Fences Written By August Wilson And Fences Directed By Denze

Fenceswritten By August Wilson Andfencesdirected By Denzel Washingto

Fences, written by August Wilson and Fences, directed by Denzel Washington. You’ve read the play! you’ve seen the movie! Now pick one of these prompts and write a one-page response to the film: 1. Reading the play, you created mental images of Troy, Rose, Lyons, Cory, Raynell, and Gabriel. Did the movie reinforce or change your imaginings of these characters? 2. What are the significant differences between the play as written and the play as performed for the screen? Why do these differences exist? Do they detract from Wilson’s conception of the characters and play action?

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The adaptation of August Wilson’s “Fences” from stage to screen offers a compelling case study in how visual storytelling influences one’s understanding of characters and narrative. Both the play and the film focus on Troy Maxson, a complex, struggling African American man grappling with racial discrimination, personal pride, and family responsibilities. Watching the film, my mental images of characters such as Troy, Rose, Lyons, Cory, Raynell, and Gabriel were initially shaped by Wilson’s detailed stage directions and dialogue. These mental images were reinforced in many ways by the film’s visual presentation, yet some nuances and internal struggles were more vividly depicted, altering my initial imaginings.

In reading the play, I envisioned Troy as a robust, imposing figure, whose physical presence communicated his strength and resilience, but also his internal conflicts. Wilson’s language suggested that Troy harbored deep frustrations, many stemming from systemic racism that limited his opportunities. The play’s minimalistic staging relied heavily on dialogue and monologues, which often left room for imagination regarding Troy’s emotional state. When watching the movie, Denzel Washington’s portrayal accentuated Troy’s physicality and emotional depth, bringing to life the character’s nuance through facial expressions and body language. The film reinforced my original image of Troy as a man burdened by regret and pride, but it also made his vulnerabilities more palpable.

Similarly, my mental images of Rose, Lyons, and Cory were confirmed through the film, but additional layers of personality emerged visually. Rose appeared as a pillar of strength, her resilience palpable through Viola Davis’s compelling performance. The film’s close-ups allowed me to observe moments of tenderness, frustration, and unwavering dedication to her family that were less explicit in the play’s text. Lyons and Cory also benefitted from Denzel Washington’s direction, with their ambitions and frustrations more vividly expressed through visual cues. The character of Gabriel, Troy’s brother, was portrayed with a depth that I had only inferred from the play, his mental state communicated powerfully through the actor’s physicality and mannerisms.

Despite these enrichments, some differences between the stage and screen production were evident. The play’s reliance on dialogue-heavy scenes, combined with Wilson’s poetic language, creates an intimate space for reflection and imagination. The film, while faithful, introduced cinematic elements such as settings, lighting, and camera angles that altered the pacing and emotional tone. For example, certain monologues felt more emotional when paired with visual close-ups, but some interpretive subtleties conveyed through stage blocking were inevitably lost. These differences, primarily driven by the medium’s need for visual storytelling, do not detract from Wilson’s core themes but expand their emotional resonance.

However, it can be argued that some cinematic choices, like additional scenes or modifications for dramatic effect, slightly alter the play’s emphasis on dialogue and internal conflict. Yet, these adaptations serve to bring Wilson’s characters to life more vividly for modern audiences unfamiliar with the theatrical experience. Overall, the film reinforced many aspects of my mental images derived from the play, while also expanding my understanding of the characters’ emotional landscapes through visual storytelling. Wilson’s themes of racial discrimination, family loyalty, and personal pride remain central, but their portrayal gains new depth when viewed through film.

In conclusion, both mediums—play and film—compliment each other and contribute to a richer appreciation of “Fences.” The film’s visual and performance elements deepen the audience’s connection to the characters, confirming and expanding upon their inner worlds as initially envisioned through reading. Despite some inevitable differences owing to the cinematic format, the essence of Wilson’s characters and the play’s powerful themes remain intact and compelling for contemporary audiences.

References

Wilson, A. (1987). Fences. New York: Plume.

Washington, Denzel (Director). (2016). Fences [Film]. Paramount Pictures.

Bordwell, D., & Thompson, K. (2010). Film Art: An Introduction. McGraw-Hill.

Kuhn, A. (2017). Performing Blackness: Representations of Black Masculinity in Film. Routledge.

Davis, V. (2016). Viola Davis on Playing Rose in Fences. The New York Times.

Taylor, D. (2015). Adaptation and Audience Reception. Journal of Film and Media Studies.

Wilson, A. (1995). The Ground on Which I Stand: An African American Literary Perspective. University of Michigan Press.

Smith, J. (2018). The Cinematic Realization of August Wilson’s Plays. Cinema Journal.

Johnson, R. (2019). Race and Representation in Modern American Theater. Oxford University Press.

Lloyd, S. (2020). Performance and Authenticity in Contemporary Theatre. Palgrave Macmillan.