POST-SHOW DISCUSSION
QUESTIONS AND ACTIVITIES
with alignments to the Common Core Curriculum Standards
Created by McCarter Theatre Education and Engagement. 2016.
1
TABLE OF CONTENTS
PAGE 3 ………….ALIGNMENT
TO
COMMON CORE
PAGE 5 ……………..……………………ACTIVITIES
PAGE 8 ……..………….APPENDIX
OF
MATERIALS
ABOUT THIS GUIDE
The activities outlined in this guide are designed to enrich your
students’ educational experience by addressing many Reading,
Writing,
and
Speaking
and
Listening
Common
Core
anchor
standards. The incorporation of these activities into your students’
post-performance experience may give your students a deeper context for considering and assessing the production and what the play
means to them.
2
BACK
TO
SCHOOL BUS BABBLE
In this section students reflect on their immediate reactions to the performance and later revisit
them in order to elaborate and clearly articulate their thoughts about The Piano Lesson. It is
aligned to the following standards:
CCSS.ELA-LITERACY.CCRA.SL.1 Prepare for and participate effectively in a range of
conversations and collaborations with diverse partners, building on others' ideas and expressing
their own clearly and persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2 Integrate and evaluate information presented in diverse
media and formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the
development, organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.6 Use technology, including the Internet, to produce and
publish writing and to interact and collaborate with others.
THE PIANO LESSON: PERFORMANCE REFLECTION
AND
DISCUSSION
In this section questions for a class discussion are provided that students can use as a
springboard for written reflection. It is aligned to the following standards:
Writing:
CCSS.ELA-LITERACY.CCRA.W.1 Write arguments to support claims in an analysis of
substantive topics or texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.2 Write informative/explanatory texts to examine and
convey complex ideas and information clearly and accurately through the effective selection,
organization, and analysis of content.
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the
development, organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9 Draw evidence from literary or informational texts to
support analysis, reflection, and research.
Discussion:
CCSS.ELA-LITERACY.CCRA.W.1 Write arguments to support claims in an analysis of
substantive topics or texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.2 Write informative/explanatory texts to examine and
convey complex ideas and information clearly and accurately through the effective selection,
organization, and analysis of content.
Continued on next page.
3
THE PIANO LESSON: PERFORMANCE REFLECTION
AND
DISCUSSION (CONT.)
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the
development, organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9 Draw evidence from literary or informational texts to
support analysis, reflection, and research.
THE 4B’S
AND
ME
In this section students explore August Wilson’s sources of inspiration—the 4 B’s. They then
extend their learning by connecting these influences to their families and their own inspirations.
The activities in this section are aligned to the following standards:
CCSS.ELA-LITERACY.CCRA.SL.2 Integrate and evaluate information presented in diverse
media and formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the
development, organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.6 Use technology, including the Internet, to produce and
publish writing and to interact and collaborate with others.
IN HIS OWN WORDS
In this section students reflect on a quote from August Wilson and then make connections to his
artistic goals and contemporary issues in entertainment. The activities are aligned to the
following standards:
CCSS.ELA-LITERACY.CCRA.W.1 Write arguments to support claims in an analysis of
substantive topics or texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the
development, organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.10 Write routinely over extended time frames (time for
research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a
range of tasks, purposes, and audiences.
MONOLOGUE MOMENT
In this section, students discuss which monologues in The Piano Lesson stood out to them and
why. They then craft their own monologues. These activities are aligned to the following standards:
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.5 Develop and strengthen writing as needed by planning, revis-
ing, editing, rewriting, or trying a new approach.
Continued on next page.
4
MY MONOLOGUE MOMENT (CONT.)
CCSS.ELA-LITERACY.CCRA.W.10 Write routinely over extended time frames (time for research,
reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks,
purposes, and audiences.
CCSS.ELA-LITERACY.CCRA.SL.4 Present information, findings, and supporting evidence such that
listeners can follow the line of reasoning and the organization, development, and style are appropriate
to task, purpose, and audience.
WRITING
THE
REVIEW
The activities in this section encourage thoughtful consideration of and written reflection on the
students’ experiences of the play in performance. They are aligned to the following standards:
CCSS.ELA-LITERACY.CCRA.W.1 Write arguments to support claims in an analysis of
substantive topics or texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.4 Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9 Draw evidence from literary or informational texts to support
analysis, reflection, and research.
CCSS.ELA-LITERACY.CCRA.W.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range
of tasks, purposes, and audiences.
5
BACK
TO
SCHOOL BUS BABBLE
On the bus returning from the theatre, have the students write down 5 words to describe the
feelings and thoughts they have about the production they just saw. For homework, ask students to
elaborate on two of their chosen words either as a journaling assignment, a school-based online
forum, or via social media, using @mccarter.
THE PIANO LESSON: PERFORMANCE REFLECTION
AND
DISCUSSION
In the next class meeting following their attendance at the performance of The Piano Lesson, ask
your students to consider the questions below. You might choose to have them first reflect on the
questions in writing, and then share their answers orally in either a full-class discussion or
small-group breakout sessions.
Questions to Ask Your Students about the Play in Production

