There’s a lot of work to do
to turn this thing around
An Interview with Anna Deavere Smith
Richard Schechner
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
Cifra 1. Anna Deavere Smith interviews Yoruk fisherman Taos Proctor on the Klamath River in Northern
California. Agosto 2015. (Photo by Daniel Rattner)
On 8 Enero 2017 Anna Deavere Smith and I met in a New York City coffeehouse for our
interview. Because Smith’s website is so full of information, I wanted to concentrate on what
people might not find there. We focused on Smith’s latest endeavor, The Pipeline Project. El
Project’s centerpiece, Notes From the Field, explores how persons living in poverty — especially
young African American men — are in a pipeline pouring them from their communities into
jails. By means of panels and discussions, as well as Smith’s performances, The Pipeline Project
focuses on this cruel and unjust system. I also wanted to follow up on a short piece I published
in TDR many years ago about Smith’s way of working, how she literally “incorporates” her sub-
jects, both people and materials (1993:63–64).
At NYU, Smith is University Professor and the founding director of the Institute on the Arts
and Civic Dialogue. Among her many honors are the National Humanities Medal, a MacArthur
Fellowship, The Dorothy and Lillian Gish Prize, two Obies, and honorary degrees from Yale,
Juilliard, Barnard, the University of Pennsylvania, Radcliffe, Wesleyan, Williams College,
Spelman College, and Northwestern, among many others.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
35
TDR: The Drama Review 62:3 (T239) Caer 2018. ©2018New York University and the Massachusetts Institute of Technology
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
Cifra 2. Anna Deavere Smith portrays parent Leticia De Santiago (Stockton, California), with composer Marcus
Shelby on bass, in Notes From the Field. Second Stage Theater, Nueva York, Nueva York, 2016. (Photo by Joan Marcus)
RICHARD SCHECHNER: Could you give me a sense of the shape of The Pipeline Project?
How long will the project last, what’s its place in your work?
ANNA DEAVERE SMITH: I don’t know how long it’s gonna last, that’s number one. In terms
of the shape, it wasn’t designed for me to do my typical one-person show. This project was
something I did because I was invited by a group of social justice funders, not arts funders, y
it was important to let them know that just because I would research and write a play, there’s
no insurance that that play would be produced. So what I did was create a project without hav-
ing to depend on agents, regional theatres, and New York. The project was a promise, a scheme,
whatever, that I would go to three geographic areas, interview people, and then stage readings
with the idea of having town hall discussions.
The first presentation in Berkeley1 — the first research was in Stockton, Northern California,
and then on an Indian reservation2 — was no problem. I worked before in Berkeley. I said, "Tú
don’t have to spend any money. Give me a room and I’ll do the staged reading and I’ll invite
people.” But the “town hall” was so horrible that I felt I had to rethink the project. It’s not like
what you were able to do in the ’60s, that hotbed of activity when theatre could really create
comunidad. Or the Free Southern Theater. But that’s really where I was coming from: “Wow,
if it could be a little bit like the Free Southern Theater, let’s forget about these institutions.”
But the conversation after the performance was full of clichés. That really bothered me. So I
went back to the Berkeley Rep to rethink it all.
1. The first presentation took place in Berkeley, California, en 12 y 13 Julio 2014.
2. The performance was held on 22 Agosto 2015 for the Yurok Tribe in their territory in northwestern California
along the Klamath River. The Yurok Tribe is California’s largest with about 6,000 individuals.
36
Richard Schechner
In the summer of 2015 I tried
to engage the audience, to ask
them to be more than passive
spectators. I hired somebody in
January to work on that part of
the play — I didn’t even have a
director yet. What I’d presented
that previous summer was just
a staged reading, which I did
with two local jazz musicians.
Then in the summer of 2015 I
did a show with a director. I per-
formed a first act. I stopped the
show after the first act and said,
“This isn’t a show. This is about
a real problem. I want you to go
off into groups and talk about
what you’re gonna do.” We had
20 facilitators (that’s what we
called them). We divided a sold-
out run of audiences of 500 cada
night into groups of 20. Nosotros
asked people to talk about the
problem and then to make com-
mitments about what they were
going to do.
Originally the idea was these
Cifra 3. Audience members convene in the bar area of Berkeley Repertory Theatre
for a facilitated dialogue as part of Notes From the Field. berkeley, California, Julio
2015. (Photo by Stephanie Schneider)
staged readings and then I’d
write a fictional play. But a fic-
tional play would have taken another four years to get produced, right — and the mood of the
country about race had shifted with the protests in Ferguson. It was an important time to offer
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
Founded by John O’Neal, Gilbert Moses, Denise Nicholas, and Doris Derby in 1963 en
Tougaloo College, Mississippi, the Free Southern Theater’s motto was “To bring theater to
those who had no theater.” In 1964, when the FST’s headquarters moved to New Orleans,
the founders were joined by Richard Schechner who became one of the FST’s producing
directors. During “Freedom Summer” of 1964, the FST performed In White America
(Martin Duberman), Purlie Victorious (Ossie Davis), and Waiting for Godot (Samuel
Beckett) in rural Mississippi, Alabama, and Louisiana. The FST disbanded in 1980 (Dent
and Schechner 1969).
Established in 1968, Berkeley Rep (berkeley, California) is a Tony Award–winning regional theatre.
