fences - wqed.org · to play in it. research negro league teams that were established in or near...

1 Whatismeantbytheconceptofthe“AmericanDream”?HowdoTroyandCoryeachviewtheAmericanDream?Whydotheirviewsdiffer?DoyouthinktheAmericanDreamissomethingthatcancometrueforpeopleinyourgeneration?

HowdoesAugustWilson’sperspectiveontheAmericanDreamcomparetoperspectivesontheAmericanDreampresentedinotherliteratureyou’veread?

2 IsTroyaheroiccharacter,atragiccharacter,abitofboth,orneither?Why?

3 Fencesissetin1957.Howdothedefiningcharacteristicsofthiserainfluencethecharactersandtheeventsintheplay?Inwhatwaysmightthecharacters’livesdifferifthestoryhadbeensetin1937,beforeWorldWarII?Howwouldtheydifferifthestorytookplacein1967,ortoday?

4 KeyQuote:“Somepeoplebuildfencestokeep

peopleout…andotherpeoplebuildfencestokeeppeoplein.”—JimBono,Act2

Whatdoesthefence-buildingprojectrepresentforeachoftheMaxsons(Troy,Rose,andCory)?

FENCESEXPLORING THE PLAY

Set in 1957

PulitzerPrizeWinner

DRAMA

1987

A father’s frustration with his own past threatens

his son’s future

FENCESBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

INYOURBACKYARDWhenTroywasayoungplayeratthetopofhisgame,MajorLeagueBaseballwassegregated.BythetimetheLeaguewasintegrated,Troywasconsideredtoooldtoplayinit.ResearchNegroLeagueteamsthatwereestablishedinornearyourcommunity.Whoweresomeofthestandoutplayers?WhathappenedtothemaftertheintegrationofMajorLeagueBaseball?

EXPRESSIONPROJECTHerStory:Writeaone-actsequelorprequeltoFences,withRoseasthecentralcharacter.Writeaone-actsequeltoFenceswithRaynellasthecentralcharacter.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/shareoraugustwilsonedu@wqed.org.

Troy’sLegacyImagineCory’slifeaftertheeventsthattookplaceinFences.Writeamonologueforhimsetinthefuture,whenheisTroy’sage.

Set in 1904

Tony Award® Nominee

BEST PLAY

2005

Through the power of memory,

a man takes a mystical journey toward freedom and redemption

1 InGemoftheOcean,AuntEsterspeaksofthe“CityofBones,”amythicalcityatthebottomoftheoceanrepresentingtheburialplaceofanestimated15%ofthe11–13millionenslavedAfricanswhoperishedduringtheMiddlePassageonshipsfromAfricatotheAmericasduringtheAtlanticslavetrade.

ReadAuntEster’sdescriptionsoftheCityofBonesandthenmakeadrawing,painting,orcollageofit.Whatdoyouimagineitlookslike?

2 AftervisualizingtheCityofBones,writeaone-actplaythatissettherefromstarttofinish.

3 AuntEsterisknowninthecommunityasa“washerofsouls.”ShetakesCitizenBarlowonasymbolic,life-changingtriptotheCityofBones.WhydoesthistriphavesuchaprofoundimpactonCitizen?Howdoesitcleansehissoul?

GEM OF THE OCEANEXPLORING THE PLAY

GEM OF THE OCEANBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

IN YOUR BACKYARDBeforeEmancipation,SollyTwoKingsandEliwerepartoftheUndergroundRailroad.Researchnearbyhistoricsites,museums,parks,librariesandmonumentsinyourareatofindoutifanyoftheselandmarkswerestopsontheUndergroundRailroad.Ifso,createabrochureabouttheseplacesthatcouldbeusedbyyourcommunity’svisitors’centerortourismboard.Alistofknownsitescanbefoundatpbs.org/black-culture/shows/list/underground-railroad/locations.