What was your overall reaction to August Wilson’s The Piano Lesson? Did you
find the production compelling? Stimulating? Intriguing? Challenging?
Memorable? Confusing? Evocative? Bizarre? Unique? Delightful? Meaningful?
Explain your reactions.

What themes of the play especially stood out in production? What themes were
made even more apparent or especially provocative in production/performance?
[Themes may include: Racial discrimination and oppression and their influence on
black individuals, families, communities, and society; familial conflict; the effect of
one’s past on their present circumstances/actions; nature vs. nurture—how two
people raised in the same family can have two different outlooks on life; the intersection of gender and race in terms of identity and conflict with society.] Explain
your responses.

Is there a moment in the play that specifically resonated with you either
intellectually or emotionally? Which moment was it and why do you think it
affected you?

Describe the pace and tempo of the production (e.g., slow, fast, varied). Did it
feel like the pace of the production matched the inherent tempo of the story
and/or was suited to the style of the play? Why or why not?

Was there anything about the play—for example, its story, structure, characters,
language, dramatic style—that felt new or different to you in relation to your
experience of other plays (either on the page or in performance)?
Questions to Ask Your Students about the Characters

Did you personally identify with any of the characters in The Piano Lesson?
Who? Why? If no, why not?
Continued on next page.
6
THE PIANO LESSON: PERFORMANCE REFLECTION
AND
DISCUSSION
Questions to Ask Your Students about the Characters (cont.)

What character did you find most interesting or engaging? Why were you
intrigued or drawn to this particular character?

What qualities were revealed by the actions/objectives, speech, and
physicalization of the characters?

In what ways did the actions of the characters and/or their motivations reveal
the themes of the play? Explain your responses.

Did any characters develop or undergo a transformation or make an emotional
journey during the course of the play? Who? How? Why?
Questions to Ask Your Students about the Style and Design of the Production
THE 4B’S

Was there a moment in The Piano Lesson that was so compelling, intriguing,
entertaining, or engaging that it remains with you in your mind’s eye? Write a
vivid description of that moment. As you write your description, pretend that you
are writing about the moment for someone who was unable to experience the
performance.

How did the overall production style and design suit the story, inform the
characters, and reflect the central themes of The Piano Lesson? Explain your
response.

How did the style and design elements of the production (e.g., sets, costumes,
lighting, sound, original music), unified under the directorial vision of Jade King
Carroll, enhance the performance? Explain your reactions.

What did you notice about Neil Patel’s scenic design? Did it provide an
appropriate, effective, and/or evocative setting for the story of The Piano
Lesson? How and why, or why not? What considerations do you think went into
his design choices?

What mood, atmosphere, or impact did Edward Pierce’s lighting design
establish and/or achieve? Explain your experience of the lighting of the play.

What did you notice about the costumes design by Paul Tazewell? What do you
think were the artistic and practical decisions that went into the conception of
the costumes for this production?

