NOTES FROM THE FIELD
by Anna Deavere Smith
SCENIC, LIGHTING, & PROJECTION DESIGN
The scenic design for Notes from the Field is envisioned as an open, versatile space that evokes the stark, institutional parallels between a prison yard and a schoolyard. Though seemingly different, both environments share a rigid, structured atmosphere that reinforces control and discipline. The set will feature multiple levels, allowing for dynamic use of vertical space, symbolizing the social and systemic hierarchies central to the play’s themes. Functional platforms or moveable elevated items and open areas will enable fluid movement and dance, reflecting the physical and emotional journeys of the characters.
Surfaces throughout the set will double as projection screens, allowing visual elements to inhabit the space and shape the narrative’s pivotal moments. These projections will help define location and tone, transitioning from a classroom to a sidewalk or a cell, deepening the audience’s engagement with the stories being told. The overall design is minimal yet versatile, using open spaces to create both confinement and possibility and inviting the performers to move with purpose, symbolizing both the limitations and the resilience of those navigating the school-to-prison pipeline.
MOVEMENT/CHOREOGRAPHY
My vision for the movement in Notes from The Field is to incorporate a powerful, emotive layer that enhances the storytelling and deepens the audience's connection to the narratives. Through thoughtful choreography, the desire is to evoke the raw emotions embedded in the monologues and interviews, allowing the performers' bodies to express what words alone cannot.
The movement should physically interpret the stories, transforming the stage into a dynamic space where each gesture and motion amplifies the play's themes of race, justice, and identity. The choreography should serve as a bridge between past and present, reality and representation by mimicking featured video footage, bringing historical and contemporary events into visceral focus.
This approach supports the text and provides a unique avenue for our performers to explore and highlight their individual skills. It ensures that each movement feels authentic and deeply connected to the performers’ experiences. Ultimately, integrating movement and video will create a compelling, multi-sensory experience that resonates profoundly with our audience.
Alvin Ailey said that one of America’s richest treasures was the cultural heritage of the African-American - ”sometimes sorrowful, sometimes jubilant, but always hopeful.” This enduring classic is a tribute to that heritage and to Ailey’s genius. Using African-American traditional spirituals, this suite fervently explores the places of deepest grief and holiest joy in the soul.
All lives can't matter until black lives do.
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Dance video to "This is America"
Song by Childish Gambino
Choreography by Aurélien Peillex Performed by our graduating contemporary dance students in our December dance show
MUSIC/ACAPELLA SINGING
In our Notes from The Field production, my vision is to incorporate music and acapella singing that centers on evoking deep emotions and maintaining dynamic energy as we transition between monologues. In Smith’s HBO presentation, she employed the assistance of Marcus Shelby, a well-known upright bass player, who worked closely with Smith to establish a jazz improvisation-like relationship. The music will serve as a background and an integral element that enhances the storytelling. Each song will be carefully chosen to support the specific monologue and the moment it appears, amplifying the narrative's emotional impact. The acapella singing will also act as a bridge, seamlessly ushering in the following piece and ensuring a fluid and cohesive flow throughout the performance. This approach will allow the audience to remain engaged and emotionally connected as the play progresses, making each transition smooth yet powerful. By intertwining music and movement, we aim to create a rich, immersive experience that honors the stories and voices depicted in Anna Deavere Smith’s work while allowing our performers to explore and express these critical themes in a multidimensional way.
COSTUME DESIGN
The costume design for Notes from the Field will center around a base costume, serving as a neutral foundation that allows the performers to transform seamlessly into various characters. These base costumes will provide flexibility, enabling quick, on-stage transitions as actors step into the shoes of the individuals they portray. The emphasis will not be on the exact accuracy of fit or form, but rather on the symbolic act of embodying another person’s experience. This approach underscores the idea that the performers are representing stories, not becoming the characters themselves, creating a clear distinction between actor and role while amplifying the shared humanity of the narratives. Shoes will only be used when dictated in the script or expressly necessary.
SOUND DESIGN
The sound design for Notes from the Field will incorporate atmospheric sounds that enhance the emotional and thematic moments within the performance, creating an immersive auditory experience. These sounds will help shape the environment, deepening the impact of each scene. Music will play a vital role in transitions, guiding the audience from one story to the next with fluidity and emotional resonance. Hopefully, music will be used sparingly and intentionally, as lots of focus will be on the singers. Additionally, specific characters will use handheld microphones to highlight their voices and emphasize the personal, testimonial nature of their narratives, drawing the audience closer to these powerful stories.