Te acuerdas. Principio

Do you remember?



 A “Fábula, Teatro Infantil” and “Luís Paniagua” production


This concert arose from the need to give form to a feeling, a state in which the memory of the place where we come from was so strong that it was essential to find an artistic way to express it.

When we contemplate a newborn baby while he sleeps or plays, the link between the baby and the Ineffable seems to be so strong that it makes us tremble.

As artists, as people in charge of recreating veiled worlds, it was difficult for us to know how to do this. Listening to the music of Luis Paniagua brought us the necessary key or “tone” for the whole performance. A quiet, gentle lullaby would be the means that would take us to the imaginary world of the baby.

Furthermore, an immersion in the more scientific part of the subject led us to unsuspected territories. The Mozart effect, the brilliant Tomatis and several state-of-the-art studies on the importance of music in the development of the child, convinced us of the suitability of the means we have used. Almost two years of trials, studies, direct observations and discarded ideas have resulted in what we are offering today.

The incorporation of greatly renowned artists such as Ouka Leele, who did not hesitate to join the project, gave the final touch to what we were developing.




Quiet music is playing. This sustained musical background creates a warm atmosphere. It is the beginning, the child’s access to a special place, a new birth to a microworld, with its own laws and harmonies. The lighting is dim, without being dark. Children are welcomed by the actor, the dancer and the musician who guide them to their places. Everything is peaceful and they are treated gently.

Every child must feel comfortable, confident, safe, and settled before the concert begins.

When everything is ready, a shared look between the performers opens the concert.

The first theme plays……

The actor:  Once upon a time, there was a little boy…

 The dancer: Once upon a time, there was a little girl….

They play with a veil in many different ways: sometimes the dancer goes underneath it and at other times the actor and the dancer take hold of its corners and lift it.

The music is merry, with a lively rhythm. It is the impulse to push; the rhythmic movement that generates vitality and joy and the baby’s first breath.

This dance is interrupted by the music and a new game with torches begins. They are the sunrays that filter through on hot summer days. The blown dust leaves trails under the light beams. The actors discover that they have arms, hands….They then see the children who they point at with their torches. Everything is a game. A change occurs and an amusing choreography begins where animals are mimicked.

A brightly coloured butterfly appears, fluttering and playing a game with the dancer, letting her discover every different part of her body: her hands, arms, legs, body, face…., that move to the rhythm of small percussion instruments. When it reaches her face, the butterfly disappears. As the dancer observes her hands, the actor approaches her and realizes that he has hands too. They both study them, playing and dancing with them while a love song is heard.

A puff of air prompts them to play with windmills until they face each other and exchange gestures. They play at imitating each other and making faces until their voices arise producing undefined sounds. This turns into a choir of voices that plays with the children, who repeat the song notes. It is a small, improvised choir that generates essential rhythm.

Some tables with several glass objects containing water appear. The water modifies the light. The drops of water resound, creating crystal clear melodies. The water, changes its colour magically. Clear water passes from one pot to another and soap bubbles appear. The actor and the dancer play with them until they catch a bubble falling from above. Bubbles then flood the hall. It is a party where children enjoy making the bubbles explode.

The voices combine slowly into a final rocking lullaby. In the middle of the performing area there is a lit candle. Everything gets darker until only the lit candle remains and the musical background of the lullaby, which gradually decreases to silence.



 In the words of Luis Paniagua

Babies are the most respected beings of the natural world. For this reason, making music for them fills me with a great sense of responsibility, as well as tenderness and love. In order to make this music as simple as possible, which is essentially the most direct way, I will use the deepest and most positive feelings and emotions such as harmony, love, beauty, happiness, joy, smiling and laughter, pleasure, delight and respect. These are some of the things that make us grow well before birth, at birth, during our first three years and for our entire life on earth thereafter.

After our conception we spend our time in water, the amniotic liquid of our mother. Little by little, as our senses start to awaken, we become more aware of movements, emotions and sounds which accompany us until we are born. For this reason, I use sounds from the body and water, but as if they are heard from inside the water, to enable us to get close to those moments which are forgotten, but certainly kept in our unconsciousness.

There is no musical recipe for our babies: the music their parents like best will be the most appropriate for them. If parents listen to music recommended to them by someone, but which they do not like, neither the child nor the parents will react positively to it.