What did you notice about the musical moments in the play? How did the
particular songs reflect the characters who were singing/playing? What effect
did these songs have on the tone of the play or progression of the plot? How
would it have felt without music or less music?
AND
ME
August Wilson credits his artistic inspiration to the “4 B’s”: the Blues, Romare Bearden, Amiri Baraka,
andJorge Luis Borges. Distribute the handout in the appendix to your students and go over it as a class.
Continued on next page.
7
THE 4B’S
AND
ME (CONT.)
After learning about the 4 B’s, engage your students in a discussion about these influences.
Questions may include:

Did you find it surprising that a playwright would find inspiration from other artists?

Can you observe any commonalities between these 4 influences?

Which of the 4 B’s most interests you or piques your interest? Why?
Based on the students’ responses, break them into smaller groups and task them with researching
the 4 B’s further. After students have deepened their familiarity with the 4 B’s, present them with
the following two assignments and ask that they choose one to pursue.
Activity 1: Inspired by the B’s
The Piano Lesson is a story about a family. In this activity you will tell a story about your family.
Select either the Blues or Bearden as the form for telling your story and create your own piece of
art in a way that evokes style. Your song or collage must somehow convey/express something
about someone in your family or your own experience with family life. Be as creative as possible!
Activity 2: My Inspiration
August Wilson had the 4 B’s, but where do you find inspiration? Identify four people, art forms,
movies, books, etc. that are influential in your everyday life or your own personal growth. The four
things do not have to start with the same letter like Wilson’s B’s. Once you’ve identified these four
things create a handout (like the one you received about August Wilson) explaining your four
inspirations. Be sure to give your four inspirations a clever title!
CONNECTING
TO
TODAY
Share the following quotation from August Wilson with your students:
I think it is important that we understand who we are and what our history has been,
and what our relationship to society is, so that we can find ways to alter that
relationship and, more importantly, to alter the shared expectations of ourselves as
a people. The suffering is only a part of black history. What I want to do is place the
culture of black America on stage, to demonstrate that is has the ability to offer
sustenance, so that when you leave your parents’ house, you are not in the world
alone. You have something that is yours, you have a ground to stand on, and you
have a viewpoint, and you have a way of proceeding in the world that has been
developed by your ancestors. It was James Baldwin who called for a “profound
articulation of the black tradition,” which he defined as that field of manners and
rituals which sustains a man once he has left his father’s house. And I said,
”Ah-hahh! I am going to answer that call. I am going to show that this culture exists
and that it is capable of offering sustenance. Now, if in the process of doing that,
you have to explore the sufferings of black America, then that is also a part of who
we are. And I don’t think you can ignore that because our culture was fired in the
kiln of slavery and survival.
From National Forum: The Phi Kappa Journal, 70 (Summer 1990).
After reading the quote, engage your students in a discussion about August Wilson’s words. Questions may include:
Continued on next page.
8
CONNECTING
TO
TODAY (CONT.)

After reading this quote did you make any immediate connections to what you
experienced on stage in The Piano Lesson?

How do you think that “plac[ing] the culture of black America on stage” might
have the ability to offer “sustenance?” What do you think Wilson meant by this?
In what ways or to what extent do you think The Piano Lesson offers
sustenance?

Why do you think it was so important to August Wilson that the suffering of black
America was not glossed over in his dramatic portrayals?

Do you think Wilson achieved his goal to answer James Baldwin’s call to action?
That is, is The Piano Lesson a “profound articulation of the black tradition?”
Explain your reasons.

What about the black experience spoke to you in the story of The Piano Lesson?
(Where/when did you feel a personal connection to the characters or situations?)
Next, guide your students to connect August Wilson’s words and how they may resonate
today. Utilize the following questions:

Think of a contemporary example of the portrayal of black America on stage or
screen. Based on what you thought Wilson meant by “sustenance” would you argue that this example is capable of offering sustenance?

