Jan 10, 2006 Fences

Fences | August Wilson in 1989

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Fences | James Earl Jones as the failed baseball player Troy Maxson, a role he originated

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Fences | Bibliography and Further Reading

Birdwell, Christine. "Death as a Fastball on the Outside Corner. Fences's Troy Maxson and the American Dream'' in Aethlon; The Journal of Sport Literature, Vol. 8, no. l. Fall, 1990, pp. 87-96.

Ching, Mel-Ling. "Wrestling against History" in Theater, Vol. 19, no. 3, Summer-Fall, 1988, pp. 70-71.

DeVries, Hilary. "A Song in Search of Itself" in American Theatre, Vol. 3, no. 10, January, 1987, pp. 22-25.

Elam, Harry J., Jr. "Of Angels and Transcendence; An Analysis of Fences by August Wilson and Roosters by Milcha Sanchez-Scott" in Staging Difference; Cultural Pluralism in American Theatre and Drama, edited by Marc Manfort, Peter Lang (New York), 1995, pp. 287-300.

Henderson, Heather. "Building Fences: An Interview with Mary Alice and James Earl Jones" in Theater, Vol. 16, no. 3, Summer-Fall, 1985, pp. 67-70.

Pereira, Kim. "August Wilson" in Reference Guide to American Literature, edited by Jim Kamp, third edition, St. James Press, 1994, pp. 919-21.

Shafer, Yvonne. "Breaking Barriers: August Wilson" in Staging Difference: Cultural Pluralism in American Theatre and Drama, edited by Marc Manfort, Peter Lang, 1995. pp. 267-85.

Wallach, Allan. "Fenced in by a Lifetime of Resentments" in Newsday, March 27, 1987.

Wilson, Edwin. "Wilson's 'Fences' on Broadway" in the Wall Street Journal, March 31, 1987.

Elam, Harry J. "August Wilson's Women" in May All Your Fences Have Gates, University of Iowa Press, 1994.

Elkins, Manlyn August. Wilson: A Casebook, Garland (New York), 1994.

Holway, John. Voices from the Great Black Baseball Leagues, Dodd, Mead, 1975.

Nadel, Alan. Essays on the Drama of August Wilson, University of Iowa Press (Iowa City), 1994.

Paige, Leroy. "Satchel." Maybe I'll Pitch Forever, Doubleday, 1962.

Rogosin, Donn. Invisible Men. Life in Baseball's Negro Leagues, Atheneum (New York), 1983.

Ruck, Rob. Sandlot Seasons. Sport in Black Pittsburgh, University of Illinois Press (Urbana), 1987.

Shannon, Sandra G. "The Ground on Which I Stand'' in May All Your Fences Have Gates, University of Iowa Press, 1994.

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Fences | Copyright

Drama For Students

Project Editor David Galens

Editorial

Research
Michelle Campbell, Nicodemus Ford, Sarah Genik, Tamara C. Nott, Tracie Richardson

Data Capture
Beverly Jendrowski

Permissions

Imaging and Multimedia

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© 1998-2002; © 2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc.

Gale and Design® and Thomson Learning ™ are trademarks used herein under license.

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Since this page cannot legibly accommodate all copyright notices, the acknowledgments constitute an extension of the copyright notice.

While every effort has been made to secure permission to reprint material and to ensure the reliability of the information presented in this publication, The Gale Group, Inc. does not guarantee the accuracy of the data contained herein. The Gale Group, Inc. accepts no payment for listing; and inclusion in the publication of any organization, agency, institution, publication, service, or individual does not imply endorsement of the editors or publisher. Errors brought to the attention of the publisher and verified to the satisfaction of the publisher will be corrected in future editions.

