267© The Author(s) 2020R. Roznowski et al., The Introverted Actor, https://doi.org/10.1007/978-3-030-41607-2

The following professional actors and educators graciously donated their time and expertise to assist us with this book. Their experiences and opin-ions formulated much of the book’s structure and suggestions.

John Baxter is the Head of Movement at LAMDA.  He trained at LAMDA as an actor. John has worked with the RSC, the NT, Shared Experience, and the Almeida Theatre, to name a few, as well as in televi-sion and film. As a director, he has worked for the Royal Opera, the Queens Theatre, the National Gallery, and the National Youth Theatre, among others. He has led workshops and masterclasses in London, Paris, at the Ancient site of Epidauvros, and for Welsh National Opera.

Benil Biswas is a performer, director, and scholar. He is an assistant professor at the School of Culture and Creative Expressions, Ambedkar University Delhi.

Cameron Michael Chase is an MFA Candidate in Acting at Michigan State University. He has been a professional actor for the past 15 years and is also certified in The LoVetri Somatic Voicework.

Soumyabrata Choudhury is a well-known Indian actor and educator who currently teaches at Jawaharlal Nehru University.

Rodney Cottier is head of the drama school division at the London Academy of Music & Dramatic Art. He has 39 years’ experience as a stage director and teacher of stage combat, acting, and text at LAMDA, where he has directed 26 plays from Shakespeare’s canon.

Contributor bios

268 CONTRIBUTOR BIOS

As a fight director, Cottier has worked at Shakespeare’s Globe as Master-of-Fight, choreographing several productions including Mark Rylance’s Hamlet, as well as the Royal Opera House, English and Welsh National Opera, the National Theatre Studio, and many regional theatres.

Brent Donnellan is a professor of Psychology, and he investigates research questions at the intersections of personality psychology, develop-mental psychology, and psychological assessment.

Maria Frangi is a Greek theatre director and a faculty member at the University of Patras in Greece.

Andy Head is a professional actor and an assistant professor with the Department of Performing Arts and Visual Culture at the Rochester Institute of Technology.

Sarah Hendrickson is Assistant Professor of Acting and Improv at Michigan State University and professional improviser, actress, instructor, and producer in Chicago performing with many theatres, including The Second City.

Chris Hopwood is Associate Professor of Psychology at the University of California, Davis, and his research sits at the interface of clinical and personality psychology.

Lisa Kaenzig is the dean at Hobart and William Smith Colleges in Geneva, New York. A frequently invited speaker on issues relating to gifted and introverted learners, Kaenzig’s acclaimed research on the topic, “Introversion: The often forgotten factor affecting the gifted,” is cited as one of the most influential early references in the field.

Shafali Jarial is an MA Performance Studies major at Ambedkar University Delhi.

Richard Lucas is Professor of Psychology at Michigan State University and one of his research areas is extraversion.

Matthew Marks is an actor currently in The Book of Mormon on Broadway. Before that, he has been in many other productions such as Priscilla, Queen of the Desert, West Side Story, Gypsy, and Fiddler on the Roof.

Joanne Magee is a tenured drama teacher and theatre director at LREI, a leader in progressive education since 1921 in New York City. She trained at the Royal Central School of Speech and Drama in London, England, and has 25 years of teaching and directing experience both in London and New York.

Sean Patrick McGowan is an LA actor and writer, known for Townmouse, Face to Face Time, and The French Teacher.

269 CONTRIBUTOR BIOS

Patrick Midgely is a professional actor who has worked with numerous classical companies devoted to the works of Shakespeare and holds a PhD in Theatre from Texas Tech University.

Kavya Misra is an Indian student and actor currently studying for an MA in Theatre.

Linda Mugleston has appeared in nearly a dozen Broadway shows including My Fair Lady, Hello, Dolly!, Beautiful: The Carole King Musical, Cinderella, and Young Frankenstein.

Emmanuelle Roumain is an actress and writer known for Hawaii Five-0, 90210, This Is Family, and Criminal Minds.