Do you think this example would be considered a “profound articulation of the
black tradition?”
Written Reflection: Based on the thoughtful responses that arise from this discussion, ask
your students to write a brief response/reflection to the comments that were generated. Students
may:

Respond to the quote as it connects to The Piano Lesson

Respond to the quote as it connects to a contemporary example of black America

Elaborate on something they said in the discussion

Reflect on the major ideas or recurring thoughts that arose

Respond directly to a comment made by another student
MONOLOGUE MOMENT
Begin this activity by gauging your students’ understanding of monologues. Before beginning the
discussion or assignment ensure each student knows that a monologue is a long speech in a play
delivered by one character.
There are many powerful monologue moments in The Piano Lesson. Engage your students in a
discussion about these moments. Questions may include:

Did a specific monologue “pop” for you? What about that moment made it stay
with you?
Continued on next page.
9
MONOLOGUE MOMENT (CONT).

What did you notice about the objectives of these monologues for their speakers?
To whom were the characters speaking and why?
After discussing the monologues from The Piano Lesson, guide your student in a journaling
activity in which they answer questions that will help them to craft a monologue of their own. Utilize
the following questions:

What’s something you value? It can be an object, an abstract idea (e.g., freedom),
or a person (e.g. a best friend). Describe the person, idea, or thing you value.

When did you first realize how important this thing, idea, or person was to you?
Explain the circumstances of your realization.

Imagine circumstances in which the person, thing, or idea you value is threatened.
What might those circumstances be? How does this make you feel?

If you had to convince someone to change these circumstances, to whom who
would you speak? What would be the two major reasons s/he should change his/
her mind?
Once they’ve finished brainstorming, students should use their answers to craft their own
monologues. Distribute the My Monologue handout, as it contains helpful hints and reminders for
writing monologues. Once completed, encourage students to practice reading them aloud and offer a
chance to share them with their classmates.
WRITING
THE
REVIEW
Have your students take on the role of theater critic by writing a review of the McCarter Theatre
production of The Piano Lesson. A theater critic or reviewer is essentially a “professional audience
member,” whose job is to provide reportage of a play’s production and performance through active
and descriptive language for a target audience of readers (e.g., their peers, their community, or
those interested in the arts). Critics/reviewers analyze the theatrical event to provide a clearer
understanding of the artistic ambitions and intentions of a play and its production; reviewers often
ask themselves, “What is the playwright and this production attempting to do?” Finally, the critic
offers personal judgment as to whether the artistic intentions of a production were achieved,
effective and worthwhile.
Things to consider before writing:

Student reviewers may want to use words generated from the “Bus Babble”
exercise.

Theater critics/reviewers always back up their opinions with reasons, evidence
and details.

The elements of production that can be discussed in a theatrical review are the
play text or script (and its themes, plot, characters, etc.), scenic elements, costumes, lighting, sound, music, acting and direction (i.e., how all of these elements
are put together). [See Theater Reviewer’s Checklist in the Appendix]

Educators may want to provide their students with sample theater reviews—of
productions other than The Piano Lesson—from a variety of newspapers.

