Fences, August Wilson

As illustrative of the kind of analysis I would bring to Fences, by August Wilson, if my bid to direct is successful, O prose to take direction for a part of Act 1, Scene 3 of the play. This will include possible blocking, camera work, music, and what the actor should be feeling and experiencing while acting the part. I will examine how crucial it is that the actors portray their characters effectively, and I will offer commentary to assure just that. On the basis of these findings I will determine the function of this scene in the whole play and how the characters and ensuing events of play are necessarily different because of the presence of this scene and the manner in which its conflicts are resolved. To set the scene, Troy and Cory are debating with one another Cory’s goals and aspirations in life. It is Cory’s dream to play football, to receive a scholarship to play at North Carolina. In Troy’s eyes, his son is wasting his time. Using his experience and his past ventures in the sports world when he was younger, Troy has created this illusion that black men would never thrive and succeed in professional sports. He says, “The colored guy got to be as twice as good before he get on the team. That’s why I don’t want you to get all tied up in them sports”. Instead of pursuing a failed career, Troy wants Cory to work in the A&P and learn a trade such as fixing cars or building homes. Cory is in disbelief that his dad would deny his dreams and aspirations.

TROY. You damn right you are! And ain’t no need for nobody coming around here to talk to me about singing nothing.
*distraught, the feeling one should feel when a football game should have been won, when victory was imminent, but with seconds left the opposing team somehow pulls of a miracle play to win the game themselves. Cory should feel that his dreams are so close to beginning but in fact over because his dad refuses to support him*
-camera zooms in on a distraught and shocked cory-
CORY.