Carol Schultz is an NYC based actor who has worked extensively in regional theatres throughout the country and has been a company mem-ber of the Pearl Theatre in NYC, as well as the Cleveland Play House and CSC Rep.

Jennifer Simard is a Tony, four-time Drama Desk, two-time Drama League and Lucille Lortel Award nominee. Broadway credits include Disaster! (Sister Mary Downey, Tony nomination); Hello, Dolly! (Ernestina); Company, Mean Girls, The 25th Annual Putnam County Spelling Bee (Rona); and the original companies of Sister Act and Shrek the Musical.

Andy Sloey is a graduate of both the iO Training Center and Second City Conservatory in Chicago and is currently an adjunct professor at Webster University’s Conservatory of Theatre Arts. He is a teacher, per-former, and general manager at The Improv Shop in St. Louis, MO.

Capital City Improv Roundtable ParticipantsEric FlickAl NimpsonAlexsis PageDrew StroudCarla WilsonDubai Roundtable ParticipantsMohammed AbdulsalamKaran AhfidMaegan M. AzarJason CulbrethJason DernayHassan HaliyahMichael LongPatrick Midgely

270 CONTRIBUTOR BIOS

Rodney OmarRachana PillamariAnthony TassaCollin VosbeckAustin WilsonElie George YazigiStudent Respondents from Chap. 10Eric BalamuckiMolly BennettGrant CleavelandLydia CotnerSarah DavisShelby EppichPeter James FlorianEvan HoudekBrandon DrapJala JacksonElise JorgensenPaige KingHongwen LuKallie MarrisonMack MarshallTaylor McPhailMadison MoylanTaylor MuellerDJ ShaferCamiile ThomasBrandon TownsendSara WeldonMichigan State University Master of Fine Arts Candidate ActorsRyan AdolphAbbie CathcartSharon CombsKevin CraigDarah DonaherEloy Gómez OrfilaClaire Wilcher

271© The Author(s) 2020R. Roznowski et al., The Introverted Actor, https://doi.org/10.1007/978-3-030-41607-2

Index1

1 Note: Page numbers followed by ‘n’ refer to notes.

AAcetylcholine, 11“Acting like an extrovert,” 244–248Acting studio, 70, 72, 96, 99, 100,

102, 103, 106, 107, 110–112, 120, 133, 163, 166, 169, 173, 183, 185, 239

“Act like an extrovert,” 3–4, 244, 245Actor, 5, 27, 31, 36, 38, 43, 61, 65,

67, 69–74, 76, 86, 99, 115, 133, 141, 144, 153, 165, 189, 199, 202, 207, 217, 220, 222–225, 231, 241, 249, 257–263

Actor-audience relationship, 257Adaptability, 17–18Adler, Alfred, 5, 6Advice, 16, 53, 108, 123, 128,

130–131, 163, 189, 195, 196, 205, 207, 224, 226, 228, 229, 244, 245, 247, 248, 255, 258, 259, 262, 264, 265

Advocacy, 109–110

Ambivert, 6–8, 36, 55, 61, 64, 65, 67–69, 75, 77, 78, 80, 88, 158, 166, 168, 171–172, 176, 180, 183, 184, 258

Analysis, 38–41, 47, 52, 54, 61, 65–67, 70–72, 74, 79, 80, 88, 116, 144, 148, 156, 159, 202–204, 206, 214, 217, 223, 224, 228, 231, 234, 245, 265

Ancient Greek theatre, 143“Antisocial,” 3, 6, 7, 12, 14–15, 46Anxiety, 4, 12, 13, 18, 30–32, 34, 36,

57, 68, 91, 92, 101, 103–105, 108–110, 122, 126, 130, 148, 149, 155, 157, 175, 179, 190, 199, 201, 203, 211, 212, 220, 224, 236, 244, 251, 252

