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Act 2, Scene 1Synopsis There is a lot of dramatic tension in this scene. Cory refuses to quit the team, Bono challenges Troy’s cheating ways, Troy confesses to Rose that Alberta is expecting his child, and we see Troy being physically abusive towards Rose for the first time. Figurative Language Keep track of Troy’s metaphorical strike count against Cory. If you have been keeping track of metaphors throughout the text, students should be able to find examples on their own by now. Troy and Bono’s conversation on page 63 is a good place to look. Discussion Questions These questions can be used to guide a class discussion, or as writing prompts for entries in students’ reader’s response notebooks and/or writer’s notebooks.
Activities Act 2 is a fine time to wean students from daily in-class group activities to allow time for them to prepare for their culminating performance (a monologue or scene from the play). To help students get used to staging, there are suggested activities in the Act 2 Scene 2 section for having students become comfortable performing. Act 2, Scene 2Synopsis Troy’s troubles come to a climax. Rose finally challenges him for not coming home on Friday nights; he has apparently signed Gabe over to a hospital. Alberta gives birth to a baby girl, and she dies during childbirth. Figurative Language
Discussion Questions These questions can be used to shape a class discussion, or as writing prompts for student entries in their reader’s response notebooks and/or writer’s notebooks.
Activities “Getting a scene on its feet:” Part One: The YES/NO Game If your students have not had a lot of acting experience, it will be worth spending a class period on acting. The objective of the YES/NO game is for students to be able to explain a character’s motivation in a scene. One student is trying to gain something, while the other is trying to keep something away.
Assign A students the line “yes” and B students the line “no.” The A person’s objective is to make eye contact with the B person and convince them “yes!” The B person’s objective is to avoid eye contact with the A person and refuse with a resounding “no!” This activity will require the students to move around, because the B person is moving away from the A person, and the A person is moving toward the B person. If your group is boisterous, than this should be enough. If your group is quiet and you have space, encourage a degree of physicality. This will help with the next activity. If you have a longer block you can have students reverse roles. Discussion: Review with students how the activity felt. Which is easier? Being the “yes” or being the “no”? “Getting a scene on its feet:” Part Two: Acting the Scene Have students turn to Act 2, Scene 2. If you can, provide photocopies of pages 73-75, it will make it easier for students to move around, or copy the edited script in Appendix B to help students focus more closely on the game objectives. Have the “Yes” student become Rose and the “No” student play Troy. Remind them to keep the same objectives in mind, but this time read the character’s lines. Rose should be trying to get and maintain eye contact with Troy. Troy should try to avoid looking directly at Rose. If you have time, start by having students memorize one short line and repeat the yes/no game using actual lines.
Have two students take on the role of Troy and Rose. They will need to take directions from the rest of the class, which is acting collectively as director. Have your directors determine how Troy and Rose should enter the scene. Review the stage directions to help. The teacher should prompt students with questions like: Do both characters enter the scene at the same speed? Does Rose catch up to Troy? (If your students were physical during the Yes/No game, have them discuss what Rose should do to get eye contact with Troy, and how Troy should avoid this contact.) Continue the scene. Have your directors shout out “Freeze!” when the objective shifts. Is there a point that Troy begins to say “please” and Rose responds “sorry?” Have the directors revise their stage directions. Fine tune where Troy and Rose stand and the degree of physicality in which the actors engage. After reaching a class consensus, have the Troy and Rose team act out the entire scene without director interruption. Putting a Scene on its feet: Students’ Culminating Performance **Note that students will need a few days of class time to work on their scenes and then perform them for the rest of the class. Now that students have begun to understand the story and how to get a scene on its feet, assign scenes for students to develop independently as their culminating performance. Selections range from monologues to one group of 3. See Appendix C for a list of suggested lines. Let students know they must come prepared to address how three key events from the play relate to the scene, and be able to explain how their scene sets up a major shift of events in the play. Have students dress as their character. Note: You may want to allow students to cut lines from longer monologues, especially if they want to memorize the piece. Many students will memorize their lines if given enough time. Act 2, Scene 3Synopsis In this short scene Rose simultaneously decides the fate of Troy’s newborn daughter Raynelle, and Troy. Her line “this child got a mother. But you a womanless man,” resonates throughout the remainder of the scene. The “sins of the father” first raised in the epigraph, returns on page 79 when Rose says to Troy about the baby, “…she’s innocent…and you can’t visit the sins of the father up on that child.” Figurative Language
Discussion Questions You can use these questions to facilitate a class discussion or as writing prompts for student entries in their reader’s response notebooks and/or their writer’s notebooks.
Act 2, Scene 4Synopsis Troy has succeeded at his dream to drive the truck at work, but it seems to have driven a wedge between him and Bono. Cory and Troy have their final showdown. Figurative Language
Discussion Questions These questions can be used to lead a class discussion, or as writing prompts for student entries in their reader’s response notebooks and/or their writer’s notebooks.
