A multidisciplinary proposal, guided by poetry, that alternates dialogues generated through the dramaturgy of the poetic work of "Panero's son", conversations and interviews conducted with Leopoldo María himself, his brothers and his mother at different stages of his life, texts written by the performers specifically for this purpose and other physical and audiovisual proposals.

The play's dramaturgy stems primarily from poetry as its raw material, but it is neither stage poetry nor poetic theater. It enters the realm of an unclassifiable, multifaceted work. This unusual nature is justified by the portrayal of a confused society (constantly doubting its fragile principles) and by the atmospheric creation of a madman's mind (with its paranoid disorder, sometimes more lucid, though surreal, than that of the sane). The performance draws on this existential confusion to create an unclassifiable yet clear expression. Multifaceted, yet unambiguous.

Contrary to what might be expected when working on the figure of Leopoldo María Panero, we do not intend to create a dark or pessimistic spectacle; quite the contrary. We treat madness and confinement with a critical distance (without criticizing it implying judgment), which allows us to analyze it through identification with "Panero the son" (the son of the Panero of the regime, the son of his culture, even though he hates it) and with his poetic and biographical evolution from his early combative poems ("Canto a los anarquistas caídos sobre la primavera de 1939") to his later, more self-contemplative poems, trapped in the madness of his own social network: "Lirios a la nada" "Estantigua."

In a time when haste prevents leisurely reading, we maintain that the performing arts offer a space to pause the world, to reflect on the creativity of words, and to whet our appetite for our literature and our authors. Hence, this reflection on contemporary society through the lens of a poet.