Objectives

• Analyse how Wilson uses Troy's storytelling voice — specifically his Death speech in Act One — to establish character, theme, and dramatic tension.
• Explain how the fence motif accumulates symbolic meaning across both acts, tracking its changing significance for Rose, Troy, and Cory.
• Analyse how Wilson presents the breakdown of Troy and Rose's marriage in the Act Two confession scene, focusing on language, stage direction, and dramatic form.
• Evaluate how Wilson uses the father–son conflict between Troy and Cory to explore the relationship between personal failure and systemic racism.
• Write a sustained, evidenced analytical paragraph that makes a clear argument about Fences, selecting and embedding quotation from the play.

The sequence

1. Lesson 1: Troy's Voice: Storytelling, Death, and the Blues in Act One

   60 min · ch. 1

   Do now

   Read the sentence on the board: 'I wrestled with Death for three days and three nights and I won.' Without looking at the play, jot down three questions this sentence brings to mind for you as a reader. What sort of man would say this? What does this reveal about his character?

   Teacher input

   Model a close reading of Troy's death speech in Act One, Scene One — "Death ain't nothing but a fastball on the outside corner" — illustrating how Wilson employs a baseball metaphor to express Troy's desire to transform his feelings of powerlessness into a sense of mastery. Annotate aloud: the boldness of the extended metaphor, the blues-inflected repetition ("Death ain't nothing"), and how Bono's silence serves as a dramatic tool that maintains the audience's skepticism about Troy's self-mythologizing.

   Independent task

   Students will receive a printed extract of Troy's Death speech. They will annotate it on their own and then compose one analytical paragraph that answers the question: How does Wilson use Troy's Death speech to shape his character for the audience? In their paragraphs, students should include at least two quotations and clearly argue what the speech reveals about Troy, rather than just summarizing its content. The paragraphs will be collected at the end of the lesson.

   Exit ticket

   Wilson most powerfully employs the technique of foreshadowing in the Death speech, which leads the audience to contemplate Troy's complex character and the burdens he carries even at this early stage in the play.

2. Lesson 2: What the Fence Means: Symbol, Rose, and the Shape of the Play

   60 min · ch. 1, 2

   Do now

   On the board: Rose says, "Some people build fences to keep others out, while others build fences to keep people in." Write for four minutes — who do you think Rose is referring to, and what side of the fence do you believe she stands on?

   Teacher input

   Model a tracking analysis of the fence motif, starting with Rose's repeated requests for Troy to finish building it in Act One, Scene Two, and concluding with the stage direction in Act Two that describes the completed fence after Troy's death. Teach students to see a symbol as dynamic — it doesn't hold a single meaning; it evolves. Illustrate how to annotate Rose's line, 'I planted myself inside you,' alongside the fence imagery to argue that for Rose, the fence represents an act of love rather than confinement.

   Independent task

   Students receive a two-column tracking grid that outlines four significant moments related to the fence: (1) Rose asking Troy to complete it in Act One; (2) Troy and Cory working on it together in Act One; (3) Troy leaning against it following Alberta's death in Act Two; (4) the stage direction depicting the yard during Troy's funeral in Act Two. For each moment, students will note what the fence symbolizes and for whom. They will then compose a brief paragraph—80 to 120 words—arguing how the meaning of the fence evolves throughout the play.

   Exit ticket

   Before: > Name one character for whom the fence represents protection and one for whom it represents exclusion. Give a line or stage direction to support each choice.

   After: > Identify a character who sees the fence as a form of protection and another who views it as a means of exclusion. Provide a relevant line or stage direction to back up each selection.

3. Lesson 3: Betrayal and Form: The Act Two Confession Scene

   60 min · ch. 2

   Do now

   Without referencing the play, rank the following statements from most to least painful to hear from a partner: (a) 'I've been seeing someone else.' (b) 'She's pregnant.' (c) 'I feel alive with her in a way that I don't with you.' Be prepared to explain your ranking. You have four minutes.

   Teacher input

   Model a dramatic form analysis of the Act Two, Scene One confession — from Troy's "I've been standing with you! I've been trying to fill up that crack" to Rose's "I gave eighteen years of my life to stand in the same spot with you." Focus on one move: how Wilson contrasts the length and rhythm of Troy's speeches with the brevity of Rose's responses to reveal who dominates language and who possesses the truth. Highlight Rose's "I gave eighteen years" as the pivotal moment when the dramatic balance shifts — a short, declarative statement that leaves no room for rebuttal.

   Independent task

   Students are tasked with writing a comparative paragraph (120–150 words) that addresses the following question: How does Wilson use the structure of dialogue in the Act Two confession to illustrate the shift of power from Troy to Rose? In their response, students must quote from both characters' speeches, analyze the sentence length or rhythm as a formal feature, and present a clear argument rather than simply recounting the events of the scene.

   Exit ticket

   Wilson uses the contrast in length between Troy's lengthy confession speeches and Rose's brief responses to form a dynamic that highlights Troy's self-absorption and Rose's emotional restraint.

