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Language that belongs to us
We explore the language of our film in BRIDGING FILM, spring 2024. 
1. Film workshop in Trollhättan and Paris.
2. Film screenings in Gothenburg, Trollhättan, and Paris. 
Get in contact for information.


el prisma de una  sandía

El cuarto de Luken Gotemburgo, Suecia 2022

Vladimir y el teatro París, Francia 2024

Huellas Saqqara, Egipto 2024

Vértices, el prisma de la sandía, es un proyecto de búsqueda y desarrollo del largometraje ESTADO TEATRO. Isabel Lagos Y Erika Webe son las escritoras y protagonistas del desarrollo de esta película.

Vértices comenzaron en Gotemburgo en agosto del 2022, y le suceden dos destinos en el 2024; París y luego Saqqara, en Egipto. El objetivo es el de explorar el lenguaje y las formas en que se desarrollará la historia.

┊ ┊ ┊. ➶ ˚ the brief


El espacio, la historia, las personas involucradas para su realización y los personajes de la escena. 


7 días (como el tiempo que se sucede en la historia de Estado Teatro, y dividido en 3 partes.


Isabel &amperio; Erika escribe la escena del vértice afectado en las necesidades de desarrollo del largometraje, elige un lugar, las personas (equipo & actores) y coordinan lo necesario.


día 1-2

Presentación; el equipo/actores y el proceso de la Historia es compartido utilizando habitaciones y áreas de la localidad; a través de idioma verbal, de señas y gestos. Lectura; guión, biografía y cuadro psicológico de los personajes. 

día 3-4

Desarrollo de los personajes a través de entrenamiento de teatro físico y mimo corporal.

día 5-7

Trabajo de escena y filmación 

 ┊ ➶ 。˚ °   LUKENS ROOM Gothenburg

Story the scene takes place during:
ACT II, Day 3, PART II: Theatrical spaces

Characters LUKEN and CARACOLA
Space Gathenhielmska Huset,
Gothenburg, Sweden

Dates 9 - 15 July 2022

Team & cast
R&D prep; Isabel Lagos and Erika Webe
Direction Isabel Lagos
Movement direction Erika Webe
Actors Eric Whiteford and Erika Webe
Cinematographer Tristan Sicard
Production assistants Gustav Bender and Khaled Elsamman
Teaser/trailer edit Coriandre
Music Joel Heirås

Description of this Vertex

  • Space - why Gothenburg and Gathenhielmska Huset?
    The film development starts at the writers’ cities of residence and travels on from there. Isabel lives in Gothenburg, manages the arthouse Gathenhielmska, and has worked on several international, national and local projects as a producer, writer and director.


  • Summary of the R&D week
    Communication of the Story through the languages of the People present: Sign language, Swedish, English, Spanish, French, writing and gestures. Both verbal and visual languages gave rise to the creation of a shared language for the filmed scene.

    The meeting of People occurred exploring the Space, that is, through the different rooms of Gathenhielmska Huset and the Story of Theatre State. While the Space was prepared for filming, the biographies and emotional states of the Characters were presented, visualised, and discussed. Character development work was carried out through the techniques of neutral mask, corporeal mime, physical theatre and clown. In the last two days the scene was filmed based on the script, and leaving room for improvisation.

    Link to a longer trailer 


    In the search for articulations of form and language for Theatre State, each Vertex is an integral part of the process.


Story the scene takes place during:
ACT II, Day 2, PART I: Theatrical Enigma


Space International Visual Theatre (IVT),
Paris, France

Dates June 2024

Team & cast confirmed
R&D prep; Isabel Lagos and Erika Webe
Direction Isabel Lagos
Movement direction Erika Webe
Actors Eric Whiteford, Christian Tétard, Nehuen Velazquez and Erika Webe
Camera assistant Adam Granqvist
Teaser/trailer edit Coriandre
Production assistants Gustav Bender
Set Design Kaleva You
Costume & Makeup Sophie Bellote 
Teaser/trailer edit Coriandre
Music Joel Heirås

┆彡   call for
Actors for the parts of:
Site Coordinator

Description of this Vertex

  • The Story and script for the film-scene has been written. 