The Rep’s mission is to “use theatre as a means to challenge, thrill, and galvanize what is
best in the human spirit” (Berkeley Rep n.d.).
In Ferguson, Misuri, en 9 Agosto 2014, an unarmed black man, Michael Brown, was shot
and killed by a white police officer, Darren Wilson. Brown was 18 and had ostensibly stolen
two packs of cigarillos from a liquor store. This incited protests against police brutality
in Ferguson and nationwide, to which police responded with military-grade weapons. En
Noviembre, the St. Louis jury decided not to indict Officer Wilson. Protestors in Ferguson
responded by looting and burning buildings and vehicles and attacking officers in riot gear,
who continued to respond with tear gas and rubber bullets (Buchanon, et al. 2015).
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
37
Anna Deavere Smith
something to the conversation. I went to two theatres that I knew would be interested. One was
A.R.T. [American Repertory Theater], the other was the Second Stage Theater. El nuevo
York Theatre Workshop artistic director, Jim Nicola, had also expressed interest. That’s really
how it changed from a social justice initiative with theatre as a place for convening people, en
writing a play about the issue.
SCHECHNER: I wrote 25 years ago that you get really inside the people you’re interviewing —
“channeling” or “incorporating” [Schechner 1993]. You can’t have a single point of view while
you’re doing your work.
SMITH: I have a single point of view when I go to vote.
SCHECHNER: Yeah, but —
SMITH: I have a point of view that a cop shouldn’t throw a kid across the room.
SCHECHNER: Absolutely.
SMITH: I have a point of view that cops shouldn’t shoot down a man. But as I am a
humanist — I’m interested in human beings in the same way that doctors want to give you a
heart operation, that’s all.
SCHECHNER: In your earlier work, especially Fires in the Mirror, and Twilight: LA, tú
were very careful to give different points of view, different perspectives. In Notes From the
Field, there are a variety of perspectives but they’re all on the same side. Is that because it’s
social action? Because we’re in a greater crisis now? The pipeline from school to prison, y el
other pipeline from Canada to the refineries.
SMITH: Standing Rock, yeah.
SCHECHNER: So?
SMITH: Well Notes From the Field is a social justice initiative. I am calling for people to jump
on board to what I hope is a new civil rights movement based on a combination of looking at
the criminal justice system and looking at education. I am upset, sad, horrified, and angry that
so many people have been left out of having an education. I’m also upset from the position of
my teaching very privileged people who, over the years, Por un lado, I am happy to teach,
but on the other hand, I have a growing ambivalence about the advantages privileged people
get as compared to those who basically have no chance, for whom the criminal justice system
becomes where they get educated, get health care such as it is — get shelter such as it is.
SCHECHNER: In relation to privileged people at elite colleges, and going back to the Free
Southern Theater, our primary directive was to play for people who had never seen theatre
antes. But your social action stuff — at the New York Theatre Workshop or A.R.T. — is very
diferente. Would the prisons have you? Isn’t what you do made for the incarcerated, one way
or another?
When I sat in the theatre watching you do a brilliant thing about someone who wasn’t you,
I had a good conventional theatre experience. Al mismo tiempo, I wondered how your perfor-
mance would go over at the police academy, in a jail, at a neighborhood school. I don’t know if
it’s possible, but has it crossed your mind, to bring it to people who’ve never experienced your
kind of theatre?
SMITH: It’s not impossible but it’s expensive. I did take it to the Yurok Reservation.
One reason why “race work” fails right now in this economy is that people underestimate
what it costs. People want skill but they don’t understand that skill is costly. Right?
38
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
Richard Schechner
The American Repertory Theater (A.R.T.), a professional theatre at Harvard, was founded
en 1980 by Robert Brustein. The A.R.T.’s mission is to “catalyze discourse, interdisciplinary
colaboración, and creative exchange among a wide range of academic departments,
institutions, estudiantes, and faculty members, acting as a conduit between its community
of artists and the university. The A.R.T. plays a central role in Harvard’s […] undergraduate
Theater, Dance, and Media concentration […]. The A.R.T. Institute for Advanced Theater
Training is run in partnership with the Moscow Art Theatre School” (A.R.T. 2012).
New York’s Second Stage Theater, founded in 1979 to produce “second stagings”
of 21st-century American plays and to develop new work, operates three theatres in
Manhattan. Led by cofounder Carole Rothman, Second Stage emphasizes diversity both
among its artists and its audiences. Smith’s Let Me Down Easy opened at Second Stage
en 2009, her Notes From the Field in 2016. Second Stage’s more than 130 awards include
27 Obies, 23 AUDELCOs, 17 Lucille Lortels, 12 Tony Awards, 12 Drama Desks, 9 Theater
Worlds, 7 Outer Critics Circles, 2 Clarence Derwents, and a Drama Critics Circle (Segundo
Stage Theater 2018).
Founded in 1979 by Stephen Graham, New York Theatre Workshop in Manhattan’s East
Village both produces a full season of plays and serves as an experimental theatre laboratory
where a diverse range of theatre-makers develop their original work in a collaborative,
responsive, and inventive environment (NYTW n.d.).