4. Lesson 4: Father and Son: Troy, Cory, and the Weight of Racism

   60 min · ch. 1, 2

   Do now

   Troy tells Cory, "I don't want him to be like me!" Rose responds, "Times have changed since you were young, Troy." Write for four minutes — who do you think is right, and what does this disagreement reveal about the gap between them?

   Teacher input

   Model a close reading of Troy's Act One speech to Cory that begins with 'I don't want him to be like me!' focusing particularly on the lines regarding the recruiter and Jackie Robinson. Explore how to interpret Troy in two ways at once: first, as a man whose experiences with racism have left him scarred, unable to envision a future where Cory can truly thrive; second, as a father whose own insecurities about success are highlighted by his son's potential achievements. In weaving in the context of baseball integration and the atmosphere of 1957 Pittsburgh, ensure that this background enriches rather than overshadows the textual analysis.

   Independent task

   Students will craft a structured response (150–180 words) to the question: To what extent is Troy's destruction of Cory's football career an act of love, an act of fear, or an act of selfishness? They should incorporate at least three quotations from Act One, including Troy's speech to Cory regarding the recruiter and at least one line from Bono or Rose that provides context for Troy's behavior. The response must also arrive at a definitive evaluative judgment.

   Exit ticket

   Wilson illustrates the father-son conflict as a reflection of systemic racism, showing how Troy's struggles and failures are not just personal but also rooted in societal oppression. This dynamic highlights the broader impact of racial discrimination on the African American family unit, emphasizing that their conflicts stem from a shared history of injustice rather than just individual shortcomings.

5. Lesson 5: Gabriel's Trumpet and the Ending: What Wilson Leaves Unresolved

   60 min · ch. 2

   Do now

   The stage direction at the end of Act Two indicates that Gabriel's trumpet makes no sound, prompting him to dance — and the direction notes that this dance 'opens the Gates of Heaven.' Write for four minutes: why might Wilson opt for a silent trumpet instead of a sounding one? What does silence achieve that sound cannot?

   Teacher input

   Model a reading of the final scene of Act Two — Gabriel's attempt to sound the trumpet, his dance, and the stage direction 'That's the way that go!' — as Wilson's intentional avoidance of resolution. Teach students to interpret a stage direction as an authorial statement: the silence of the trumpet doesn't imply that Troy is barred from heaven; instead, it signifies Wilson's decision not to give the audience an easy, neat spiritual conclusion. Relate this to Cory's near-decision to skip the funeral and Rose's concluding words about Troy — 'your daddy's got a lot of him in you.'

   Independent task

   Students are tasked with composing a complete analytical paragraph (150–200 words) that addresses the question: How does Wilson use the final scene of Act Two to convey an ambiguous judgement on Troy Maxson? They should reference Gabriel's stage direction, incorporate at least one line from Rose's closing speech, and consider Cory's choice to attend the funeral. The paragraph should begin with a definitive argument rather than merely summarizing events.

   Exit ticket

   Wilson seems to suggest that he wants the audience to find some level of forgiveness for Troy by the end of the play. The moment that shapes this perspective is when Troy reflects on his past choices and acknowledges his flaws while still striving for redemption in his relationships.

Activities

Assessment

• Exit ticket Lesson 1: checks whether students can name a specific technique in the Death speech and link it to audience response — looking for precision (e.g. 'extended baseball metaphor') rather than vague effect statements.
• Collected paragraph Lesson 1: checks whether students can embed quotation and make an argument about Troy's character, not merely retell the speech.
• Tracking grid Lesson 2: checks whether students can read the fence as a dynamic symbol with different meanings for different characters, not a fixed emblem.
• Exit ticket Lesson 3: checks whether students have understood dramatic form — specifically that speech length is a deliberate authorial choice — rather than treating the confession scene as biography.
• Lesson 4 written response: checks whether students can hold an evaluative question open — love, fear, or selfishness — and sustain a judgement across three pieces of evidence rather than listing points.
• Exit ticket Lesson 5: checks whether students can form a personal interpretive judgement about Wilson's ambiguous ending and anchor it to a specific textual moment rather than a general impression.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama, including where a story is set, how the action is ordered, and how the characters are introduced and developed.
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyze how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• RL.11-12.6 — Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature.
• Character (CHR-1) — Explain the function of a character, including how complex or contradictory characters contribute to the meaning of a literary work.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases, including extended metaphor and symbol, in shaping meaning.
• Structure (STR-1) — Explain the function of structure in a literary work, including how dialogue length and stage directions create dramatic effect.
• Contextual Connections (CC-1) — Explain the relationship between a work of literature and the historical, social, and cultural context in which it was written.

AQA

• AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
• AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received.
• AO4 — Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including the use of dramatic form, dialogue structure, and symbolic staging.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including the social and historical context of 1950s Black America and the civil rights era.
• AO5 — Explore literary texts informed by different interpretations, considering how Wilson's ambiguous presentation of Troy invites multiple readings.