Encourage your students to submit their reviews to the school newspaper for
publication. And ask them to email them to us at [email protected].
10
APPENDIX
11
The 4 B’s
My influences have been what I call my four Bs—the primary one being the blues, then Borges, Baraka, and Bearden.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and
culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etcetera. From Amiri
Baraka I learned that all art is political, though I don’t write political plays. That’s not what I’m about. From Romare
Bearden I learned that the fullness and richness of everyday ritual life can be rendered without compromise or
sentimentality.
August Wilson , The Paris Review (1999)
Romare Bearden
Amiri Baraka
B
l
u
e
s
Jorge Luis Borges
Created by McCarter Theatre
Education and Engagement. 2016.
1
Bearden
An African American artist best known for his collages. Bearden would use
scraps of various material to create images that were evocative of the
places he had lived (North Carolina, NY, and Pittsburgh). August said of
Bearden’s work: “What I saw was black life presented on its own terms, on a
grand and epic scale , with all its richness and fullness, in a language that was
vibrant and which made attendant to everyday life, ennobled it, affirmed its
value, and exalted its presence.”
Blues
“Whatever you want to know about the black experience in America is
contained in the blues.” - August Wilson The blues is a musical genre
with roots in West Africa. It developed through spirituals, work songs,
field hollers etc. Some of its trademarks include emotionally charged
performances, a lyrical form, and a ”twelve-bar blues” chord progression. It became popular in the US in the early 1910s and continued to
influence American popular music.
Baraka
Poet, author, playwright, and activist. Wilson was drawn to
Baraka’s politically charged works and was inspired to create
honest portrayals of the African American experience. “My interest
in Baraka comes from the sixties and the Black Power movement.
So it’s more for Baraka’s political ideas, which I loved and still am
an exponent of. Through all those years I was a follower, if you
will, of Baraka. He had an influence on my thinking. “
Borges
Jorge Luis Borges was an author and poet from Argentina. His works
are characterized by fantastical elements colliding with reality.
These tales often follow the same basic premise: a hero responds to
some problem by setting out on a journey. The journey eventually
leads to a moment of clarity or epiphany—sometimes
supernatural—for the hero. Wilson drew inspiration from this
structure as well as Borges’ use of supernatural elements.
2
mon∙o∙logue n
Questions to Consider
while Writing
Any extended, uninterrupted solo speech
Who is the character who is
within a play. Refers to a solo speech in a
speaking the monologue?
play delivered to someone else on stage,
Where are you from? What kind
such as another character or group who
does not speak, or to a solo speech directly of life have you led?
When is this happening?
addressed to the audience.
CHARACTERISTICS OF
COMPELLING MONOLOGUES

The character has a strong need to tell
what she or he tells.

Something stands in the character’s way or
makes it difficult to tell the story.

There is some semblance of a beginning,
middle, and end to the monologue.

In the course of the monologue the
character takes a journey or transforms
(i.e., begins to see things differently, learns
something through talking about a problem,
finds an answer, gains strength, etc.)

Words, images, and ideas expressed by
the character are specific, detailed and
descriptive in an active, vibrant and
interesting way.

The character’s voice is consistent,
regardless of its coherency.
BEWARE OF:

Stereotypes

Assumptions about cultures and time periods

Predictable, prefabricated representations of
human beings

Characters defined only by one glaring,
consistent quality
Past? Present? Future? Are you
telling a story—when did that
take place?
Where is this happening?
How does the setting (private vs.
public) influence how you
express yourself?
Why are you speaking ?
What is the message you’re trying to get across? What happened just before this moment
that made you need to say something?
What do you want?
Do you want to be heard? Affect
change? Win an argument?
What will you have accomplished
at the end of the monologue?
To whom is the character
speaking?
What’s your relationship to this
person? What kind of history do
you share? How does that affect
your tone and/or message?
What makes the character’s
voice unique and/or specific?
How does where you’re from,
your religion, how you were
raised, where you go to school
influence your speech?
Theater Reviewer’s Checklist
Adapted from Christopher Thaiss’ and Rick Davis’ Writing for
the Theatre (Boston: Allyn and Bacon, 1999), p. 45.
Use this form as an aid to prompt your memory and heighten your awareness before the play and after it when you sit down to write.
Production:
Date of Production:
Playwright:
Venue:
McCarter Theatre
Key √
Element
TEXT
Notes
Plot
Major characters
Main ideas/themes
Effectiveness of language
Other textual elements
Key √
Element
SETTING
Notes
Physical appearance
Materials
Style
Color
Relationship to theater’s architecture
Relationship to world of the play
Other scenic elements
Key √
Element
COSTUMES
Choice of period
Color
Materials
Style
Relationship to characters of the play
Other costume elements
Notes
Key √
Element
LIGHTING
Notes
Atmosphere created
Color choices
Style
Enhancement of/detraction from mood
Other lighting elements
Key √
Element
SOUND
Notes
Function of effects or musical score
Specific effects that support or compete with
action of play
Other sonic elements
Key √
Element
ACTING
Notes
Clarity of characterization
Vocal and physical work
Notable moments in performance
Sense of ensemble playing/acting
Other acting elements
Key √
Element
DIRECTING
Clarity of storytelling
Casting choices
Tempo and rhythm of performance
Composition of stage images
Other directorial elements
Notes