Activities Compare and Contrast Have students chart out the differences between the choices Troy made as a teen and those Cory has made. Have them find three similarities and three differences between Troy’s choices and goals and Cory’s choices and goals. (Remind them that the choices Troy made as a young man are discussed in Act 1, Scene 4, pages 50-53.) Have students analyze the implications of these choices and goals. For example, students may want to explore whether Troy’s run-in with the law is a result of his father’s treatment. If they have not read ahead, you may want to ask if Cory is destined for the same fate. Wrap-up with a teacher-led discussion that focuses on whether either character’s choices are courageous. Act 2, Scene 5Synopsis It is 1965, shortly after Troy’s death. A bitter Cory comes home for the first time since his fight with Troy. It is his wronged mother, Rose, who truly sees redemption for her deceased spouse. Meanwhile Gabriel fulfills his destiny, opening the gates of heaven for his brother. Note to Teachers: Many students are confused by how Troy dies. Wilson revisits the metaphor for Troy fighting death (see Rose’s lines at the bottom of page 95 and the top of page 96). Have students analyze what she says, and determine if Troy is victorious over Death or not. Discussion Questions These questions can be used to lead a class discussion, or as writing prompts for student entries in their reader’s response notebooks and/or their writer’s notebooks.
Discussion After Reading Fences Discussion Questions These can be used to direct a class discussion or as prompts for students in their reader’s response notebooks and/or writer’s notebooks.
• in light of what happened to his uncle in the army? • considering he ran away from home seven years ago and has presumably never seen his father again? • despite the fact that he did not go to college, which was the root of his struggle with his father? • given the fact that he does not want to go to the funeral?
Appendix ADirections for Fishbowl and Socratic Tag for “Slang or Not?” Activity In a fishbowl, students are partnered up for observation reasons. Each pair should have a person A and a person B. The As are one group, and the Bs are the other. The partner monitors his peer’s performance and rates him on a rubric. The rubric should include a section for analyzing a student’s reading in preparation for this activity. You may want to have students read an article that debates or discusses the use of the “N” word as a homework assignment the night before your class discussion. The Gloria Naylor article would work well, although some vocabulary may need review if you have struggling readers in your class. Have group A sit in a small circle in the center of the room. Assign a question (can be the same as the one above) for students to discuss for a set time. Six to ten minutes is usually a good amount of time, depending on how talkative your class is. Only students in group A may participate in the discussion. Each student is rated for his contributions to the discussion, however, if he tends to dominate, points are deducted. The B partners are in a bigger circle observing the A group (like a fishbowl). These students calculate the score of their partner, while also listening to the debate. After the assigned time have students switch places. If the A discussion was lively, the B student often will want to pick up the conversation where it left off. Otherwise the teacher can create a new question, based on an unchallenged point that may have come up during the discussion. Wrap up the activity by giving students the opportunity to share their feedback with their partner, and by having a whole class discussion to wrap up any details that may not have been completely fleshed out in the small groups. Socratic TagUsing the technique of Socratic questioning, this activity is fast paced and engaging, although it is tougher than the fishbowl. Start with two of your more vocal students and one of your least vocal students in a trio in the center of the room. They should be facing each other. You may start with a question, or if your students are all pretty highly motivated, you may have them generate the actual first question. Similar to the fishbowl, the students are assigned to debate a topic, but it is easier for the teacher to evaluate this activity than peers. The job of the observers is to listen carefully. Each student must offer one question and one answer before they can leave the circle. The only way they can leave the circle is if a peer tags them out, otherwise the discussion must continue. No one outside of the circle can get into the conversation unless she tags someone out. When someone tags another player, the new player now has to contribute one comment and one question before leaving the circle. No one can re-enter the circle until every student has been inside the circle at least once. If you class size is large, you can expand the circle to four players. Keeping the group size small insures faster turn over and each student’s voice is heard. It can take an entire class period to filter through a group of 20 or more. Appendix B Edited Script for Getting a Scene on Its Feet! Part Two: Acting the Scene Rose: Troy I want to talk to you. Troy: What you wanna talk to me about? Rose: Tomorrow’s Friday. Troy: I know what day tomorrow is. Rose: I want to know if you’re coming home. Troy: There ain’t never been a night I ain’t come home. Rose: I want to know if you’re coming straight home after work. Troy: I figure I’d hang out at Taylors’ with the boys. Rose: Troy, I can’t live like this. It’s been going on six months now you ain’t been coming home. Troy: I be here every night. Rose: I want you to come home tomorrow after work. Troy: I’m going over to the hospital to see Alberta. I won’t be gone long. Appendix C Recommended scenes for students’ culminating performance MonologuesNote: Rose’s monologue is very effective. It is split to make more roles available. Fences monologue #1Act 1.4 p. 51/52 Troy
Full monologue or most of the monologue, edited Fences monologue #2 Act 1.4 p. 54-55 Troy Full monologue or most of the monologue, edited Fences monologue #3Act 2.1 p. 70/71 Rose
Full monologue or most of the monologue, edited Fences monologue #4Act 2.2 Troy
Full monologue Fences monologue #5Act 2.5 Rose
Part 1 of the monologue (p. 97) Fences monologue #6Act 2.5 Rose
Part 2 of the monologue (p. 98) Appendix C (continued) Recommended scenes for students’ culminating performance Scenes with Two Characters Fences Scene 1Act 1.3 Troy & Cory p. 35-39 Full scene (some of Troy’s lines can be edited). Fences Scene 2Act 2.1 Bono & Troy p. 62-64 From “Troy I done known you.” To: “That refrigerator.” Full scene (some of Troy’s lines can be edited)
Fences Scene 3Act 2.2 Rose& Troy p. 73-75 To: “You gonna have to answer for that.” Full scene (some of Troy’s lines can be edited)
Fences Scene 4Act 2.3 Rose & Troy p. 78/79 Full scene (some of Troy’s lines can be edited) Scene with Three Characters Fences Scene 5 Act 2.1
Rose, Troy and Gabriel p. 66-68
To: “…come to an understanding.” Full scene (some of Troy’s lines can be edited) Appendix D Name:
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