Fires in the Mirror: Crown Heights, Brooklyn and Other Identities explored the 1991 Corona
Heights riots, which began when a Hasidic man accidentally ran over and killed Gavin
Cato, a seven-year-old black boy. During the riots, Yankel Rosenbaum, a Hasidic scholar,
was stabbed to death by 20 black men. The Crown Heights riots were New York City’s
most intense racial disturbances since the 1960s. In Fires in the Mirror, Smith portrays
26 characters based on interviews she conducted with Cato’s father, Hasids, artists, clero,
and ordinary people (Rothstein 1992).
Twilight: Los Angeles, 1992 is based on the riots in the LA area during April and May of
1992. The unrest was set off by the acquittal of four police officers who arrested and beat
Rodney King in 1991. Their actions were documented on video. Twilight: LA premiered in
1993 at Los Angeles’s Mark Taper Forum and later toured, including a run on Broadway for
which it was nominated for two Tony Awards. Smith portrays 40 persons — she interviewed
alrededor 300 individuals for the project (Johnson 2012).
Notes From the Field, which opened in 2016 at New York’s Second Stage Theater, explores
the devastating pipeline from schools to prisons. According to New York Times critic Ben
Brantley: “Ms. Smith assumes the identities of 19 individuals. They appear separately
to ruminate and ramble on topics that have made devastating headlines in recent years,
including the 2015 death of Freddie Gray at the hands of Baltimore police officers and
the slaughter of African American churchgoers in Charleston, S.C. that same year.” Each
monologue addresses “an awareness of the existential trap into which ethnic minorities
fall in this country” (Brantley 2016).
The Standing Rock Sioux Tribe gained national attention for opposing the Dakota Access
Pipeline, set to transport up to 570,000 barrels of crude oil every day from North Dakota to
Illinois. Protests in 2016 were met by the police’s rubber bullets and concussion cannons.
The pipeline runs under the Missouri River, the tribe’s main water source and under a
Sioux sacred burial ground. The pipeline does not cross Sioux land but comes within
500 feet of its border. En 2016, arguing that “the [United States Army] Corps [of Engineers]
effectively wrote off the tribe’s concerns and ignored the pipeline’s impacts to sacred sites
and culturally important landscapes,” the tribe sued, accusing the Corps of violating the
National Historic Preservation Act and other laws. Later in 2016, the tribe’s claim was
rejected. The pipeline became operational on 1 Junio 2017 (Worland 2016).
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
39
Anna Deavere Smith
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
Cifra 4. Anna Deavere Smith portrays Taos Proctor (Yurok fisherman/former inmate, Yurok Tribe,
Klamath, California) in a performance of Notes From the Field at Baltimore Center Stage, December 2015.
(Photo by Diana Walker)
I am happy about the times we were able to bring people to us. High school students
respond very well to this show. One high school principal told me that she asked them when
they got back to school, “Do you think that you’re in a school-to-prison pipeline?” A couple
of them said yes and then somebody else said that there’re holes in the pipeline and “we slip
through.” And then somebody else said, “Yeah, but they can plug up the holes.” Then students
from LaGuardia High School [New York City’s school of music and performing arts] came. I
had to pay for it. The theatre wouldn’t even give them a free show, made me pay full, me and
one of the parents.
SCHECHNER: Right.
SMITH: So there’s a lot of work to do if one wants to do social justice work in the in-between
space where I am.
SCHECHNER: You know Michelle Obama?
SMITH: Sí, I do.
SCHECHNER: This would seem to be absolutely up her alley.
SMITH: But you know this about people like that: You could stand this close, they know
who you are, ask you how’s the play going, bien? But she’s gonna have a million people com-
ing to her, from Anna Wintour [artistic director of Condé-Nast, publisher of Vogue] a…God
knows who.
There’s an idea I’ve been talking about now a lot — the idea of a “radical welcome,” a “rad-
ical hospitality.” The people helping me think about this are all young, all have read the book
by and about the Free Southern Theater [Dent and Schechner 1969] — I know you must be
tired of me always calling that up, but that’s the bedrock upon which I’m continually inspired
40
Richard Schechner
and trying to think about. How do you open up the walls of these arts institutions? It’s naïve to
think you can do like people did in the ’60s. You can’t.
SCHECHNER: No, No, you can’t. It’s both better and worse. They were killing people in a
different —
SMITH: In a different way.
SCHECHNER: A different way.
SMITH: They’re killing peo-
ple now.
SCHECHNER: They’ve
been killing people all the way
a través de. We didn’t have the
cameras to see it.
SMITH: Absolutely.
SCHECHNER: People say
there’s an increase in violence.
No, there’s an increase in that
we’re seeing it. But violence has
always been there. Liberal white
society has just not wanted to
see it.
Cifra 5. Anna Deavere Smith portrays Kevin Moore (videographer of the Freddie
Gray beating, deli worker, baltimore, Maryland) in Notes From the Field. Segundo
Stage Theater, Nueva York, Nueva York, 2016. (Photo by Joan Marcus)
SMITH: For Notes From the
Field, I did research in four areas: Northern California, Filadelfia, and Baltimore — where
we ended up really by accident, right after the riot. The Baltimore I grew up in is now com-
pletely different, I didn’t even recognize it, don’t understand what happened. But it’s ’cause
of my wishing for the Baltimore that I knew, in terms of all the teachers I knew, and the level
of their commitment, that I’m doing this at all. We also went up and down what’s called the
“Corridor of Shame” in South Carolina. So called because of how bad the condition of the pub-
lic schools was at one point. They have made some improvements. This is the hardest thing I
have ever done.