EXPRESSION PROJECT Research the contributions and successes of African Americansthatyoudon’ttypicallyhearaboutduringBlackHistoryMonth,includingpeopleinyourcommunity.Workwithyourclassmatestocreateaslideshow,photoexhibit,orgraphicbookletcelebratingtheseunsungindividuals.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Who Keeps the Collective Memory?Atnearly300yearsold,AuntEsterembodiestheAfricanpresenceinAmerica,beginningwithslavery.Assuch,sheholdsthecollectivememoryandwisdomofhercommunity.Howdotheeldersandwisepersonsinyourfamilyandinyourcommunitykeepthecollectivememoryofyourculture?Whatmemoriesdotheyholdandhavepasseddowntoyou?Recordthesememories(conductinterviewsasneeded).Howdoescollectivememoryhelpsustainandupliftafamilyorcommunity?Compareyourculturetootherculturesinthisregard.

Key Quote: “The people made a kingdom out of nothing.” —Aunt Ester describing the City of Bones AuntEster’swordsalsodescribetheresilienceoftheenslavedAfricanswhosurvivedMiddlePassage,andoftheirdescendants.Startingwithnothing,orverylittle,AfricanAmericansformedcommunities,builtbusinesses,createdartforms(jazz,blues),andmore.Askyourolderrelativesorneighborstodescribeatimewhentheycreated“somethingoutofnothing.”Recordtheseinterviews.Chooseoneasthebasisforapieceofcreativewriting.

Set in 1977

Bonds between generations are

tested by personal and community

conflicts

1 TherelationshipbetweenBeckerandhissonBoosterischaracterizedbytheirdifferentviewsonpersonalpride.DoyourelatemorecloselytoBecker’sperspectiveonpride,Booster’s,both,orneither?

2 Jitneyissetinsideanunofficialcabstation.Inwhatwaysisthisuniquesettingcentraltothestory?Theunlicensedandunregulatedcabservicescurrentlyoperatinginsomecitiesaremodern-dayjitneys.Theseserviceshavecomeunderfirebecausetheydonotfollowexistingrulesforcabs.Doyousupportthistransportationoptioninyourcommunity?Whyorwhynot?

3 TwoTrainsRunningandRadioGolfaretwootherAugustWilsonplaysthat,likeJitney,dealwithurban

redevelopment’svisibleandinvisiblecoststotheAfricanAmericancommunity.SummarizeWilson’sviewofurbanredevelopment,basedonthese3plays.Doyouagreewithhisperspective?Whyorwhynot?

4 KeyQuote:“There’snoideaintheworldthat

isnotcontainedbyblacklife.IcouldwriteforeverabouttheblackexperienceinAmerica.”—AugustWilson

ConsiderthequoteaboveandtheinteractionsbetweenYoungbloodandRena,BeckerandBooster,andothercharactersinJitney.Howaretheserelationshipsbothpersonalanduniversal,reflectingthebroadthemesoflove,honor,duty,and/orbetrayal?

JITNEYEXPLORING THE PLAY

NewYorkDramaCritics’CircleAwardWinner

BEST PLAY

2000

JITNEYBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

INYOURBACKYARDAugustWilsondevelopedthecharactersinJitneyfromlisteningtotheeverydayconversationsofpeopleinhisneighborhood,TheHillDistrictofPittsburgh.Goonalisteningexpeditiontofindinterestingcharactersandvoicesinyourneighborhood.Takenotes.Coffeeshops,barbershops,parks,reccenters—evenyourschoolcafeteriaandhallways—arefullofmaterial.Chooseonemorebitsofdialoguetofocuson,andtransformthismaterialintoastorysetinyourcommunity.

EXPRESSIONPROJECTBridgingtheGenerationGap:Ifyouwroteaplaysetinthehub,orcenter,ofyourcommunity,wherewouldittakeplace?Whowouldbethere?Whatconflictsmightarise?

Whatconflictsexistbetweenpeopleofdifferentgenerationsinyourfamilyorinyourcommunity?Howistoday’sgenerationgapsimilartotheoneinJitney?Howaretheydifferent?Whatmighthelptobridgetoday’sgap?

Explorethepossibilitiesbywritingascenebetweentwopivotalcharactersfromdifferentgenerations.Then,writeadditionalscenestocreateaone-actplay.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/shareoraugustwilsonedu@wqed.org.