Introduction

Purpose of the Series

The purpose of Drama for Students (DfS) is to provide readers with a guide to understanding, enjoying, and studying dramas by giving them easy access to information about the work. Part of Gale's "For Students" literature line, DfS is specifically designed to meet the curricular needs of high school and undergraduate college students and their teachers, as well as the interests of general readers and researchers considering specific plays. While each volume contains entries on "classic" dramas frequently studied in classrooms, there are also entries containing hard-to-find information on contemporary plays, including works by multicultural, international, and women playwrights.

The information covered in each entry includes an introduction to the play and the work's author; a plot summary, to help readers unravel and understand the events in a drama; descriptions of important characters, including explanation of a given character's role in the drama as well as discussion about that character's relationship to other characters in the play; analysis of important themes in the drama; and an explanation of important literary techniques and movements as they are demonstrated in the play.

In addition to this material, which helps the readers analyze the play itself, students are also provided with important information on the literary and historical background informing each work.

This includes a historical context essay, a box comparing the time or place the drama was written to modern Western culture, a critical essay, and excerpts from critical essays on the play. A unique feature of DfS is a specially commissioned critical essay on each drama, targeted toward the student reader.

To further aid the student in studying and enjoying each play, information on media adaptations is provided (if available), as well as reading suggestions for works of fiction and nonfiction on similar themes and topics. Classroom aids include ideas for research papers and lists of critical sources that provide additional material on each drama.

Selection Criteria

The titles for each volume of DfS were selected by surveying numerous sources on teaching literature and analyzing course curricula for various school districts. Some of the sources surveyed included: literature anthologies; Reading Lists for College-Bound Students: The Books Most Recommended by America's Top Colleges; textbooks on teaching dramas; a College Board survey of plays commonly studied in high schools; a National Council of Teachers of English (NCTE) survey of plays commonly studied in high schools; St. James Press's International Dictionary of Theatre; and Arthur Applebee's 1993 study Literature in the Secondary School: Studies of Curriculum and Instruction in the United States.

Input was also solicited from our advisory board, as well as educators from various areas. From these discussions, it was determined that each volume should have a mix of "classic" dramas (those works commonly taught in literature classes) and contemporary dramas for which information is often hard to find. Because of the interest in expanding the canon of literature, an emphasis was also placed on including works by international, multicultural, and women playwrights. Our advisory board members—educational professionals— helped pare down the list for each volume. If a work was not selected for the present volume, it was often noted as a possibility for a future volume. As always, the editor welcomes suggestions for titles to be included in future volumes.

How Each Entry Is Organized

Each entry, or chapter, in DfS focuses on one play. Each entry heading lists the full name of the play, the author's name, and the date of the play's publication. The following elements are contained in each entry:

 Introduction: a brief overview of the drama, which provides information about its first appearance, its literary standing, any controversies surrounding the work, and major conflicts or themes within the work.

 Author Biography: this section includes basic facts about the author's life, and focuses on events and times in the author's life that inspired the drama in question.

 Plot Summary: a description of the major events in the play. Subheads demarcate the plays' various acts or scenes.

 Characters: an alphabetical listing of major characters in the play. Each character name is followed by a brief to an extensive description of the character's role in the plays, as well as discussion of the character's actions, relationships, and possible motivation. Characters are listed alphabetically by last name. If a character is unnamed—for instance, the Stage Manager in Our Town—the character is listed as "The Stage Manager" and alphabetized as "Stage Manager." If a character's first name is the only one given, the name will appear alphabetically by the name. Variant names are also included for each character. Thus, the nickname "Babe" would head the listing for a character in Crimes of the Heart, but below that listing would be her less-mentioned married name "Rebecca Botrelle."

 Themes: a thorough overview of how the major topics, themes, and issues are addressed within the play. Each theme discussed appears in a separate subhead, and is easily accessed through the boldface entries in the Subject/Theme Index.

 Style: this section addresses important style elements of the drama, such as setting, point of view, and narration; important literary devices used, such as imagery, foreshadowing, symbolism; and, if applicable, genres to which the work might have belonged, such as Gothicism or Romanticism. Literary terms are explained within the entry, but can also be found in the Glossary.