SCHECHNER: Why is that?
SMITH: Because in a subtle way that I don’t understand, it’s more personal than anything
I’ve ever done. It was painful. I got to the theatre at 2:00 to prepare for a 7:00 espectáculo. It took up
my whole life. All I could do in the morning was go to the gym, but not even work at full tilt
because I was so exhausted.
SCHECHNER: Why do you think it was so much more personal?
On 12 Abril 2015 in Baltimore, Freddie Gray was violently handcuffed and thrown into
the back of a police van by six officers who said Gray was carrying a knife. By the time
the van reached the police station, Gray was in a coma. His spine was severely damaged.
Gray died on 19 Abril 2015 with protests starting the day before. After Gray’s death, el
protests intensified and the police responded with force. The riots escalated for more than
a week after Gray’s funeral. Windows were broken and police cars burned. The authorities
declared a state of emergency, imposed a curfew, and arrested about 100 gente. El
City of Baltimore settled at $6.4 million prior to the Gray’s family filing suit (Woods and Pankhania 2016; Wikipedia 2018b). l D o w n o a d e desde h t t p : / / directo . mi t . / e d u d r a m a r t i c e – pd / l f / / / 6 2 3 ( 2 3 9 ) / 3 5 1 8 2 5 1 7 3 d r a m _ a _ 0 0 7 7 1 pd . / f por invitado 0 8 septiembre 2 0 2 3 41 Anna Deavere Smith SMITH: Because my mother was a teacher. My mother, all my aunts except for two, were teachers. That’s what black women — negro women, columna- ored women — could do in the ’50s if they were educated. I grew up with all those people who taught really poor children. The kids my mother taught, you could smell the poverty. I didn’t know anything about the school- to-prison pipeline. I was with a group of people who were doing work on the school-to-prison pipeline. One of the people in the group was from Baltimore. I hadn’t really gone home since I was 16. That’s a long time ago. And one of them told a story about a kid who peed in a water cooler in Baltimore and they were gonna arrest him. Now that I think about it, I’m like “of course.” But at the time, I’d just never heard anything like that. You’ll be amused by this. A British actress was working on Nurse Jackie with me, and we were in hair and makeup and I said, “It’s amazing, I heard about a kid who peed in a water cooler and he’s gonna be arrested.” She said “Well, whatever happened to mischief?” That just put it all together for me. Rich kids, even middle-class kids, get “mischief” but poor kids — they’re either incarcerated or, just as bad, pathologized. Cifra 6. Audience members convene on stage for a facilitated dialogue as part of Notes From the Field. Baltimore Center Stage, December 2015. (Photo by Joe Giordano) SCHECHNER: So you’re taking your skills and putting them into the service of something directly social. Your earlier work was evidence and this is testimony. And your work on televi- sion and your writing, do they pay the rent? SMITH: What I make in the theatre, the top salary for an actor, es $894 a week.
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
SCHECHNER: You’re kidding me.
SMITH: That’s the top Equity salary.
SCHECHNER: Incredible.
SMITH: The royalties are nothing to speak about, but the acting and the royalties allow me to
refine the very, very particular process I have, and of course that’s gratifying. The same way you
enjoy writing and thinking, I enjoy this process I began developing in the late ’70s.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
The Showtime series Nurse Jackie — about a high-functioning drug-addicted emergency
room nurse, Jackie Peyton (played by Edie Falco) — ran for seven years starting in 2009.
Smith played Gloria Akalitus, a hospital administrator and former nurse with a tough exterior
but a heart of gold. Smith praised Nurse Jackie for its insight into America’s broken health
care system. En 2012, the activist organization, National Nurses United, awarded Smith the
Golden Bedpan Award. While filming Nurse Jackie, Smith was creating Let Me Down Easy
(2009), a play about health care made from more than 300 interviews (Deggans 2015).
42
Richard Schechner
SCHECHNER: Right.
SMITH: It takes time to understand what you’re doing and then to train other people to do it
with you.
SCHECHNER: Right.
SMITH: I don’t mean actors, I mean the most talented coaches, to work with them to come up
with a process and a methodology.
SCHECHNER: To get people to commit to doing something?
SMITH: Not that far. We just wanted people to say where they are in this geography of the
school-to-prison pipeline. Most people didn’t even know it existed; I didn’t know it existed.
So, if you’re a person of
color, a black person in partic-
ular, there’s a likelihood that
somewhere on your family tree
there’s somebody who’s incar-
cerated. But most people, if we
took a poll, would not know
that or think it has anything to
do with them. But we all know,
as one of the people in the play
who was incarcerated says so
beautifully, “We are all con-
nected somehow.” So to help
people in the audience ponder
how they’re connected — not
how they are guilty, porque
unfortunately that’s where white
people go — it’s not a call to
realize your guilt, but a call to
see “Where am I in this ecosys-
tema?” first, and then “Maybe
there is something I can do.” I
actually think there’s a greater
potential in the facilitators
than in the audience. I think of the facilitators more like the Free Southern Theater. New the-
atre workers, not actors, people who are already doing this work wherever they live. Maybe a
maestro, maybe somebody in a corporation.
Cifra 7. Audience members convene on an outdoor terrace at the American
Repertory Theater for a facilitated dialogue as part of Notes From the Field.
Cambridge, MAMÁ, Septiembre 2016. (Photo by Daniel Rattner)
SCHECHNER: What would you expect them to do?