Aron, Elaine, 14Ashton, M. C., 10“As Noise Rises, so do the

Dangers,” 10Assertiveness, 6, 199, 205, 250

272 INDEX

Assimilation, 47Associations, 3, 11, 12, 139Audience, 15, 27–29, 32, 33, 36–38,

43, 50, 62, 64, 65, 70, 71, 77, 101, 107, 118, 126–128, 138, 144, 149, 157, 161, 183, 193, 194, 206, 229, 231, 232, 234–238, 257, 258

Audition, 10, 11, 18, 43, 46, 57, 69, 74, 78, 127, 149, 154, 155, 160, 162, 189, 191, 192, 196, 199–214, 218, 219, 231, 243, 251, 258, 260

Audition space, 78, 149, 199, 207, 208, 213, 258

Australia, 63Authenticity, 17, 18, 45, 46, 56, 92,

200, 227, 243, 248, 261, 265Awareness, 12, 38, 43, 44, 65, 71, 95,

103, 107, 165–167, 169, 170, 182, 184, 203, 207, 210, 211, 229

BBalzano, Frederica, 242, 246, 254Banaji, M. R., 11Barrier, 142, 163, 234, 235Baxter, John, 146–149Beautiful Day in the

Neighborhood, A, 48“Become another,” 31–34, 64, 65,

182, 231Bias, 11, 12, 48, 69, 85, 99, 107, 221,

222, 258, 261Big Five personality Test, 29Big Five Personality traits, 76Biswas, Benil, 137–142Blindspot, 11Body, 18, 40, 71, 86, 90, 95, 140,

143, 146, 156, 226, 228, 259Brainstorming, 4, 93

Break time, 225–226Breathing, 19, 104, 207, 224,

233, 239Briggs, Katherine, 7Broadway, 31, 32, 34, 37, 92, 189,

192, 201, 208, 209, 212, 218, 223, 232, 238, 259

Buddies, 92Burnout, 18, 19, 93

CCain, Susan, 4–6, 8, 12, 14, 18, 30,

62, 85, 133, 136, 234, 239Callback, 70, 201, 202, 204,

207, 214Camenson, Blythe, 27Capitol City Improv, 116Capital City Improv Roundtable, 123Careers for Introverts and Other

Solitary Types, 27Cathcart, Abbie, 211Challenges, 46, 80, 87, 88, 90, 92,

95, 105, 106, 108, 110, 112, 118, 140, 149, 167, 176, 179–181, 201, 203, 205, 212, 218, 266

Character, 5, 15–17, 19, 29–32, 37–40, 47–51, 53–56, 65–68, 71, 72, 88, 92, 104, 108, 111, 119, 122, 124, 134, 136, 141, 142, 147, 158, 159, 161–163, 169, 173, 182, 189, 193, 194, 205, 212, 213, 223–225, 227, 228, 231, 234, 235, 237, 238, 244, 245, 248, 250, 264

“Character self,” 47Chase, Cameron Michael, 53–55China, 135Chorus, 148, 156Choudhury, Soumyabrata, 136, 139,

142, 236, 262

273 INDEX

Classes, acting, 40, 69, 70, 72, 94, 100, 101, 103, 104, 109, 111, 119–123, 163, 168, 169, 179, 180, 183, 184, 232

Classroom, 3, 4, 69, 72–75, 85, 86, 90, 92–94, 96, 99–112, 121, 122, 124, 125, 128, 129, 135, 136, 141, 142, 145, 148, 155, 161, 163, 165, 168–170, 180, 181, 183–185, 190, 191, 222, 258, 261

Collaboration, 35, 39, 67, 86, 93, 153, 170, 173, 175–177, 180, 181, 221, 248

Collins, Jim, 89Colombia, 63Combs, Sharon, 201–203Comedy, 122, 126, 144,

157, 180–181Comedy of manners/farce,

165, 180–181ComedySportz, 122“Come out of your shell,” 3Comfort meter, 91Commedia, 174–176Commedia dell’arte, 165, 174Community, 33–35, 111, 141, 144,

217, 239Confidence, 4, 46, 47, 54, 57,

91, 116, 120, 123, 124, 128, 129, 191, 194, 205, 210, 212, 232, 235, 248, 250, 252, 260