  • The list of People is longer than for the first Vertex. There are 5 Characters in the scene and we are in the search for two actors to join us.
    As for the team, we are calling out for a Producer, a Cinematographer, a local Coordinator and a Cook to join the production work. 


  • Space - why Paris and IVT?
    The film development starts at the writers’ cities of residence and travels on from there.
    Erika studied pedagogy and mime at the International School of Mime in Paris, and lives in Paris working as a performer primarily with mime, circus and theatre.

    The development of the film’s language is about connecting and exploring the meeting points and the space in-between Sign language, Corporeal Mime, Theatre and Film. We believe that the proposal is truly suitable for IVT. Eric Whiteford, one of the three main actors is deaf and communicates through Swedish sign language. Two deaf members of the film team joined the production team in Gothenburg and we are calling out for more deaf professional film makers to join our team.


  • The story
    The scene begins outside the theatre.
    A lawyer walks up to the door, he’s bringing a letter of eviction; it’s a copy of the same letter they have been receiving for years. Vladimir, together with Luken, have found a way to deal with; when officials knock on the theatre door Vladimir dresses as a wizard and cast a curse in an extra-planetary language while Luken walks around him and with a bowl from which smoke rises. And so it is this day as well that the lawyer runs away. Three people are watching the action; a boy on a bicycle, a retired photographeress and Caracola, they applaud. Vladimir is not pleased about this reaction; angry and ashamed he leaves and enters the theatre.

    Inside the theatre.

    Between words and gestures Vladimir spits out monologue to Luken and Caracola about the theatre being dead, old, dirty and forgotten - a lonely space. A melodramatic voice answers him and the outcome is catastrophic, he leaves in a bad state. Luken and Caracola are bewildered and clueless as what to do about this situation. 


  • Relevance
    Through this scene we experience the fall of the artist, the moment in which the shadows extinguish the inner being. Vladimir, after a life dedicated to art, is exhausted from the incessant struggle for the survival of a space abused by society and he appears once again dressed as a wizard and manages to scare the lawyer away, as he has done on so many other occasions. But this time he believes it is the last one as he has forgotten what he believed in, and ends up filling the theatre with his own shame and bitterness.

    Luken and Caracola, who upon observing and listening to Vladimir understand that they will have to find a solution. But going against the current is not simple and they don't know what or how to do it. And so this Vertex ends in silence. This pause is essential because it invites something quite extraordinary to happen; the awakening of the inner senses, the third Vertex, in the necropolis of Saqqara, Egypt.

 ೃ ⁀ ➷  FOOTPRINTS  Saqqara

Story the scene takes place during:
ACT III, Day 5, PART I: The inner-ground

and 9 inner senses: ACOL, OLA, NUE, LAD,

Space Saqqara Necropolis, Egypt
Dates 4-10 November 2024

Team & cast confirmed
R&D prep Isabel Lagos and Erika Webe
Direction Isabel Lagos
Movement direction Erika Webe
Actors Eric Whiteford, Erika Webe,
Julie Pusch and Vivek Maddala

Camera assistant Adam Granqvist
Teaser/trailer edit Coriandre
Production assistants Gustav Bender
Set Design Kaleva You
Costume & Makeup Sophie Bellote
Music Julie Pusch and Vivek Maddala

 ೃ ⁀ ➷  call for
Actors for the parts of:

Site Coordinator

Description of this Vertex

  • The Story and script for the film-scene has been written. 

  • The list of People is longer than for the first two Vertices. There are 11 Characters in the scene and we are in the search for 7 actors to join.
    As for the team, same as for Paris, we are calling out for a Producer,  a Cinematographer, a local Coordinator and a Cook.


  • Why Saqqara necropolis?
    We believe in art as a means of transformation. We deeply believe in the story of Theatre State as a reminder of the inner senses (memory, intuition, common sense, imagination and fantasy), they are creators from within, a gift to unravel in our lives. It is up to each of us to be willing to sense these, and if we can master it, make them equals with the outer senses (vision, hearing, touch, smell and taste). The senses we have named “inner" appear in the film as characters with names and artistic skills. They represent these inner senses of our three main characters.

