"a travÉs de la magia del teatro de tÍteres y mÁscaras, invitamos a nuestro pÚblico a que nos acompaÑe al aÑo 2047, adentrÁndonos en una experiencia multimedia hacia la creación de un mundo nuevo y liberado, posible sÓlo a travÉs del amor y el espÍritu revolucionario de la resistencia colectiva. ¡la vÍspera es ahora!" 

funciones:

jueves, 31 de octubre de 2024 | 7:30pm

viernes, 1 de noviembre de 2024 | 8:00pm

sábado, 2 de noviembre de 2024 | 8:00pm

domingo, 3 de noviembre de 2024 | 2:00pm

Este performance estará descrito en audio.

lugar:

Emerson Paramount Center, Robert J. Orchard Stage

559 Washington Street Boston, MA 02111

informaciÓn importante sobre disponibilidad y precios de las entradas::

Las tarifas de las entradas han sido determinadas por ArtsEmerson. Recomendaciones para comprar boletos en la página de ArtsEmerson aquí

Las organizaciones sin fines de lucro pueden ponerse en contacto con tickets@artsemerson.org / 617.824.8400 para solicitar boletos con descuento.


papel machete

Papel Machete es un colectivo de trabajadores radicales de teatro callejero y títeres que produce y presenta obras originales en Puerto Rico y Estados Unidos. Los miembros son titiriteres, escritores, músicos, artistas visuales y organizadores que han trabajado juntes desde el 2006. papelmachete.com

agitarte

AgitArte es una organización de artistas y organizadores culturales de la clase trabajadora que trabajan en las intersecciones de raza, clase, género, sexualidad e ideología. A través de una praxis de solidaridad cultural, procesos creativos y educación popular, inician y facilitan proyectos artísticos y culturales con comunidades de base que cuestionan y retan a la hegemonía cultural de Estados Unidos. Del mismo modo proponen alternativas a los sistemas de opresión existentes a través del trabajo creativo centrando las experiencias de las personas oprimidas en resistencia a través de recoger esas historias utilizando medios interdisciplinarios, y en sus proyectos de solidaridad mutua, talleres, compartir de destrezas y la gestión de un espacio físico para programación con enfoque en la educación popular en Santurce, Puerto Rico. Para obtener más información, visite agitarte.org

artsemerson

ArtsEmerson es la organización de presentación y producción profesional del Emerson College. Su misión es involucrar a todas las comunidades a través de historias que revelen y profundicen nuestra conexión mutua. Mediante el cultivo de la diversidad en el arte y en el público, ArtsEmerson enciende la conversación pública en torno a nuestros retos sociales más acuciantes como catalizador para superarlos. artsemerson.com