Connection, 14, 28, 31, 35–37, 40, 46, 48, 61, 64, 65, 68, 76, 86, 108, 120–122, 127, 135, 139, 140, 144, 146, 160, 172, 201, 203, 208, 209, 212, 222, 227, 228, 231, 234, 243, 246–249, 253, 260

Conover, Carolyn, 51–54Conservatoire, 153

Coping, 43, 56, 57, 94, 148, 189, 200, 225, 234

Core Personal Projects, 17–19Cottier, Rodney, 149, 153–163Cranston, Brian, 204Creativity, 28, 29, 85, 88, 93, 101,

122, 128, 170Cuddy, Amy, 16CulturalIndia.net, 140Culture, 3, 4, 6, 11, 12, 15, 30, 64,

85, 86, 94, 100, 103, 133–136, 139–141, 143, 144, 146, 149, 162, 169, 171, 219, 239, 243

Culture as History, 5Culture of personality, 4–6

DDavidson, Bernard, 6Day-Lewis, Daniel, 111“Deliberate practice,” 39,

90–91, 257Dembling, Sophia, 6Depression, 57, 91, 190Dialogue, 31, 35, 36, 39, 72, 102,

107, 109, 143–146, 171, 173, 227, 248, 258

Diener, Ed, 14Director, 5, 6, 14, 16, 19, 40, 50–52,

57, 68, 75, 95, 99, 106, 128, 129, 137, 141–143, 157, 158, 176, 178, 192, 200, 201, 204, 211–214, 218–224, 227, 228, 235, 243, 247–250, 253, 258, 262–265

Disaster!, 193Donnellan, Brent, 28–30, 45, 48, 49,

55, 108, 116, 130, 134, 135, 146, 200, 202, 205, 245, 246

Dopamine, 10, 11, 55Doubt, 92, 111, 122, 127, 139, 141,

202, 205, 260

274 INDEX

Drama, 28, 33, 147, 153–156, 162, 169, 190, 261

DSM-IV, 6Dubai, 121, 221Duke University, 95

EEducator, 3, 4, 7, 30, 46, 55, 61, 62,

69, 85–96, 99, 100, 102, 103, 105–107, 110–112, 120–122, 139, 141–143, 148, 149, 168, 169, 183, 185, 202, 210, 223, 250, 258, 260, 264–265

Ego, 163Embodied Acting: What Neuroscience

Tells Us About Performance, 48Emotion, 14, 16, 32, 37, 54, 71, 88,

119, 137, 144, 159, 200, 233Empathy, 14, 16, 17, 19, 28, 37, 38,

68, 185, 222, 260, 263Empathy Quotient (EQ), 211Emre, Merve, 5–6Energy, 7, 8, 14, 19, 33, 46, 48, 49,

67, 70, 77, 80, 86, 88, 89, 101, 110, 116–119, 121, 135, 136, 138, 149, 172, 182, 189, 191, 195, 199, 208, 210, 211, 224, 228, 233, 235, 237, 245, 251, 253

England, 133, 143, 146–149, 162Ensemble, 16–18, 20, 28, 70, 80, 88,

94, 95, 101, 105–106, 109, 116, 118, 119, 121, 122, 127–130, 141, 148, 149, 153–157, 163, 178, 219, 220, 224, 226–228, 232, 233, 235, 265

Ensemble-building, 68, 75, 80, 99, 101, 102, 109, 128, 130, 131

Environment, 7, 8, 10, 15, 27, 28, 68, 71, 94, 105, 129, 135–137, 147, 153, 169, 171, 173, 174, 195, 199, 207, 208, 211, 217, 222,

229, 232, 234, 239, 250, 260, 264

Equity, 35, 46, 225Ericsson, K. Anders, 90Exercises, 38, 45, 55, 75, 88, 92, 93,

100–105, 109–111, 121–123, 125, 128, 130, 140, 156, 184, 207, 220, 228, 233, 264

Extraversion, 135“Extraversion and Happiness”

study, 14“Extroversion Introversion Test,” 62Extroversion, theory, 6Extrovert, 3, 27, 44, 61, 64, 85, 111,