    Isabel has previously worked with these concepts combining opera and sign language in the creation of 'The Bear, an opera extravaganza', in Sweden and in Libertalia together with Alexis Johnson and an ensemble of European artists, including Erika Webe in the core founding group. Bringing these senses to light makes quite a different world, and film is a good medium for it.

    The Vertex, Footprints, is to be filmed in the Saqqara necropolis as it is be place where the senses awaken. The civilisations of ancient Egypt is surrounded by a mystery which allows us to travel inside and outside ourselves and makes it easier to believe beyond the scope of what is. When we visited Egypt in 2021 we were struck by the unique atmosphere, were we felt the senses present and the story seemed to be telling itself.

    An important part of the story of Theatre State is about ways of opening theatre doors and allow people to get to know it. It involves going back to play with ancient memories which seem almost lost to our society. Saqqara necropolis, is the place where we want Footprints to be filmed, and also it is where the story begins.


  • The story
    LUKEN and CARACOLA are left alone and have no idea what to do.
    The previous Vertex, Vladimir and the Theatre, in Paris, ends with a monologue by VLADIMIR inside the theatre. He is an old painter convincing himself that the theatre is dead, old and dirty and that there is no point in continuing to fight for its existence. It is at that point when Luken and Caracola understand that it is their turn; they have to do something, but what? And how?

    A watermelon rolls out of the theatre corridor and down the pyramid.
    Upon reaching the last step, it is caught by ACOL (Caracola's Common Sense), an old clown producer, on his face he has permanent traces of white makeup from times gone by. He approaches OLA (Caracola's Intuition) a poet girl playing in the sand, burying NUE (Luken's Intuition), a young dancer.

    Next we see three characters installing a giant picture frame by the side of the pyramid. They are creating a theatrical space in the vastness of the desert, and they must start by framing it. In the film Vladimir makes a huge backdrop with this same scenery. The three characters working with the frame are; MIR, VILDIR and LAD (all Vladimir's inner senses; Imagination, Memory and Fantasy). Next to them is a broken piano, it is in pieces and splays by itself. CARA, a lyrical singer (represents Caracola’s memory) comes out of a tomb and approaches them. The theatrical stage starts shaping up.

    Meanwhile Luken and Caracola walk through the desert, carrying a folder with documents, blue working overalls, tools and a ladder. The same tools with which they leave ‘Luken’s Room' in the first Vertex in Gothenburg.

    Theatre State it is also a metaphor for our minds - in the desert we can feel the vastness without precise route, everything seems quite similar and at the same time very different. The desert can be felt as empty or as full, in endless possibilities directions will still hav
    e to be chosen.

    As they walk, KEL’s (Luken’s imagination) voice is heard. (Note: Captions for the deaf will be used throughout the film.) She talks about the need for a change of perspective to be undertaken so that the theatre can continue to exist. We then see her, coming out of the tent and putting on her makeup at the entrance, with a cigarette and a cocktail. The images alternate between the characters, the construction, the game, the desert, the word, the signs, the music and gestures.

    Luken and Caracola arrive at to the stage, a space e created by their own senses and those of the painter. The two of them do not see their senses, and while Caracola sits down to observe that extraordinary place, Luken walks onto the stage and some hessian bags gets his attention. He opens them and more sand fills the place, he invites Caracola to play. The game raises their spirits and a new a sense of hope fills them while the walk the sandy stage and after a while they surprised to see many more other FOOTPRINTS around them.

    Despite its seriousness, all is of course executed with the necessary sense of humour.


  • Relevance
    In the film, two children look through the telescope and wonder if there are theatres on other planets. From the centre of the pyramid the upward vertical directionality is directly related to a constellation of stars and through something as absurd as the trajectory of a watermelon are connected.

    Another fundamental aspect is to develop the Theatre State film language with local artists. We propose a 'call for artists' so the senses are also interpreted by actors from the region. And since part of the people from our crew and team are deaf and communicate through sign language, we are also focusing on a possible collaboration with local organisations that approach theatre with sign language.

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