artistas


Portrait of Jorge Diaz Ortiz

jorge ‘cano cangrejo’ dÍaz ortiz

Director, Producer, Puppeteer

Portrait of Sugeily Rodriguez Lebron

sugeily rodrÍguez lebrÓn

Productora, Asistente de dirección, Titiritera, Mascarera

Portrait of Deborah Hunt

deborah hunt

Puppet & Mask Director, Assistant Director, Puppeteer, Mask Performer

Portrait of Jose Hernandez Diaz

jose ‘primo’ hernÁndez dÍaz

Titiritero, Mascarero

dey hernÁndez vÁzquez

Titiritero, Mascarero

Portrait of Tina Orlandini

tina orlandini

Titiritera, Mascarera

yaranÍ del valle piÑero

Titiritera, Mascarera

 francisco iglesias

Titiritero, Mascarero

marian annette rodrÍguez morales

Titiritero, Mascarero

lizbeth romÁn

Mascarero, Músico

agustÍn muÑoz rÍos

Mascarero, Músico

anÍbal ‘el s.’ vidal quintero

Mascarero, Músico

mariela mendoza solÍs

Mascarero, Músico

yamillex montaÑez

Titiritera, Mascarera, Equipo de producción

cristina sesto

Equipo de producción

Portrait of Joe Therrien

joseph therrien

Titiritero, Mascarero

sam wilson

Mascarera

Portrait of Juan Pablo Vizcaino

juan pablo ‘juanpi’ vizcaÍno

Titiritero, Mascarero

brenda plumey

Mascarera, Asistente del director

Portrait of Osvaldo Budet

osvaldo budet

Editor de vídeo

estefanÍa rivera cortÉs

Artista visual

on the eve of abolition: scene-by-scene

Click arrow for scene description

Introduction

“The quest for abolition: How do we arrive at this place we call abolition? What are the roads to such a destination? We arrive from the almost lost lessons of history shaped by generations of ancestors who struggled their whole lives for that rare breath of freedom, and yearned with all their hearts that we, their prodigy, would one day breathe free air. For abolition stands for the long hard struggle against slavery, abolition meant the destruction of that system and the beginning of freedom. For a brief moment in time, freedom dawned over the land, but it was a mirage, a lie usurped by the greater lie of white supremacy, which plunged people into the darkness of terror and death, in fact, slavery by another name. Those unholy origins lead to the specter of mass incarceration. The greatest incarceration of juveniles in global history. The systems of white supremacy, of ruthless capitalism and labor exploitation, led to the monster now before us, what activists rightly call DBI, Death By Incarceration or lifeless sentences of life, forever. The presence and threat of prisons doesn’t create, it doesn’t treat, it doesn’t help, it feeds, it harms, it cripples, and yes it kills, it is the institutionalization of meanness, plain and simple. Prison abolitionist and noted scholar Dr. Ruth Wilson Gilmore stated: ‘Abolition requires we change one thing, which is everything.’ Now is the time. With Love, Not Fear. This is Mumia Abu-Jamal.”

Scene I: The Fleet: Tanco and the Caribbean Revolution

Led by Tanco, a delegation of the Liberation Fleet rises in a maritime rebellion against imperial forces, forging alliances, reclaiming freedom, and uniting the Caribbean in a journey toward abolition.

“There are still many stories to be told about the revolution of our peoples. Even more so, when the defeat of the empire which consumed the Caribbean, seemed impossible. Yet, it happened, “pasó”…

In the face of the imminent collapse of the Empire, those of us on the path of the struggle for liberation, united. We fulfilled the dreams of our ancestors. “Nuestra fuerza revolucionaria”. Our revolutionary fervor raised the seas in an upswell of victories. 

It all began with a maritime blockade at the ports in response to the constant hikes of food prices and basic necessities. We continued the rebellion by intercepting their shipping routes and taking over their cargo ships and boats. We formed a small fleet, fueled by the necessity of our survival. Our successful efforts of solidarity throughout the Caribbean grew into a larger Liberation Fleet, “Nuestra Flota Libertaria.” Our Fleet enabled us to free the seas and defeat the monster choking us. 

Navigating the Caribbean, Imani, abolitionist and organizer from Bulbancha, seeks support from Neva, revolutionary of La Brigada Vejigante and Tanco, Commander of La Flota Libertaria. Imani lays out her strategy to free the people incarcerated in Angola Prison. Neva and Tanco pledge their support and together they embrace their collective struggle for liberation.   

Probamos la libertad 

en los labios de una boca que no calla

que no calla (2X)

Nos miramos a los ojos

el reflejo reafirmó

el destino, que trazamos

florecieron los capullos 

y se izaron las banderas

En victoria, cantando: 

(Choir) 

 “¡Viva la libertad!,   ¡Viva la libertad!,  

  ¡Viva la libertad!,   ¡Viva la libertad!

Now, we forged the Caribbean Alliance. In Matanzas, Cuba, we sealed our pact of solidarity for a new Caribbean. Under a majestic flock of birds, we set sail. “¡Zarpamos!”

A delegation of The Liberation Fleet, now heads from the Caribbean to Bulbancha, to join forces with the Liberated Peoples Front of Southern North America.

 (Choir) 

“Viva la Alianza Antillana, Viva la Libertad”

Scene II: Uprising

In the year 2047, an uprising unfolds inside a water bottling facility beneath the WGS Supermax Correctional Facility. Imani, a seasoned resistance leader captured in the abolition of Angola Prison in Bulbancha,  and her comrade Red, a revolutionary, long imprisoned at the correctional facility together with inmates, Soledad and Ángel, lead a revolt against the prison system, only to face a crushing annihilation.

