There are several different versions of The Three Little Pigs, or of any fairytale that has been passed down from generation to generation. The variation in telling is often attributed to the storyteller and her version's unique purpose or spin. In one version the story could serve to warn listeners of the dangers of shoddy and uncalculated workmanship. Another version might take into consideration the perspective of a badly misunderstood and misrepresented wolf. It all depends on who brings the tale to life.

Each student, like the teller of fairytales, harbors a unique version of a universal story. It is unique because it is comprised of a set of experiences the student shares with no other being. It is universal because every story ever told is a variant on a theme we all inherently understand- the search for that which makes us human. A strong community is composed of individuals and the cherished stories each tells. Room is made for each person to tell his story in his own way. The following is a tale with over fifty-seven versions, each one exceptional, each one common to us all. This is a tale of students' telling and listening to each others story through the medium of theatre. It begins, oddly enough, with the story of The Three Little Pigs.

The unit began with students looking into scripts they would eventually perform. I wanted students to reach beyond the surface level of the lines and begin to consider the subtext and structure of the stories contained within these scripts. Script analysis is tricky business even for professional actors and directors. In order to help my students find their way into this process, I adapted a strategy I learned in my methods course. The original strategy involves teaching the six traits of writing through the use of children's books in order to keep the text accessible to all students while learning the different traits (Spandel, ,Creating Writers, 2001; Culham, Ruth, Picture Books, 1998.). I used this concept to fit with what I wanted student to learn about analyzing plot structure, so I used the well known story of the three little pigs. I solicited volunteers to act out the story, so all students would be familiar with the story and version we were discussing. Students then watched the story again, segment by segment, identifying the different parts of the plot. After practicing their plot analysis skills on the three pigs, each group of actors was asked to complete the same process using the scripts for their scenes. By using an easily accessible known children's story they could refer back to as a guide and a scaffolded lesson structure, students were better able to engage in this complex task.

In addition to the required script analysis, each group of actors was charged with finding scenes with characters and situations with which they connected, and that were acceptable for a high school environment. They had to find stories that spoke to them, that they felt compelled to share. In some cases this proved to be a challenge. For example, three students discovered a scene about three young women who also happened to be- Barbie dolls. This play was a social commentary on the perception, pressures, and treatment of young women in contemporary popular culture. It was a complex and difficult script, calling for strong physical acting skills and sophisticated delivery of lines. The students assured me they were up to the task and could pull it off. There was just one hitch, the scene included an interaction between characters where one purchased illicit pills from the other. While this "drug deal" fit within the context and theme of the scene, I was concerned that this transaction was inappropriate for the classroom. We discussed the issue and the students reassured me that they understood my concerns and explained the importance and significance of the scene to their own lives. They related with the pressures these characters felt to be perfect, to measure up to the unattainable ideals represented by the images of women in popular culture. Moved by their conviction and assured that they would handle the scene with the required maturity, I supported their choice of scenes. Their performance was extraordinary. These young actors captured the paradoxical nature of the characters through exaggerated physical gestures (they moved as if they had dolls' clumsy joints) and poignant delivery of subtext through the lines. Trusting in these young actors' conviction and maturity proved to me that, afforded the opportunity, students can tackle potentially controversial material with poise and professionalism.

Making accommodations for students' creative talents and choices often requires that a teacher be flexible and willing to adjust the ways in which students demonstrate their learning. The teacher must consider multiple ways in which students might meet the requirements of an assignment. This need was brought to my attention when three actors finally found a scene to which they could relate, after having struggled to find one. What they had discovered was a version of Shakespeare's, Othello, performed as a rap song. The problem with the scene was that it, in itself, did not follow the plot structure we had worked on analyzing. The characters in the scene had little development, and simply narrated the play through song. How then were these students to demonstrate the analysis skills that were a large part of the assignment? Instead of analyzing the scene from their characters' perspective, the students analyzed the plot structure of the play Othello itself. Attesting to their creativity they used lines from the rap to illustrate the key plot elements (please see Script Analysis artifact). The rap was a huge success, winning critical acclaim from the audience, due to the dedication with which these actors rehearsed the timing and rhythm of their delivery. These actors were able to perform the scene they connected with and committed themselves to, while still demonstrating their ability to perform the required script analysis.

The final example, of one student's story, truly captures the cooperative and supportive spirit of this class. It involves Jeremy , a student with special needs, and his desire to perform a scene about one of his passions- baseball. Prior to this scene Jeremy's IA and his mother had programmed an electronic talking device to speak for Jeremy as he acted out his monologue. Jeremy, unable to communicate verbally and having difficulties with fine motor movements, expressed his desire to his IA and me by swinging an imaginary bat when asked what he would like to do for his scene. With the help of his IA and my cooperating teacher, I adapted the assignment to fit the learning goals laid out in Jeremy's IEP. We adapted a famous poem about a hard hitting baseball player and practiced the scene with Jeremy's acting partners, one of whom narrated the poem. Jeremy's desire to play baseball was captured in this scene in front of a supportive and enthusiastic audience. As Jeremy swung his bat and ran the bases a cheer rang through the theatre. He stopped midway between second and third base to look at the smiling faces of his peers, matching them with his own smile. His triumphant return to home plate was met with high fives from his acting partners and vigorous round of applause from his fans. The respectful and supportive environment created in this classroom was captured in this moment. Making room for every member of the class to share his/her story and unique creative talents became a recognizable theme for all in the class.

Giving students the power to choose and create the course of their own learning has potential well beyond the creative arts classroom. In a classroom where students help to navigate the course of learning, the motivation for that learning is rooted in the desires and curiosity of the students, rather than being solely provided by external forces such as grades, and other institutionally driven forces. I believe that there are many opportunities for choice when a teacher and the curriculum he teaches are flexible and bend to make a place for students to express themselves and their passions. Written into one student's final evaluation of my teaching was this comment, "Mr. Poch's strength in teaching is in his sincerity to his students. He shows a genuine interest in their goals and life, and does an effective job of relating to them." This student's praise captures the essence of what I want to accomplish as a teacher. I want to create a space where students feel able and encouraged to forge parts of their story, their lives, into the learning of the classroom.