My Approach to the Role of Cressida

I use the classical method of acting. This means that I think about how I use the whole of myself: personality, imagination, facial expressions, gestures, movement and voice to convey the character. In this instance, the character is Cressida. How I move and the gestures I make try to communicate the message and meaning of the text in my lines, as well as highlight certain emotions and the character's personality. 

I was in a confined space for the video, hence, my movement is somewhat restricted and I have to stay on the same spot. It's made me wonder if I may need to rethink where I record future videos. 

I attempt to use the tone of my voice in such a way as to make it clear when Cressida is trying to sound chilled and when she becomes more passionate and doesn't hold back and just says it like it is. I also emphasise certain words by expressing them differently to draw attention to thoughts and feelings I think are important for the character of Cressida. To express this further, I support this with accompanying gestures to add emphasis to the content of Cressida's speech. For example, raising my hand and looking up is a gesture I use in the video to signify oration and rhetoric. It's a way of Cressida showing how it can be used to command the floor.

Ideally, if I have ample time to learn my lines, I engage in a very involved acting method, a process which includes various techniques. While learning my lines off by heart, I write out the text and mark it up using symbols in the margin and underlining words in various colours as a way of analysing the text and thinking through how I want to say/express the lines, which emotions I want to project and where I want to include gestures. I also mark out any rhyming, the metre, the rhythm/beat/pace, alliteration, as well as show what the character's train of thought is and where she is constructing an argument. This helps me communicate clearly with an audience. Then I include memory techniques and triggers to recall all of this information and accelerate how fast I memorise the lines. 

During this process, I also learn a great deal about the storyline and the character's personality, desires, situation and needs at various stages throughout the play (not just at the point at which the set monologue takes place). I write out and say the lines repeatedly to completely internalize them so that I am free to focus on projecting and expressing the emotions, inner thoughts and state of the character, as if I were the character herself and as if I were speaking naturally, not reciting lines. Hence I try to embody the character, say the lines as if I were speaking somewhat off the cuff as they occur to me. I want to create a realistic feel to the character and plot, to bring out the timeless social, ethical, political and feminist themes as well as draw an audience into understanding the plot and the character I'm portraying and empathise with her when the text calls for it. In so doing, I attempt to iron out any potential self-consciousness that I am acting a part because that can produce an artificial, stilted, unexpressive, empty, over-performative, going-through-the-motions style of acting. 

Although I have planned my vocal and gestural expressions in advance, I leave room for improvisation when I record it so each performance feels fresh and natural. Although I want to create a realism about the character and plot, I choose certain key gestures in advance while marking up my lines which symbolise her desires, thoughts and internal state of mind. I feel that this combination of pre-planning, together with an openness to an element of improvised spontaneity, helps me convey the character and lines convincingly, with heightened, strong, yet real and genuinely felt emotion. At least, that's my aim. 

I rely on my imagination to help me portray the character and dilemma that Cressida finds herself in. However, I try not to overact, not just due to my acting method, but also because I'm aware that it doesn't fit the role of Cressida. She is an upper class lady, so she's unlikely to be overdramatic. She is more likely to undercook her feelings so perhaps appearing disinterested when she's not. I tried, therefore, to show this tension in my voice, body language and gestures. I have used rather modern gestures of expression, such as, putting my hair behind my ear, and lowering my head while my eyes look upwards to convey coyness and emotional vulnerability. This is because a modern audience will immediately recognize the meaning of that gesture. Upper class people tend not to express emotion unless in a private setting.  That doesn't mean they are not feeling anything but rather that they think they should appear dignified at all times. Therefore, to be too overtly spontaneous in the role wouldn't fit. It might fit other roles in other plays but not this role or play. 

The classical method's emphasis on analysing the text, I think, is enormously valuable and rather crucial. Rather like a piece of classical music, I feel the playwright has written down his vision for the play and its characters and, therefore, it's up to me to try to reveal this vision as far as possible. I don't have relevant, personal experience of the Bronze Age so the best I can do is use my imagination and empathy to both cognitively and emotionally understand Cressida and her predicament. This method of acting is not just relevant when enacting Shakespeare. It is a method that can be used for all plays/scripts.