Scene III: Guard suit-up / Wind Green Springs News Radio

As a guard suits up for his shift, a broadcast of Wind Green Springs News Radio covers the recovery from the recent “prison riots” and the corporation’s efforts to secure the water supply essential for the United Space Colonies.

Scene VI: The Lockdown

The guards enforce a prison lockdown. Meanwhile, an infomercial about Wind Green Springs paints a stark contrast between the idyllic image of the community and the harsh realities of the prison system.

Scene V: Bulbancha

In an abolitionist camp outside the prison walls, Mawa, an abolitionist organizer, announces the latest updates from the Caribbean Alliance and the Vejigante Brigade. Neva, an abolitionist organizer and storyteller from Borikén, and her comrades, the Vejigantes, journey to Bulbancha to meet with Salamanquesa, of the Unitarian Guerrilla, elder organizer of the collective efforts to liberate Angola Prison. There and after she traced for them the safe passage to the Free the Springs Abolition camp and the prison, they make plans to disrupt the water distribution to the wealthy space colonies and liberate the waters from Wind Green Springs.

Scene VI: Journey to Appalachia

Neva embarks on a trek through a post-cataclysmic landscape from Bulbancha to Appalachia towards the abolitionist camp.  On her way, she meets with Atsila, Commander of The Liberated People’s Front as the abolitionists prepare for the next phase of their fight.

Scene VII: Neva Arrives at Free the Springs Abolition Camp

After arriving at her tent, Atsila hands Neva a letter from comrade Red with news from inside.

Scene VIII: Red’s Letter to Neva and The Prison Blueprint

Red writes to Neva from prison, expressing his sorrow about Imani and others who died in the January uprising.  However, he remarks on the prison’s struggles with power and the mass exodus of guards which complicates the Warden’s control. Meanwhile, at the abolitionist camp, Ramón, the logistics commander and Mawa present the prison’s blueprints to Commander Atsila and discuss strategies to take down the WGS Supermax Correctional Facility.

Scene IX: Red’s Letter to Neva and The Prison Blueprint


The Warden discovers the abolitionist camp being set up outside the prison walls, causing panic as the guards report difficulties in restoring power to their defense systems.

Scene X: State of WGS Supermax Correctional 


During a live broadcast, the Warden announces an “unprecedented attack” by abolitionists and reveals that inmate Red is scheduled for execution.

Scene XI: The Powells


In a sitcom-style sequence, Susan Powell, Vice President of Operations for Wind Green Springs, expresses her frustration about their dwindling town and the exodus of its residents to her husband Joe Powell, a Lieutenant who works at WGS Correctional.

Scene XII:  The Abolitionists


As night falls at the Free the Springs abolitionist camp, Mawa and Ramón mobilize the group, emphasizing the urgency of their preparations. Guadalupe, a member of Las Adelitas Liberated Peoples Front speaks about her role as a Water Protector, recounting the struggles of her people during the Great Aridification and rallying the abolitionists to unite in their fight against the prison’s exploitation of water resources.


Scene XIII: Neva at Free the Springs Abolition Camp


Neva shares powerful stories of survival, resistance, and solidarity with her fellow abolitionists, calling for unity and action to dismantle oppressive structures, while honoring those who sacrificed for liberation.

Scene XIV: Glitches in the Virtual Imaging System


The Warden, increasingly agitated by the security monitor’s glitchy footage and a haunting call, orders her guards to stabilize the situation and heads to the Water Plant.

“Sometimes in the shadowed night I become spirit.

The walls, the bars, the gratings dissolve into light

and I unloosen my soul

and fly through the inner darkness of my being.

I become transparent,

a bright shadow,

a bird of dreams singing from the tree of life.”

–Leonard Peltier


Scene XV:  The Prison Water Bottling Facility


The Warden visits the water bottling facility plant, where prisoners labor under harsh conditions. As tension escalates, a child suffers an injury and the prisoners unite to strike.


