“I had to ask Don Segismundo Moret himself, the Minister of the Interior, for permission to bring her here.” The permission Don Benito was referring to was so that Mariucha could live with him in his house at 70 Alberto Aguilera Street, on the corner of Gaztambide Street. Mariucha had been born on an estate owned by some of the writer's friends in Toledo. It was a farm called “La Alberquilla” in the Vega del Tajo. We should mention that Mariucha was the wrong color. She was black. And black people aren't good for making colored fabrics. This is why he was able to bring her to Madrid, where she lived happily for a year with the Pérez Galdós family.

Although she returned to the Toledo estate, Don Benito paid for her upkeep for the rest of her long life. Dr. Marañón said that when they were informed of the death of Mariucha, Galdós's sheep, there was a period of family mourning.

Galdós's life also included dogs, cats, and plants. Driven by his love for animals, he didn't hesitate to have his portrait painted with them, a very uncommon practice in his time. In this, too, he was ahead of his time.

Are you talking to me about loneliness, when I'm on my third buried dog?

Benito Pérez Galdós

"Galdós's sheep It is a journey into the author's homes,
where animals, plants and children live together in perfect harmony.
His compassionate gaze towards the most fragile beings and his admiration for the
nature shows us a unique, original and undeniable man.
As director, it is a joy to be able to showcase this playful landscape, immersing us through voice and dance, a portrait of the author's sensory world and its reflection in his work. Galdós's relationship with animals and plants humanizes us, speaking to our capacity for affection and respect for all living beings. It's easy to imagine that the world would be a better place if we all shared this perspective.

Inés Piñole

absolute premiere
Country Spain
Spanish Language
Duration: 60 minutes (no intermission)
Overture by Luis Alberto de Cuenca
Documentation: Juan Carlos Pérez de la Fuente
Lighting: José Manuel Guerra
Choreography: Carmen Werner and Daniel Abreu
Executive Producer: Fernando Valero
Company: Prevee
Graphic Design: Alberto Valle (Hawork Studio)
Technical coordination: Mario Goldstein
Technical team: Enrique Chueca, Raquel López and the staff ofel Círculo de Bellas Artes
Directed by: Inés Piñole
With the collaboration of: Daniel Abreu, Silvia Marsó, Arturo Querejeta and Carmen Werner