 Historical Context: this section outlines the social, political, and cultural climate in which the author lived and the play was created. This section may include descriptions of related historical events, pertinent aspects of daily life in the culture, and the artistic and literary sensibilities of the time in which the work was written. If the play is a historical work, information regarding the time in which the play is set is also included. Each section is broken down with helpful subheads.

 Critical Overview: this section provides background on the critical reputation of the play, including bannings or any other public controversies surrounding the work. For older plays, this section includes a history of how the drama was first received and how perceptions of it may have changed over the years; for more recent plays, direct quotes from early reviews may also be included.

 Criticism: an essay commissioned by DfS which specifically deals with the play and is written specifically for the student audience, as well as excerpts from previously published criticism on the work (if available).

 Sources: an alphabetical list of critical material used in compiling the entry, with full bibliographical information.

 Further Reading: an alphabetical list of other critical sources which may prove useful for the student. It includes full bibliographical information and a brief annotation.

In addition, each entry contains the following highlighted sections, set apart from the main text as sidebars:

 Media Adaptations: if available, a list of important film and television adaptations of the play, including source information. The list may also include such variations on the work as audio recordings, musical adaptations, and other stage interpretations.

 Topics for Further Study: a list of potential study questions or research topics dealing with the play. This section includes questions related to other disciplines the student may be studying, such as American history, world history, science, math, government, business, geography, economics, psychology, etc.

 Compare and Contrast: an "at-a-glance" comparison of the cultural and historical differences between the author's time and culture and late twentieth century or early twenty-first century Western culture. This box includes pertinent parallels between the major scientific, political, and cultural movements of the time or place the drama was written, the time or place the play was set (if a historical work), and modern Western culture. Works written after 1990 may not have this box.

 What Do I Read Next?: a list of works that might complement the featured play or serve as a contrast to it. This includes works by the same author and others, works of fiction and nonfiction, and works from various genres, cultures, and eras.

Other Features

DfS includes "The Study of Drama," a foreword by Carole Hamilton, an educator and author who specializes in dramatic works. This essay examines the basis for drama in societies and what drives people to study such work. The essay also discusses how Drama for Students can help teachers show students how to enrich their own reading/ viewing experiences.

A Cumulative Author/Title Index lists the authors and titles covered in each volume of the DfS series.

A Cumulative Nationality/Ethnicity Index breaks down the authors and titles covered in each volume of the DfS series by nationality and ethnicity.

A Subject/Theme Index, specific to each volume, provides easy reference for users who may be studying a particular subject or theme rather than a single work. Significant subjects from events to broad themes are included, and the entries pointing to the specific theme discussions in each entry are indicated in boldface.

Each entry may include illustrations, including photo of the author, stills from stage productions, and stills from film adaptations, if available.

Citing Drama for Students

When writing papers, students who quote directly from any volume of Drama for Students may use the following general forms. These examples are based on MLA style; teachers may request that students adhere to a different style, so the following examples may be adapted as needed.

When citing text from DfS that is not attributed to a particular author (i.e., the Themes, Style, Historical Context sections, etc.), the following format should be used in the bibliography section:

"Our Town." Drama for Students. Eds. David Galens and Lynn Spampinato. Vol. 1. Detroit: Gale, 1998.
227-30.

When quoting the specially commissioned essay from DfS (usually the first piece under the "Criticism" subhead), the following format should be used:

Fiero, John. Critical Essay on “Twilight: Los Angeles, 1992." Drama for Students. Eds. David Galens and Lynn Spampinato. Vol. 2. Detroit: Gale, 1998. 247–49.

When quoting a journal or newspaper essay that is reprinted in a volume of DfS, the following form may be used:

Rich, Frank. "Theatre: A Mamet Play, Glengarry Glen Ross." New York Theatre Critics' Review Vol. 45, No. 4 (March 5, 1984), 5-7; excerpted and reprinted in Drama for Students, Vol. 2, eds. David Galens and Lynn Spampinato (Detroit: Gale, 1998), pp. 51-53.