Set in 1911

Tenants of a boardinghouse contend with

the personal and social aftermath of

slavery and the Great Migration

1 InJoeTurner,asinallofAugustWilson’splays,thecharacters’personalandcollectivehistoriestakecenterstage.ResearchtheMiddlePassageandTheGreatMigration.Howdotheseliteral,historicaljourneysinfluencethepersonalandemotionaljourneysofthecharactersinJoeTurner?

2 DuringTheGreatMigration,millionsofAfricanAmericansjourneyedfromtheruralSouthtotheNorth,West,andMidwestinsearchofgreatereconomicopportunitiesandfreedom.Whatdidfreedommeanforthemin1911?Whatdoesfreedommeantoyou,today?

3 KeyQuote:“Icanlookatyou,Mr.Loomis,and

seeyouamanwhodoneforgothissong…Fellowforgetthatandheforgetwhoheis”—Bynum

AugustWilsondefinedaperson’ssongastheiruniquegiftsandwayofbeingintheworld.WhatdoesBynummeanwhenhetellsHeraldLoomisthathehasforgottenhissong?WhatcausedMr.Loomistoforgethissong?

4 Art+History:Part1TheboardinghouseinwhichJoeTurnerissetwasinspiredbya1978RomareBeardenpainting,MillHand’sLunchBucket.Thetitleoftheplayitselfcomesfromabluessongofthesamenamewhichwasaboutthereal-lifeJoeTurner(Turney)whoranachaingang.Viewthepainting,readthesonglyrics,andresearchJoeTurney.

JOE TURNER’S COME AND GONEEXPLORING THE PLAY

NewYorkDramaCritics’CircleAwardWinner

BEST PLAY

1988

JOE TURNER’S COME AND GONEBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

INYOURBACKYARDDidAfricanAmericansmigratefromortoyourcommunityduringTheGreatMigration(1910–1930)?Ifso,conductinterviewswitholderresidentstocreatealocaloralhistoryprojectabouthowthemigrationimpactedindividuals,families,andthecommunityat-large.

FINALPROJECTWhat’sYourMigrationStory?Checkoutexamplesofinteractivehistorymapping,suchastheTheAbolitionistMapofAmericaatpbs.org/wgbh/americanexperience/features/interactive-map/abolitionists-map/andtheprojectsathistorypin.org.Writeyourfamily’smigrationstorybeginningwiththemigrationsofoldergenerationsofyourfamily,uptoandincludingyourpersonalmigrations(eachtimeyouhavemovedtoanewplace,eveninthesamecity).Workwithyourclassmatestomapthesestorieswithpictures,audio,andvideo.CompiletheaudioofyourprojectintoapodcastandshareitviaiTunes®oranotherpodcastdirectory.

ShareyourstorieswiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/shareoraugustwilsonedu@wqed.org.

Art+History:Part2Likeacollagist,AugustWilsonpulledtogetherpiecesofartandhistorytocreateanoriginalstory.Thinkofthevariousartforms—painting,music,literature,etc.—currentandhistoricalevents,andimportantpeopleyou’vestudiedinschooloronyourown.Combinetwoormoreoftheseelementstocreateafreshstory.

ReachOut:WhathelpedHeraldLoomistosinghissongagain?Thinkofsomeoneyouknowwhohasforgottentheirsong.Writealetterofencouragementtothem.

Set in 1985

A man’s quest for identity and dignity

is thwarted by limited opportunity,

secrets from the past, and

personal demons

1 KingHedleyIIrevisitsthestoriesofcharactersintroducedpreviouslyinAugustWilson’sSevenGuitars,setin1948.Readbothplays,andthencompareandcontrastsocialandeconomicconditionsforAfricanAmericans,almost40yearsearlier.Identify2–3historicaleventsthattakeplacebetweenthetwoplays.Howdotheseeventsinfluencethechangesyounoted?

2 WhenRubydecidedtonameherson“KingHedley,”whatkindoflegacydidshegivehim?Wasthislegacyablessing,acurse,orboth?Why?

3 KingHedleyIIisconsideredtobeAugustWilson’smosttragicplay.Doyouagreewiththisassessment?Whyorwhynot?

4 AuntEsterdiesatthereportedageof366yearsold.HerbirthparallelsthearrivalofAfricansinAmerica.Withherdeath,whatstatementdoyouthinkAugustWilsonwasmakingaboutthestateofurbanAfricanAmericancommunitiesinthe1980s?