Scene XVI: The Vejigantes Have Arrived


A guard informs the Warden of the arrival of abolitionists who have breached the virtual imaging systems heading towards the town.


Scene XVII: The Vejigante Hack Attack


The Vejigantes gather to set up the scramblers and hack the Virtual Imaging Systems. 


Scene XVII: The Train Take Over


The Vejigantes ambush a train headed towards the WGS Supermax Correctional Facility and liberate the prisoners on board.


Scene XIX: July Eclipse Liberation


The Warden prepares for the end as the prisoners revolt, overpowering guards and initiating the July Eclipse Liberation, the last day of the last prison of The Remaining States of the US.

La abolición no es un ave Fénix que resurge de las cenizas, es una mariposa, una brillante metamorfosis hacia una nueva realidad”.

¡Viva la Alianza Antilla!

¡Viva la libertad!  

¡Viva la libertad!

¡Viva la libertad!

¡Viva la libertad!

¡VIVA LA LIBERTAD!


crÉditos


escrita por papel machete

titiriteres y mascareres

mÚsica

Agustín Muñoz Ríos

voz del preso 35744

Rob Thelusma

voz del prÓlogo

Mumia Abu-Jamal

poema en video de cÁmara de seguridad

Leonard Peltier

mensaje de red al final

Pitt Panther

director 

Jorge ‘Cano Cangrejo’ Díaz Ortiz 

productores

Sugeily Rodríguez Lebrón

equipo de dirección

Deborah Hunt

Sugeily Rodríguez Lebrón

assistant to the director 

Brenda Plumey

diseÑo y direcciÓn de tÍteres y mÁscaras

Deborah Hunt

diseÑo de vestuario

Deborah Hunt

Sugeily Rodríguez Lebrón

construcciÓn de las caretas de vejigantes

Juan Pablo ‘Juanpi’ Vizcaíno

facilitador de taller de bomba

Lío Villahermosa

regidurÍa de escena

Arleen Stewart

equipo de producciÓn

Cristina Sesto

Yamillex Montañez Lugo

diseÑo de iluminaciÓn

Leonardo Aguilú

Luis Felipe Rivera Santiago

tÉcnico de iluminaciÓn

Luis Felipe Rivera Santiago

direcciÓn de vÍdeo / animaciÓn stop motion

Deborah Hunt

Joseph Therrien

Jorge ‘Cano Cangrejo’ Díaz Ortiz

cÁmara

Joseph Therrien

Jorge ‘Cano Cangrejo’ Díaz Ortiz

Juan Carlos Dávila

Lidy Paoli

Osvaldo Budet

jazz franklin

ediciÓn de vÍdeo

Aníbal ‘eL S.’ Vidal Quintero

Osvaldo Budet

ilustradores / artistas visuales

Estefanía Rivera Cortés

escenografÍa y construcciÓn

Deborah Hunt

Jorge ‘Cano Cangrejo’ Díaz Ortiz

José ‘Primo’ Hernández Díaz

Marian Annette Rodríguez Morales

Sugeily Rodríguez Lebrón

diseÑo y construcciÓn de sombras y miniaturas

Deborah Hunt

Dey Hernández Vázquez

Joseph Therrien

Kathya Torres

Sugeily Rodriguez Lebrón

Tina Orlandini

diseÑo y construcciÓn de tÍteres, mÁscaras y pop-ups

Deborah Hunt

Tina Orlandini

colaboradores de construcciÓn

documentaciÓn

Anabel Vázquez Rodríguez


personal de producciÓn de artsemerson


agradecimientos especiales

A Blade of Grass, Ágora Cultural Architects, Albert Woodfox, Alexis Ortiz, ArtsEmerson, Cara Mía Theater, Dan Fox and Wondersmith Audio, Danza Orgánica, Kathia Castillo, the Jobin-Leeds Family, Kevin Becerra, Natalia Calderón, Noel Hanrahan, MAP Fund, National Performance Network, Oscar Buruca, Pregones/Puerto Rican Traveling Theater, Tamia Rashima Jordan.

apoyo a esta presentaciÓn