When quoting material reprinted from a book that appears in a volume of DfS, the following form may be used:

Kerr, Walter. "The Miracle Worker," in The Theatre in Spite of Itself. Simon & Schuster, 1963. 255-57; excerpted and reprinted in Drama for Students, Vol. 2, eds. David Galens and Lynn Spampinato (Detroit: Gale, 1998), pp. 123-24.

We Welcome Your Suggestions

The editor of Drama for Students welcomes your comments and ideas. Readers who wish to suggest dramas to appear in future volumes, or who have other suggestions, are cordially invited to contact the editor. You may contact the editor via E-mail at: ForStudentsEditors@gale.com. Or write to the editor at:

Editor, Drama for Students

Acknowledgments

The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Drama for Students (DfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know

COPYRIGHTED EXCERPTS IN DfS, VOLUME 3, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Canadian Drama/L'Art Dramatique Canadien, v. 15, 1989. Reproduced by permission.—Commonweal, v. CXIV, May 22, 1987. Copyright © 1987 Commonweal Publishing Co., Inc. Repro¬duced by permission of Commonweal Foundation.— Critical Quarterly, v. 24, Winter, 1982. © Manchester University Press 1982 Reproduced by permission of Blackwell Publishers.—Educational Theatre Journal, v. XX, March, 1968; v. 25, March, 1973; v. 25, December, 1973; v. 27, October, 1975. © 1968, 1973, 1975 University College Theatre Association of the American Theatre Association.

All reproduced by permission of the Johns Hopkins University Press.—The Explicator, v. 43, Winter, 1985; v. 46, Summer, 1988; v. 54, Winter, 1996; v. 55, Winter, 1997. Copyright © 1985, 1988, 1996, 1997 Helen Dwight Reid Educational Foundation. All reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—The Hudson Review, v. XL, Autumn, 1987. Copyright © 1987 by the Hudson Review, Inc. Reproduced by permission.—ModernDrama, v. 10,December, 1967, v.XXIV, 1981; v. XXV, December, 1982; v. XXIX, 1986; v. XXX, December, 1987, v. 36, March, 1993 © 1967,1981, 1982, 1986, 1987, 1993, University of Toronto, Graduate Centre for Study of Drama All reproduced by permission.—The Nation, v. 212, June 7, 1971. © 1971 the Nation magazine/the Nation Company, Inc. Reproduced by permission.—New York, Magazine, v. 16, February 28, 1983. Copyright © 1997 K-III Magazine Corporation. All rights reserved. Reproduced with the permission of New York Magazine.—The New Republic, v. 132, April 11, 1955. University Press of Florida, 1955. Copyright 1955 by the Board of Regents of the State of Florida. © 1980 the New Republic, Inc Reproduced by permission of the New Republic.—The New York Times, January 28,1931; December 28, 1965, v. 130, December, 1980; February 22, 1997. Copyright 1931, © 1965, 1980; 1997 by the New York Times Company. Reproduced by permission.—

Atkinson, Brooks. From Onstage: Selected Theater Reviewsfrom The New York Times, 1920-1970. Edited by Bernard Beckerman and Howard Siegman. Arno Press, 1973. Copyright © 1973 by the New York Times Company Reproduced by permission of the New York Times Company.— Beidler, Philip D. From American Literature and the Experience of Vietnam. University of Georgia Press, 1982. Copyright © 1982 by the University of Georgia Press. All rights reserved. Reproduced by permission.—Freedman, Morris. From The Moral Impulse: Modern Drama from Ibsen to the Present. Southern Illinois University Press, 1967. Copyright © 1967 by Morns Freedman. All rights re¬served. Reproduced by permission of Southern Illinois University Press.