KING HEDLEY IIEXPLORING THE PLAY

Pulitzer Prize Finalist

DRAMA

2000

KING HEDLEY IIBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

IN YOUR BACKYARDAskyourrelatives,teachers,familyfriends,neighbors,localbusinessowners,andothershowyourcommunityhaschangedsince1985.Then,identify2–3historicaleventsthathavetakenplaceinthedecadessince1985.Howdidtheseeventsinfluencethechangesthattookplaceinyourcommunity?Createavisualtimelineofeventsthatisuniquetoyourcommunityandshareitwithyourlocalhistorymuseum.

EXPRESSION PROJECT Who Are The People In Your Neighborhood? Alongwithseveralfriendsorclassmates,takeawalkingtourofyourneighborhood,orofseveralneighborhoodsinyourcity.Takephotosofpeoplethatyousee(Remembertoaskforpermission!).Howdothesepicturestellthestoryofyourcommunity?Howdothesepicturestellthestoryoflifeinthe21stcentury?Createaphotoessaywithyourpictures.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Key Quote: “I’m through with babies. I ain’t raising no more. I ain’t raising no kid to have somebody shoot him. To have his friends shoot him. To have the police shoot him. Why I want to bring another life into this world that don’t respect life? I don’t want to raise no more babies when you got to fight to keep them alive.” —Tonya Likeotherurbanareasinthe1980s,Pittsburgh’sHillDistrict—whereKingHedleyIIand8otherplaysintheCenturyCycleareset—wasplaguedbygunviolence,gangs,andthedrugtrade.HowdoesthisharshrealitycolorTonya’sperspective

onbecomingamotheragain?Findlocal,state,andnationalcurrentevents,suchasinFerguson,MO,thatreflecttheissuesthatTonyalamentedin1985.Makeacollageofheadlinestoillustratetheproblems.

Set in 1927

Stifled and disillusioned by exploitation by white record labels, black

musicians turn their rage inward

1 ConsiderhoweachofthecharactersinMaRaineyrespondstothepersonalandprofessionalinjusticestheyface.Whichcharacterismostlikeyouintermsofhowtheyreact?Whichcharacterisleastlikeyou?Howdoyourespondwhenyou’retreatedunfairly?

2 WhatsimilaritiesdoyounoticebetweentheeachofthemusiciansinMaRaineyandtheirrespectiveinstruments?Whichinstrumentbestreflectsyourpersonalityandtemperament?Why?

3 DidLevee’sactionsattheendofMaRaineysurpriseyou?WhydoyouthinkAugustWilsonchosetoendtheplaythisway?Summarizewhatyouseeasthemessageoftheplay,basedonthisending.

MA RAINEY’S BLACK BOTTOMEXPLORING THE PLAY

Tony Award® Nominee

BEST PLAY

1985

MA RAINEY’S BLACK BOTTOMBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

IN YOUR BACKYARDWhatareotherexamplesofinstitutionalracismyou’veobservedorencountered?Writeaone-actplay,essay,orshortstorythataddressesoneormoreoftheseissues.

EXPRESSION PROJECT Mother of the Blues:Gertrude“Ma”Raineywasoneofthemostpopularbluesartistsofthe1920s.Learnmoreaboutthereal“MaRainey.”Then,telladifferentpartofherstorybywritingaone-actplaysetbeforeoraftertheeventsinMaRainey’sBlackBottom.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Key Quote: “You don’t sing [the blues] to feel better – you sing ’cause that’s a way of understanding life.” —Ma RaineyListentosomeofMaRainey’ssongsoniTunes®:bit.ly/maraineysblues.Then,listentosomecontemporarybluessongsbyRuthieFoster:bit.ly/ruthiefostersblues. Compareandcontrasttoday’sbluesmusicwiththatofthe1920s.Composeabluessongthatreflectsthecaresandconcernsofyour21stcenturylife.Workwithyourclassmatestosetyoursongstomusicandperformthem.