SMITH: I expect them to continue to do what they do when they’re finished working with me
but to feel more empowered to do it. And to have a network of people who are also doing it,
that they would not know about otherwise.
SCHECHNER: But how do we disrupt the pipeline?
SMITH: There’re so many ways. I did 250 interviews. I started to see how many different kinds
of people are trying to disrupt it in their own way: from parole workers at the Indian reserva-
tion to a world-famous neuroendocrinologist at Rockefeller University.
SCHECHNER: Pardon me for being naively fundamental, but isn’t the basic cure to
end poverty?
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
43
Anna Deavere Smith
SMITH: Certainly. But it’s also to intervene where poverty has done damage already,
because we’re talking about how generations of poverty have gnawed away at the dignity of
people’s lives.
SCHECHNER: Right. Pero, am I wrong, aren’t the schools a mess?
SMITH: The schools are a mess. But it’s wrong to call the school the pipeline. It’s not fair to
blame the teachers. The teachers are told, “You’re gonna lose your job if you don’t do this, eso,
and the other.” Progressives say, “Lower the suspension rates.” So what do you do if you’re a
principal or teacher? Say “go home” and don’t document it. Your rates are down but you just
sent a kid home.
SCHECHNER: What do you think of charter schools?
SMITH: I deliberately dodged that. Many people I interviewed feel that charter schools are an
arm of racism. Charter schools push kids out because, you know, they gotta. You meet some-
body, some business man, white business man usually, a trillionaire, whatever, at a cocktail party
and he asks, “What do you do?"
“I’m an actor.”
“What did I see you in?"
You say, “Well what do you do, Señor?"
“Well, I do bla bla bla, but I have six schools — take my card — and my six schools, everybody
graduated, everybody’s in this, eso, or the other college.” Well there’s a lot of things that aren’t
bien: If a kid’s not perfect, they’re out, ’cause somebody not perfect brings down the numbers.
Bad kids make bad data. I stayed away from charter schools.
SCHECHNER: The public system becomes a system of and in poverty. Resources are cut.
Teachers are overworked and blamed. What’s happening is like privatizing prisons. We no lon-
ger have a public sphere that is fully public. It used to be segregation, Jim Crow, very visible,
“whites only.” Jim Crow’s still there but it’s economically based. Some people cross the line and
get out of poverty, 10 por ciento, o 15, or whatever percent of the black population living on the
other side of the river Jordan.
SMITH: Let me ask you a question. How do you feel about the fact that you and I teach
in a place [NYU] that is elitist? We’re teaching in a place that’s the end result of this river
Jordan thing.
SCHECHNER: Correct. I know my teaching’s affected people. I am an effective teacher with a
social conscience. And you?
SMITH: I decided a long time ago at Stanford3 to keep teaching. While I was doing Nurse
Jackie, I taught on Sundays for four hours straight. Stanford was a place where the answer was
always “Yes.” It was the first time in my life that the answer was always “Yes.” In my second
year they let me do a year-long fellowship at Harvard and paid half my salary. That changed
my life. In my teaching I try to disrupt the trajectory that people are on, not professionally, pero
as people. At NYU I try to cause a revolution in the room where people fall in love with each
other and protect each other. To do that you almost have to structure it like a kindergarten
class where every single person has a role they’re expected to play. What I have learned is that
the revolution can begin with love, hospitality, and grace.
SCHECHNER: “Grace” in the religious sense?
3. Anna Deavere Smith came to Stanford in 1990. De 1990 a 2000 she was the Ann O’Day Maples Professor of
the Arts in the Department of Drama. En 2004, she was commissioned by the Stanford Medical School to create
a project on diversity, which would later influence Let Me Down Easy.
44
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
Richard Schechner
SMITH: No. “Grace” in the way
of kindness.
My father refused to help at
all in financing my college edu-
cation because I chose not to go
to a historically black college.
He said if I didn’t go to a histor-
ically black college I wouldn’t
have a social life. This from
a man who was stricter than
strict. Cut to many years later,
2012, at Spelman, which is the
only black school that’s recog-
nized me, giving me an honorary
degree. I walked into this room
for breakfast on the morning
of the ceremony. And Latanya
Richardson, as you know a won-
derful actress, came over to
a mí, embraced me, and said,
“Welcome to the sisterhood.”
And I burst out crying. I real-
ized exactly what my father was
talking about by social life. Él
meant the deep way that colored
women, black women, have con-
gregated for the betterment of
otros. When I sat on that stage
and looked out on a sea of black
women who I would rarely ever
see congregated together again,
I knew they would go off and be
more likely to do something of
service to their community than
a lot of white kids are gonna
be doing.
Cifra 8. Anna Deavere Smith portrays choreographer Elizabeth
Streb in Let Me Down Easy at Second Stage Theater, Nueva York,
2009. (Photo by Joan Marcus)
SCHECHNER: Where did you go to school?
SMITH: Beaver College.
Spelman College is a historically black college for women founded in 1881 as the Atlanta
Baptist Female Seminary and renamed Spelman College in 1924. As of 2018, Spelman has
more than 2,100 students from 41 states and 15 countries. Spelman’s current president,
Mary Schmidt Campbell, was dean of NYU’s Tisch School of the Arts from 1991 a 2014
(Spelman College 2017).