Babies perceive every vibration, both positive and negative. However, with the passing of the years they may eventually rediscover that music and make the necessary changes for the evolving development of their own taste and direction.

Since my son was born in 2002, I have tried to put myself in his place, absorbing all his actions, not only through my intellect but through my heart: only after that did I proceed.

When we come to this life we experience a birth, but also a death. In the same way, when we die we also experience a birth.

We can accompany these fragile moments with harmonious music and harmonious silence to make the farewell and arrival gentler. I feel that this will make our stay more welcome in either of the two places. Music has the power to create infinitely subtle spaces, not only when we listen with our ears, but when we listen with our souls.

I do not try to communicate anything with music, but I allow the music to speak for itself. Most importantly, I am interested in the purity of the heart, because my intention is not to make therapeutic music from the intellect, but to make loving music from the heart.

Being close to Art is essential for us from the beginning of our existence.

Hegel says:

“Man has used Art as a mean of becoming aware of the highest ideas and interests of the spirit.”

I think it is important to always have this in mind, but especially when we share our lives with our children, who are the present and the future.

Michel Washburn says:

A radical inner transformation of mankind, added to the fact of reaching a superior state of consciousness, constitute our sole hope for the future.

To finish, I would like to recall some words from W.A. Mozart:

Neither a high level of intelligence,

Nor imagination,

Nor both things combined

Will create a genius.

Love, love, love:

That is the soul of the genius.

May love, beauty and respect always be with us.

 Luis Paniagua


 Luís Paniagua.   Musician – Composer –  Producer.  He won the national prize for the Best Álbum of New Music for Nanas de Sol in the year 2002, and in 2003 he was nominated for Bienvenida, awarded by the Academia de las Artes y las Ciencias de la Música de España (Academy of Arts and Sciences of Music of Spain).

 Ouka Leele joined the project to bring her acute sensibility to the conception of the stage design and the visual space. Her vision, that goes beyond what is seen, is the perfect companion in this essential concert.

Artist of an important career, icon of the 80’s in the so-called “movida”, she has been awarded the National Prize of Photography in 2005 (Spain).

Marga López is a dancer trained in contemporary dance who has worked with dance with very young children.

 Juan Pedro Romera is the actor who, together with the dancer, casts the shape of the music of Luís Paniagua in a play without hierarchies for the young audience. More than 25 years of dedication to theatre for children confirm his career.


Musician                                                                  LUIS PANIAGUA

Dancer, actress                                                     MARGA LÓPEZ

Actor                                                                         JUAN PEDRO ROMERA

Musical composition                                         LUIS PANIAGUA

Script and direction                                            JUAN PEDRO ROMERA

Stage design and poster                                    OUKA LEELE

Dressing                                                                   FERNANDO VIDAL

Lighting                                                                   JUAN GONZÁLEZ

Video                                                                        LUNA DE ÍTACA

Production                                                             ACCIÓN TEATRAL S. L.

Distribution                                                           fabula@fabulateatro.com

C/ Carril de los Juanes, 12. 30012 Murcia. España.

Telephone: 34 – 649 09 08 11.

E-mail: fabula@fabulateatro.com

Duration of the concert: 30¨.

link to view the show: http://www.youtube.com/watch?v=Lh2slmhl0Ss


  • 10 x 8 m clear space with the possibility of creating total darkness. If the space is bigger it will be necessary to make it smaller with panels of hanging black or white material. If it is performed in a theatre it is best to use the stage with the backdrop. The seats for adult audience should be placed facing the stage and the children can sit down in front of them on a carpet. The rest of the stage space will be used by the actor, the dancer and the musician.
  • Current source of 220 V near the stage to plug the sound system (brought by the company).
  • The children come in to the performance space when the concert begins. A waiting area must therefore be prepared for them. They are then guided by the actors to the interior of stage.
  • The maximum number of children in the audience should be 60 for each session. Each child can be accompanied by a maximum of one adult.
  • The concert is not recommended for children over three years old. Its contents have not been adapted for them, so they may get bored and disturb the atmosphere.
  • The seats for the adult audience do not necessarily have to be tiered.
  • Given the duration of the concert (30´), several consecutive sessions can be scheduled.