.

Personajes:

 * Maravedí y Beltrán: Son arquetipos del espadachín valiente y pendenciero, pero llevados al extremo de la ridiculez. Su rivalidad parece más un juego o una excusa para la acción que un conflicto real. Sus personalidades son complementarias: Maravedí es más presumido y pedante, mientras que Beltrán es más impulsivo y directo.

 * Narrador: Es el personaje que sufre la burla constante de los espadachines. Su intento de mantener el orden y la coherencia de la narración se ve frustrado una y otra vez, lo que genera gran parte del humor de la obra. Su vestuario, una mezcla de épocas, ya establece un tono anacrónico y humorístico desde el inicio.

Elementos Escénicos Destacados:

 * El Biombo: Este elemento escénico es fundamental. Actúa como límite entre el escenario y el fuera de escena, permitiendo juegos de ocultamiento, revelación y generando la sensación de que los personajes existen más allá de lo que se muestra al público. Las siluetas y las voces detrás del biombo crean un efecto de anticipación y sorpresa.

 * Vestuario: El contraste del vestuario del Narrador (mezcla de Shakespeare y elementos contemporáneos) con el presumible vestuario de época de los espadachines (capa y espada) acentúa el carácter anacrónico y cómico de la obra.

 * Sonido: El uso de música de tensión, el sonido de la multitud emocionada y el silencio posterior son recursos sonoros que contribuyen a la atmósfera cómica y a la sorpresa del público.

Posibilidades de Montaje:

 * Énfasis en la Farsa: Un montaje podría enfocarse en exagerar los elementos cómicos, utilizando un ritmo muy rápido, gestos y expresiones faciales exageradas, y un vestuario aún más llamativo y ridículo para los espadachines.

 * Teatro de Movimiento y Clown: Dada la naturaleza física de las peleas (aunque interrumpidas y poco serias), se podría explorar un montaje con elementos de teatro físico o clown, donde las caídas, los tropiezos y las coreografías de esgrima torpes generen humor.

 * Minimalismo Escénico: El biombo podría ser el único elemento escenográfico relevante, potenciando la imaginación del público para el resto de los escenarios mencionados por el narrador. El juego de luces podría ser crucial para marcar los cambios de escena y el "intermedio".

 * Interacción con el Público: La ruptura de la cuarta pared ya está presente en el texto, pero un montaje podría intensificarla con el Narrador dirigiéndose directamente al público, buscando su complicidad ante las ocurrencias de los espadachines.

 * Adaptación para Diferentes Espacios: La obra, con su escenografía sencilla, se presta para ser representada en diversos espacios, desde teatros convencionales hasta espacios más alternativos o incluso al aire libre.

Crítica Razonada:

Puntos Fuertes:

 * Humor Absurdo y Original: La obra destaca por su humor meta-teatral y la divertida dinámica entre el narrador y los personajes. La confusión con los nombres y la constante interrupción de la narración generan situaciones cómicas muy efectivas.

 * Agilidad y Ritmo: La brevedad de las escenas y la constante acción (aunque sea cómica) aseguran un ritmo dinámico que mantiene el interés del espectador.

 * Potencial para la Creatividad Escénica: La sencillez de la escenografía propuesta (principalmente el biombo) ofrece mucha libertad para la creatividad del director y los diseñadores.

 * Reflexión sobre el Teatro: De manera ligera y cómica, la obra reflexiona sobre el papel del narrador, la construcción de la historia y la relación entre los personajes y el público.

Posibles Debilidades:

 * Desarrollo de Personajes: Si bien el humor es efectivo, los personajes podrían tener un poco más de profundidad para evitar caer en la pura caricatura. Explorar ligeramente las razones de su "rivalidad" (más allá del gusto por pelear) podría enriquecer la obra.

 

Conclusión:

"Espadachines" es una obra con un gran potencial cómico, ideal para un montaje que explore la farsa y el meta-teatro. Su estructura ágil, sus personajes divertidos y la sencillez de su propuesta escénica la convierten en una pieza atractiva para grupos de teatro que busquen una obra original.