Smith received her BA from Beaver College in 1971. Founded in 1853 in Beaver, Pensilvania, como
Beaver Female Seminary, it became a coed college in 1872. De 1907 a 1973 enrollment
was limited to women. En 1925, Beaver College moved to Jenkintown; en 1928 it opened
a branch in Glenside, the location of the current campus. In July 2001, upon attaining
university status, Beaver College changed its name to Arcadia University. Actualmente, Arcadia
tiene 4,000 estudiantes (Wikipedia 2018a).
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
45
Anna Deavere Smith
SCHECHNER: How do you see the relationship between your earlier work — pieces like Fires
in the Mirror or Twilight: LA, or even Let Me Down Easy — to The Pipeline Project and Notes
From the Field? También, Nurse Jackie, The West Wing, and movies, which are another kind of work.
I’m intrigued by people who live multiple lives.
SMITH: The academy is yet another kind of work. Teaching is another kind of work.
SCHECHNER: So how do you relate these to each other or are they each in their own silo?
SMITH: Nothing is separate. My academic work gives me a chance to be in the company of
people like you.
SCHECHNER: Right.
SMITH: It’s why I never left the academy. I need to sit with people like you and Diana
[taylor].4 Television is a different culture entirely. There I have no authority. I don’t make any
decisions except the artistic decisions I make in a scene. Television is an opportunity to work in
a larger community of artists, different kinds of artists. I enjoy that.
SCHECHNER: When you prepare Nurse Jackie, or some other role like that, how different is it
from interviewing and then bringing those people —
SMITH: Completely different.
SCHECHNER: And can you specify that?
SMITH: In television, the person who has the most power, the most voice, whose worldview
es, is the writer. In movies it’s the director. The actor is a piece of the puzzle. I never know
what’s going to happen. I go to work, I leave work, and I don’t know what time I have to be
at work the next day. Someone will call me at 11 o’clock at night, o 12, o 1 and say, “You’re
gonna get picked up at 4am,” or whatever. You can go to work in your pajamas. Main thing
is get in the van on time. You get to your dressing room. Everything is there including your
underwear. You sit there until somebody knocks on your door and says it’s time to come to the
colocar. Decisions are made for you.
SCHECHNER: How do you grab the TV role? When you’re interviewing and then embody-
En g, I think I understand. But TV?
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
In Let Me Down Easy (2009) Smith performs “a collection of testimonials” based on more
than 300 interviews she conducted about the American health care system. Among those
Smith portrays are cyclist Lance Armstrong and playwright/activist Eve Ensler. La mayoría de
people in the play aren’t famous, but they all speak about the vulnerability of the human
body (Isherwood 2009; Lunden 2009).
In the long-running television series The West Wing (1999–2006), Smith played Nancy
McNally, Democratic President Josiah Bartlet’s (Martin Sheen) national security adviser.
The show was praised for the range of issues it explored from racism and terrorism to
nuclear proliferation, child labor, feminism, and gay rights. Although some episodes
stretched credibility, others were obviously taken from actual news headlines (Parry-
Giles 2016).
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
4. Diana Taylor is currently University Professor and Professor of Performance Studies and Spanish at New York
Universidad. She came to NYU in 1997 and served as chair of the Department of Performance Studies from 1997
a 2002.
46
Richard Schechner
SMITH: It’s so different. A lot of it is about what your persona is. In my own work, por mi cuenta
método, my persona disappears. But in television, it gets bigger and bigger and bigger so that
it’s on the side of a bus or it’s, you know, it’s — you see it everywhere, “That’s Anna Deavere
Smith.” It’s two completely different processes, my own work and my TV work. I would never
be cast as any of the people I portray onstage.
SCHECHNER: So how do you get into the TV roles you play?
SMITH: Cómo? Number one is that you are present in who you are and that’s what’s attractive
to the television people. Next you hope that you can take the text that you’re given, the written
palabras… It’s very different than the spoken word. Very different. Written words that aren’t how
anybody talks. It seems to be how people talk, but in a very efficient and economic way. You are
moving the action along. Basically, you’re bringing forward your own persona and putting that
in the service of a story that’s being told.
SCHECHNER: It’s almost opposite to what you’re doing in your interview pieces where
you’re not bringing forward your own persona —
SMITH: — at all!
SCHECHNER: But also having seen you perform all these times over so many years, hay
certain gestures and tones of voice —
SMITH: — that are me.
SCHECHNER: Sí. A kind of Anna Deavere Smith language and gestures. You meet dozens of
gente, you interview them, you become them. Do you like them?
SMITH: The ones who end up in the show I come to love.
SCHECHNER: Even if they have views totally different than yours?
SMITH: The views don’t matter. What are views? I mean, that’s my problem. If you go back
and reread this interview, you’ll see that I will constantly be devaluing views.
SCHECHNER: But would you do Trump?
SMITH: me gustaría. I didn’t vote for him. I’m very disturbed about what’s happening in the coun-
intentar, but if somebody said “You perform Trump, and not like Alec Baldwin, but really do what
you do,” I wouldn’t turn it down. I’d make enemies.
SCHECHNER: You would love him?
SMITH: I don’t know ’cause I haven’t done him.
SCHECHNER: So what do you mean by love in this regard?
SMITH: Care.
SCHECHNER: Care?
SMITH: Care for.
SCHECHNER: To represent their point of view?
