The debate on women's suffrage in the Courts in 1931 is today a succession of texts, empty of documentary images, from whose lecture a passionate scenic game stems, structuring the times of exposition, development, and end in the way of the classical theatre. Clara Campoamor stands in the eye of the storm, while managing to shine and stir. The hemicycle, until then with an exclusive masculine representation regardless of the advances of Spanish society, transforms thanks to her intervention into a place from where here thesis blooms and is defended from powerful antagonists as her colleague the lawyer Victoria Kent. Like any utopian act, the event unleashes a dramatic chain of treasons and loyalties, opposing thesis and vibrating rhythms and aesthetic forms, until arriving into another cruel paradox of history. The utopia of dignifying the feminine sex through the obtention in her time and generation of the right to vote, would imply for her the emptiness of isolation and exile.