All of the exercises we have set out will be applicable to some degree-and at the actor’s and director’s direction-to the creation of a highly concrete and playable mask of character for Davies. The fact that one cannot approach Davies from a simply psychological and biographical point of view is no disadvantage to the actor once the tactics, pattern of strategies, verbal rhythms, and structures are understood to be the fabrics of the character, and are integrated with the larger meaning that the playwright has woven into the work as a whole.