SMITH: To pay attention.
SCHECHNER: That’s probably the deepest definition of love.
SMITH: I call it love because there are ways in which people didn’t pay attention to me when I
was a girl. I’m paying an extraordinary amount of attention to five minutes of somebody’s life.
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
47
Anna Deavere Smith
SCHECHNER: When you prepare them, do you videotape them?
SMITH: I didn’t use to, so the early works, including one that you were in, the one I did in
Bellagio,5 no video. Let Me Down Easy — the 16th or 17th show in this big series, On the Road:
A Search for American Character — was the first time I used video.
SCHECHNER: And the difference between working from just a sound recording and video?
SMITH: Very big difference. I’m not as successful in reenacting the physical details as I am the
sounds. Now with video, I spend a lot of time studying the physical details.
SCHECHNER: For Notes From
the Field you have a bass player
onstage. I don’t think you ever
had a musician onstage before —
SMITH: I did in two of my
other plays. I recited Martin
Luther King’s “Letter from
Birmingham Jail” — which
he didn’t speak, he wrote and
then recorded, but the record-
ing is just for documentary
purposes.6 I worked with vio-
linist Bobby McDuffie and pia-
nist Anne Epperson. And in On
Grace [2013] with cellist Joshua
Roman. He is much younger
than me, he’s very beautiful,
looks like an angel. And the two
de nosotros, it was a powerful project.
Cifra 9. Anna Deavere Smith and cellist Joshua Roman in 2013, rehearsing
On Grace at Georgetown University. (Photo by Diana Walker)
The “Letter from Birmingham Jail” is a long text to learn. I didn’t understand until working
on this how much King really loved. He loved till it hurt. Till it hurt him. I don’t think soci-
ety asks us to do that very much anymore. Hoy en día, many of us love till we get, you know.
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
.
/
On the Road: A Search for American Character is the overall title of Smith’s ongoing project
started in 1983 that includes her Fires in the Mirror, Twilight: Los Angeles, Let Me Down
Easy, The Pipeline Project, etcétera (MacArthur Foundation 2005).
Black Lives Matter is a response to the acquittal on 13 Julio 2013 of George Zimmerman,
who shot and killed unarmed 17-year-old African American Trayvon Martin on 6 Febrero
2012 in Sanford, Florida. BLM is a member-led network, currently with 40 capítulos
globally, building local power against violence inflicted upon black communities by state
autoridades. “It is an affirmation of Black folks’ humanity, our contributions to this society,
and our resilience in the face of deadly oppression.” After the shooting of Michael Brown
in Ferguson, BLM gave tremendous support to the protests. Ferguson was the impetus
driving the creation of the Black Lives Matter Global Network (Black Lives Matter n.d.).
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
5. During the 1990–91 academic year, Smith and Schechner participated in a conference at the Rockefeller
Foundation’s Bellagio, Italia, Study and Conference Center.
6. Letter from Birmingham Jail, Marzo 2014, Grace Cathedral, San Francisco; and April 2015, Broad Stage,
Santa Mónica.
48
Richard Schechner
Which is narcissistic. Trump
won because he’s the Narcissist-
in-Chief. We have an epidemic
of narcissism. I mean, you have
él, I have it, everybody we know
has it. But certain people have it
in greater quantities. The nar-
cissist says they love until they
conseguir, they capture that object
they want. That’s very different
than the kind of love I learned
about in learning “Letter from
Birmingham Jail” where King
is really truly weeping about
his disappointment in the white
church, out of his great love
of Christianity.
SCHECHNER: His kind,
Gandhi’s kind, they don’t come
a menudo.
Cifra 10. Anna Deavere Smith portrays Stephanie Williams (emotional support
teacher at Huey Elementary School in Philadelphia, Pensilvania) in Notes From the
Field. Second Stage Theater, Nueva York, 2016. (Photo by Joan Marcus)
SMITH: No, they don’t come often.
SCHECHNER: Right. Are you optimistic?
SMITH: About what?
SCHECHNER: In the ’60s, for all the shit, we were very optimistic. We knew we would win,
whatever “win” meant then. The right to vote, the end of Jim Crow, the end of segregated
escuelas, the end to the Vietnam War. The ’60s was a movement not only of faith but of confi-
dencia. Do we, does youth, feel optimistic?
SMITH: I think that’s a wonderful question. You have to ask that question of somebody in
Black Lives Matter, ’cause I’m not on the front lines. I am essentially an artist. I get so much
pleasure thinking about what is possible. I’m very excited about the kind of talent I know exists
that could be applied to solving the problem of how poverty…how schools could intervene in
poverty. I’ve never met so many people with great ideas. I’m filled with joy and excitement, pero
I don’t know if that’s the same thing as optimism.
There’s a lot of work to do to turn this thing around. The only other option is to con-
tinue to incarcerate people and kill them or allow them to kill each other. I don’t need to tell
tú. chicago, black kids killing each other. baltimore. Extinction from poverty and violence.
Extinction of poor black people and also Native Americans. I went to one of those funerals. I
could do a whole piece on those funerals.
I’m not really answering your question, “Am I optimistic” in terms of thinking, “there’s this
evidence everything’s gonna be alright”? No, but I’m excited because I see the potential to turn
it around. To lead us to all kinds of new knowledge as humans, bien?