Then vs. now: InthedecadesimmediatelyfollowingEmancipation,AfricanAmericansfacedracism,segregation,andprejudice.Asamusicalform,theBluesgavevoicetoAfricanAmericans’personalandpoliticalfrustrations.However,institutionalracismexistedwithinthemusicindustryitself.Research“race records”(AfricanAmericanmusicrecordedinthe1920sand1930s).Whoweretheleadartistsoftheday?Howweretheytreatedbymusicindustryexecutives?CompareandcontrasttheirexperienceswiththoseofyourfavoritecontemporaryAfricanAmericanrecordingartists.

Set in 1936

Siblings disagree about how to honor the legacy of their

family’s painful past

1 TheghostsinThePianoLessoncouldbeviewedasmerelyrestlessorvengefulspirits.Or,theycouldrepresenttheunresolved,internalstrugglesofthecharacters.Revisiteachappearanceofghostsinthetext,andforeach,describewhatyouthinkishappening.

2 Berniece,awidow,objectstotheideathatasawoman,heronlyworthisinrelationtoaman.HowareBernieceandtheotherwomencharactersinThePianoLesson—includingthedeceasedonesthatarementioned—portrayed?Aretheypresentedonlyinrelationtomen?

3 BerniecerejectsAvery’sproposalsandresiststhepressuretobeinarelationship.ButshesharesanunexpectedkisswithLymon.WhatdoesthisrevealtoyouaboutBerniece?

THE PIANO LESSONEXPLORING THE PLAY

Pulitzer Prize Winner

DRAMA

1990

THE PIANO LESSONBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

INSPIRING MINDSThePianoLessonwasinspiredbyaRomareBeardenpaintingofthesamename.Thepaintingfeaturesawomanandagirlsittingatapiano(seeithere:bit.ly/beardenspianolesson),andit’sbelievedthatrenownedjazzpianistMaryLouWilliamsinspiredthepainting(listentoWilliamsoniTunes®:bit.ly/marylouwilliams).Whoaretheartistsandothersthatinspireyou?Makealistofyourinspirationsandhoweachofthemhelpsyoutoexpressyourself.

EXPRESSION PROJECT Metaphorically Speaking:Inadditiontotheghosts,whatotherextendedmetaphorsdoesWilsonuseinthisplay?ChooseoneofWilson’smetaphorsanduseittocreateacreativework(poem,story,play)ofyourown.ShareyourworkwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Key Quote: “Mama Ola polished this piano with her tears for seventeen years. For seventeen years she rubbed on it till her hands bled. Then she rubbed the blood in…mixed it up with the rest of the blood on it. Every day that God breathed life into her body she rubbed and cleaned and polished and prayed over it.’Play something for me, Berniece. Play something for me, Berniece.’ Every day. ’I cleaned it up for you, play something for me, Berniece.’” —Berniece

AugustWilsonusedthephrase“blood’s memory”todescribethememoriesofasharedpastamongAfricanAmericans,apastwithdeepandinextricableancestralrootsinAfrica.InallofWilson’splays,knowingandhonoringthiscollectivepastisessentialtothecommunity’spresent-dayviability.InThePianoLesson,thefamilyheirloom—apianoacquiredfromthesaleoftwoancestorsduringslavery—isapointofcontentionbetweenBernieceandBoyWillie.Decidewhichsibling’splansforthepianoyoubelievemosthonortheirancestors,thenwriteapersuasivelettertotheothersiblingtomakeyourcase.

Set in 1997

The rewards of the American Dream

are weighed against the cost to the

larger community

1 AugustWilsonusedthegameofgolfasametaphorforaquestionfacingtheblackmiddleclasstowardtheendofthe20thcentury:Doyouhaveto“playthegame”ofthedominantcultureinordertosucceedsociallyandeconomically?

InRadioGolf,whatdoesthismetaphorical“game”involve?Howdothecharactersbalancepersonalambitionwithpersonalintegrityandadesiretohonorthepastandtheircommunity?

2 ResearchtheHillDistrict,thePittsburghcommunityinwhichRadioGolfisset.Howdoesthiscommunity’spastandwhat’shappeningtheretodayinfluenceyourunderstandingofRadioGolf?

