Lasso of truth

The lasso of truth is a queer love story.

The lasso of truth tells the queer love story of those who inspired and created Wonder Woman, a powerful icon in popular culture.

The lasso of truth tells the love story of an intellectual, feminist married couple that has a polyamorous relationship with a mysterious young woman. The husband is creating a lie detector machine. Truth is not only his obsession but what he expects from his partners. Thanks to an interview about the impact that comics could have on young people, he decided to create his own comic. His ultimate machine of truths was Wonder Woman, a reflection of the two women in his life and the values they shared. Through the story, we see the impact Wonder Woman had on others and how she earned a place in popular culture.


This space is small, intimate, warm, with a chiaroscuro effect. It gives you just a little bit of claustrophobia. Even the open spaces are small like we are looking through a window, is human-made (architectural clues), contained and habited.

Time jumps in this world, goes form the 40’s, to the 60’s /70’s, to the 90’s/00’s in seconds. These jumps have different ways of behaving through this space. Sometimes its silent and awkward, other times is frenetic and dynamic. Time is the true storyteller in this world. Darkness works like a black hole through the story, giving clues about the future.

The mood is created mostly around the small monologues and blackout chants of children playing. These chants start all fun and joyful turning dark and sometimes cruel. The tone is always passionate.

There is a hidden space for the divine, understanding divine as the ultimate form of truth.  Through alive objects, mysterious deities and sacred origins.

There is a lot of silence, repetitions, in words, cycles and circumstances that give a particular rhythm to this space. There also mundane sounds of your everyday life

Rules are very important in this space, either to play by them in public or to bend them or break them in private. At the end [time] we see how our characters created and lived by their own rules. This was expressed through their clothes (restrain accessories, symbolic jewellery, makeup, in fashion garments, comfortable elements, pain objects) all depends on how each character fits into space. 

There is always a discussion happening in this world, sometimes between the group characters of a specific era or through small monologues we know what they are thinking and feeling all the time. Thoughts, feelings and memories are mixed constantly.



The tragedy of Macbeth by William Shakespeare / Teatro Colón de Bogotá – 2016



“Theatre is always a self-destructive art and it is always written on the wind”


Some time ago I was in a set design class as a guest, they gave us a script and at the end of the reading, the professor asked about the place. Most of the scenes happened inside a multipurpose classroom at a community college. I thought about the space and started going through the script, imaging the objects in my head trying to be clever and making them functional for theatre. But then, one of the students started to talk about the context of the space, about the town! I was confused, nowhere in the script they mentioned the town at all. This student was trying to go beyond the script and visit this small planet. He was walking through the neighbourhood, getting familiar with the culture, the language and the weather. He understood something back then that I didn’t. That a play is a world, not just a window.

I’m sure Peter Brook was good at visiting small places, more than anything he was probably prepared for unexpected visits. When he mentions the concept of Theatrical thinking or Design in motion, meaning “expect changes”, that felt like someone from my world, also it felt like late advice for a young set designer.

I’ve learned that spaces, objects and costumes tell stories, they can fill any stage with symbols and be as powerful as any aria. As a designer, Elinor’s Fuchs words are inspiring not only because it comes from a familiar context but because It expresses something that could live outside the performative arts field.

Both Fuchs and Brook showed a point that is critical while creating. That’s how the audience has a lot of weight on the performance. Not only in the sense of its true access to the play (monetary) but if it can connect to the play. Let’s take Brook’s example of his Shakespeare play in a European country where the English language was a barrier but the context of the play was present in the history of the country and how it worked beautifully. I had the opportunity once to be part of a dual-concept event: Macbeth, Shakespeare’s play and Verdi’s 10th opera. A project that wanted that connection with the audience. Being a tragedy crossed by the wounds of power struggles, we tried to reflect on our national reality. A mirror of Colombia’s 50 years of conflict. One night, during the opera, the chorus walked through the audience toward the stage singing Patria Oppressa. The feeling that overtook the theatre was overwhelming, people cried, and sorrow could be felt. To connect with your audience at this level was a gift, we weren’t expecting it.