Referencias
American Repertory Theater (A.R.T.). 2012. “About the A.R.T.” Accessed 8 Marzo 2018. https://
americanrepertorytheater.org/about-the-art.
Berkeley Rep. n.d. “Who we are.” Berkeley Repertory Theatre. Accedido 7 Marzo 2018. www.berkeleyrep
.org/about/whoweare.asp.
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
49
Anna Deavere Smith
Black Lives Matter. n.d. “Herstory.” Blacklivesmatter.com. Accedido 8 Marzo 2018. https://blacklivesmatter
.com/about/herstory/.
Brantley, Ben. 2016. “Review: Anna Deavere Smith’s ‘Notes From the Field’ Delivers Voices of Despair and
Hope.” New York Times, 2 Noviembre. Accedido 14 Marzo 2018. www.nytimes.com/2016/11/03/theater
/notes-from-the-field-review-anna-deavere-smith.html.
Buchanon, Larry, et al. 2015. “What Happened in Ferguson.” New York Times, 10 Agosto. Accedido 7 Marzo
2018. www.nytimes.com/interactive/2014/08/13/us/ferguson-missouri-town-under-siege-after-police
-shooting.html.
Deggans, eric. 2015. “‘Nurse Jackie’ Ends As TV’s Most Honest Depiction Of Addiction.”
NPR, 12 Abril. Accedido 14 Marzo 2018. www.npr.org/2015/04/10/398713112/
nurse-jackie-ends-as-tvs-most-honest-depiction-of-addiction.
Dent, Thomas C., and Richard Schechner, eds. 1969. The Free Southern Theater by The Free Southern Theater.
Indianapolis: Bobbs-Merrill.
Isherwood, Charles. 2009. “Woman of 1,000 Faces Considers the Body.” New York Times, 7 Octubre.
Accedido 16 Marzo 2018. www.nytimes.com/2009/10/08/theater/reviews/08easy.html.
Johnson, Reed. 2012. “Anna Deavere Smith revisits ‘Twilight: Los Angeles, 1992.’” Los Angeles Times,
25 Abril. Accedido 14 Marzo 2018. http://articles.latimes.com/2012/apr/25/entertainment/la-et-cm
-anna-deavere-smith-20120425.
Lunden, Jeff. 2009. “Tales Of Suffering And Succor, Written On The Body.” NPR, 14 Octubre. Accedido
16 Marzo 2018. www.npr.org/templates/story/story.php?storyId=113771426.
MacArthur Foundation. 2005. “Anna Deavere Smith.” MacArthur Fellows Program. Accedido 12 Abril 2018.
www.macfound.org/fellows/544/.
New York Theatre Workshop (NYTW). n.d. “What We Do.” Accessed 14 Marzo 2018. www.nytw.org
/about/what-we-do/.
Parry-Giles, Trevor. 2016. “The West Wing.” Encyclopædia Britannica, 15 Noviembre. Accedido 16 Marzo
2018. https://www.britannica.com/topic/The-West-Wing.
Rothstein, Mervyn. 1992. “Conversations/Anna Deavere Smith; Racial Turmoil in America: Tales from a
Woman Who Listened.” New York Times, 5 Julio. Accedido 14 Marzo 2018. www.nytimes.com/1992/07/05
/weekinreview/conversations-anna-deavere-smith-racial-turmoil-america-tales-woman-who-listened
.html.
Schechner, Ricardo. 1993. “Anna Deavere Smith: Acting as Incorporation.” TDR 37, 4 (T140):63–64.
Second Stage Theater. 2018. “About Us: History and Mission.” 2ndStage. Accedido 19 Abril. https://2st.
com/about-us/history-and-mission.
Spelman College. 2017. “About Spelman College.” Accessed 16 Marzo 2018. www.spelman.edu/about-us.
Wikipedia. 2018a. “Arcadia University.” Wikipedia, 29 Marzo. https://en.wikipedia.org/wiki/
Arcadia_University.
Wikipedia. 2018b. “Death of Freddie Gray.” Wikipedia, 7 Abril. Accedido 13 Abril 2018. https://en.wikipedia
.org/wiki/Death_of_Freddie_Gray.
Woods, Baynard, and Madhvi Pankhania. 2016. “Baltimore timeline: the year since Freddie Gray’s arrest.”
The Guardian, 27 Abril. Accedido 14 Marzo 2018. www.theguardian.com/us-news/2016/apr/27/baltimore
-freddie-gray-arrest-protest-timeline.
Worland, Justin. 2016. “What to Know About the Dakota Access Pipeline Protests.” TIME, 28 Octubre.
http://time.com/4548566/dakota-access-pipeline-standing-rock-sioux/.
To view supplemental materials related to this article, please visit
http://www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00771
50
yo
D
oh
w
norte
oh
a
d
mi
d
F
r
oh
metro
h
t
t
pag
:
/
/
d
i
r
mi
C
t
.
metro
i
t
.
/
mi
d
tu
d
r
a
metro
a
r
t
i
C
mi
–
pag
d
/
yo
F
/
/
/
6
2
3
(
2
3
9
)
/
3
5
1
8
2
5
1
7
3
d
r
a
metro
_
a
_
0
0
7
7
1
pag
d
/
.
F
b
y
gramo
tu
mi
s
t
t
oh
norte
0
8
S
mi
pag
mi
metro
b
mi
r
2
0
2
3
Richard Schechner