RADIO GOLFEXPLORING THE PLAY

New York Drama Critics’ Circle Award Winner

BEST AMERICAN PLAY

2005

RADIO GOLFBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

EXPRESSION PROJECT In Your Own Backyard:TheissueofgentrificationisatthecenterofRadioGolf.Isyourschoolorhomeinornearaneighborhoodthathasbeenorisbeinggentrified?Inwhatwayshastheneighborhoodchanged?Makeavideoofaclassdebateabouttheprosandconsofthesechanges.ShareyourvideowiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Key Quote: “A Negro don’t know he’s a Negro. He thinks he’s a white man. It’s Negroes like you who hold us back.” —SterlingHowisRooseveltholdingthecommunityback,accordingtoSterling,quotedabove?Doyouagree?

Dare to Dream? Doyouthinkit’spossibletoachievesuccessinAmericawithoutcompromisingwhoyouare?

What Would You Do?Describeasituationinwhichyourpersonalintegritycameintoconflictwithsomethingyouwanted.

The Fate of 1839 Wylie Avenue:Holdaclassdebatewithtwoteams—onearguingforthedemolitionofthehouse,onearguingagainst.

Speak Out!:You’vebeenaskedtoaddressthecrowdprotestingthedemolitionof1839WylieAvenue.Writea2-minutespeechthatconveysyourthoughtsaboutthefateofthehouse.

Set in 1948

Internal and external struggles

shape African American men as they fight for their humanity and self-worth

1 AugustWilsonbelievedtheGreatMigration—theearly20thcenturyrelocationofmillionsofAfricanAmericansfromtheSouthtonortherncitieslikeChicagoandPittsburgh—wasamistake.ReadWilson’sJoeTurner’sComeandGone.GiventheexperiencesofcharactersinJoeTurnerandinSevenGuitars,doyouagreewithWilson?Whyorwhynot?

2 WhatdidChicagosymbolizeforFloyd?Whydoyouthinkhewassodeterminedtogetbackthere,despitetheobstaclesinhisway?

3 IfVerahadaskedyouifsheshouldgowithFloydtoChicago,whatadvicewouldyouhavegivenher?Why?

4 AugustWilson’sKingHedleyII,setin1985,featuressomecharactersfromSevenGuitars.Readbothplays,andthencompareandcontrastsocialandeconomicconditionsforAfricanAmericans,almost40yearslater.Identify2–3historicaleventsthattakeplacebetweenthetwoplays.Howdotheseeventsinfluencethechangesyounoted?

SEVEN GUITARSEXPLORING THE PLAY

New York Drama Critics’ Circle Award Winner

BEST PLAY

1996

SEVEN GUITARSBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

EXPRESSION PROJECT PSA:BothCanewellandFloyddescribebeing“arrestedfornothing”inChicagoandinPittsburgh.HowmightAugustWilsonhavedramatizedcurrenteventsinthenews,suchasinFerguson,MO,relatedtoracialprofilingandharassmentofAfricanAmericans?Writeandrecorda30-secondPublicServiceAnnouncementraisingawarenessaboutthisissue.ShareyourvideowiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

Key Quote: “I am not a historian. I happen to think that the content of my mother’s life — her myths, her superstitions, her prayers, the contents of her pantry, the smell of her kitchen, the song that escaped from her sometimes parched lips, her thoughtful repose and pregnant laughter — are all worthy of art. Hence, Seven Guitars.” —August Wilson

SevenGuitarsisset,literally,inthebackyardofAugustWilson’schildhoodhome.Howdothe“contents”ofyourparentsorotherlovedoneslives’informyourviewofhistoryandtheartyoucreate?

MakealistsimilartoWilson’saboveaboutthecontentsofthelifeofsomeoneyoulove.Usethesedetailstocreateastory,poem,song,orone-actplay.

Her Story: WhilethestrugglesandfateofAfricanAmericanmenisakeythemeinSevenGuitars,thecharactersofVera,Louise,andRubyarealsocentraltothestory.Foreachcharacter,createthreebriefstorysketches/notes:1) HerstorybeforetheeventsofSevenGuitars2) Herstoryaftertheseevents3) Herstoryifshewerethecentralcharacterin

SevenGuitars.

Challenge:AugustWilsonsketchedhisideasoneverydayitems,suchasnapkins,thencollectedthemlatertowritehisplays.Jotdownyoursketchesonnapkins(orsimilarsizeditems),usingonenapkinpersketch.Practiceworkinginthislimitedspace.Then,chooseoneoftheninesketchestodevelopintoalargerstoryorplay.

Set in 1969

African Americans grapple with the social and psychological

impact of the Civil Rights and Black

Power Movements

1 WhatdoesHambone’s“Hegonnagivememyham”sayabouthisbeliefintheAmericanDream?HowdoesthiscomparetoMemphis’sideaoftheAmericanDream?

2 ThecharacterofAuntEsterismentionedorappearsinthreeplays(TwoTrainsRunning,KingHedleyII,andGemoftheOcean)inAugustWilson’s10-playcycle.InTwoTrains,herageisgivenas349yearsold;herbirthcoincideswiththearrivalofthefirstcapturedAfricansinAmerica.Readthethreeplaysmentioned.WhatdoesAuntEsterrepresentinTwoTrains,andinWilson’sCenturyCycleasawhole?

3 By1969,theCivilRightsMovementhadcometoanend.AsevidencedbythecharactersandeventsinTwoTrains,whatissuesremainunresolvedforAfricanAmericans,andforAmericaasacountry,in1969?Didthisplaychangeorimprove

yourunderstandingoftheCivilRightsMovement?Ifso,howso?

4 TheyearbeforeTwoTrainstakesplace,Dr.MartinLutherKingJr.wasassassinatedinMemphis.AugustWilsonnamesoneofthecentralcharactersMemphis,andthestorytakesplaceinadiner,thesiteofmanyCivilRightsMovementprotests. Memphislamentshisdecliningcustomerbase;assmallbusinessesclose,fewerpeoplearecomingtogethertosharemealsinthecommunity.Risa,theonlywomanamongthecentralcharacters,isn’tinterestedinattendingtheracialjusticerally.Throughthesestoryandcharacterelements,whatdoesAugustWilsonrevealaboutthepost-CivilRightsMovementera?Viewedthisway,doyouthinktheCivilRightsMovementsucceeded,failed,orsomethinginbetween?

TWO TRAINS RUNNINGEXPLORING THE PLAY

New York Drama Critics’ Circle Award Winner

BEST AMERICAN PLAY

1992

TWO TRAINS RUNNINGBEYOND THE PLAY: YOUR VOICE, YOUR COMMUNITY

Key Quote: “You can’t go through life carrying a ten-gallon bucket. Get you a little cup. That’s all you need. Get you a little cup and somebody put a little bit in and it’s half full. That ten-gallon bucket ain’t never gonna be full. Carry you a little cup through live and you’ll never be disappointed.” —WestDidWesthimselfliveaccordingtohiswordsabove?DoyouagreewithWest’sapproachtolife?Whyorwhynot?Writeyourownphilosophyoflife,usingnomorethan50words.

Her Story: WriteaprequeltoTwoTrainswithRisaasthecentralcharacter.Inyourprequel,revealtheeventsthatledhertocutherlegs.

IN YOUR BACKYARDFindoutwhereyourparentsandgrandparentswerelivingin1969.HowweretheirlivessimilartothelivesofthecharactersinTwoTrainsatthattime?Howweretheirlivesdifferent?Askeachpersontodescribethatyearinasingleword.Usethosewordstocreateapoementitled,“1969.”ShareyourpoemwiththeAugustWilsonEducationProjectatwqed.org/augustwilson/toolkit/share or augustwilsonedu@wqed.org.

EXPRESSION PROJECT“Take a Look”: Whenthejukeboxstartsup,thesongthatplaysisArethaFranklin’s“TakeaLook.”Lookupthelyricstothissong.WhydoyouthinkAugustWilsonchosethissongforthisparticularplay?Whatsongwouldyouchoosetoplayinthebackgroundofastoryorone-actplayaboutyourlifethisyear.Choosethesong,thenwritetheplayorstory.