115, 154, 166, 173, 184, 189, 199, 218, 233, 241, 244–248, 258

“Extrovert ideal,” 4, 5, 15, 28, 75, 133–136, 148, 213, 221, 261

Eye contact, 108, 250Eysenck, Hans, 9

FFailure, 56, 80, 105, 131, 134, 173,

200, 207, 221, 222“Faking it,” 196, 261Fear, 12, 13, 65, 68, 74, 80, 88, 93,

104, 108, 115, 116, 121, 123, 126, 127, 130, 139, 155, 171, 173, 176, 178, 181, 182, 185, 199, 211, 222, 223, 228, 235, 236, 250, 261

Feedback, 50, 61, 67, 70, 73, 90–92, 109, 167, 178, 179, 182, 183, 221, 235

Feeling, 4–6, 17, 37, 43, 54, 56, 57, 70, 73, 75, 88, 92, 104, 108, 109, 116, 148, 169, 172, 179, 184, 194, 202, 212, 214, 220–223, 225, 228, 229, 237, 238, 241, 245, 247, 251, 259, 260

275 INDEX

Film, 48, 147, 214, 218, 232, 265“Fit,” 6, 14, 27, 28, 67, 96, 102, 130,

136, 146, 195, 208, 243, 261, 264

Focus, 6–8, 30, 32, 47, 61, 66, 69, 71, 73, 76, 79, 80, 88, 89, 101, 109, 117, 120, 125, 130, 142, 144, 147, 155, 157, 169, 173, 176, 181, 183, 185, 200, 201, 205, 207, 209–213, 217, 224–226, 233, 235, 236, 239, 251–253, 265

“Four Differences Between Introversion and Social Anxiety, The,” 13

Frangi, Maria, 143–146Free Trait Agreement, 19Freud, Sigmund, 5, 6Frustration, 91, 143, 169, 176, 202,

210, 260Fuglei, Monica, 12Fujita, Frank, 14

GGames, 4, 10, 46, 99, 101,

121–127, 129, 130, 140, 172, 213, 219

Gender, 63, 86, 140, 146Genius of Opposites: How Introverts and

Extroverts Achieve Extraordinary Results Together, The, 56, 105

Gillies, Ralph A., 6Gino, Francesca, 8Girardi, Tamara, 254Goals, 17–19, 34, 41, 55–57, 65, 75,

78, 85, 86, 89–92, 95, 100, 104, 108–111, 118, 120, 122–124, 126, 148, 165, 166, 173, 174, 177, 179, 180, 183, 185, 201, 205, 217, 220, 226, 227, 231, 233, 250, 262, 265

Godsey, Michael, 4

Granneman, Jennifer, 10Grant, Adam, 7, 8, 17, 89Greece, 133, 143–146Greek theatre, 143, 144Greenwald, Anthony G., 11Group, 4, 7, 8, 13, 15, 28, 30,

32, 35, 46, 56, 57, 65–67, 69–72, 75, 76, 85, 88, 92–95, 101, 102, 105, 106, 109, 112, 117, 119, 122, 124, 129, 130, 153–157, 166–169, 172–185, 190, 210, 214, 219–221, 224, 226, 228, 233

“Group mind,” 119, 128, 129

HHamlet, 159, 160, 163Hanks, Tom, 48Hanley, Nouska, 147Happiness, 4, 135Happy Introvert: A Wild and Crazy

Guide for Celebrating Your True Self, The, 43

Head, Andy, 7, 30, 37, 104, 202, 206, 207, 223, 225, 235, 238, 260

Helgoe, Laurie, 13, 103Hello, Dolly!, 189, 192, 195, 232Hendrickson, Sarah, 94, 115,

118–123, 125–130Hendriksen, Ellen, 13Herman, Peter, 18Hidden Gifts of the Introverted

Child, The, 6Highly sensitive persons

(HSP), 14, 37Highly Sensitive Person,

The, 14, 37Hopwood, Chris, 257“How our projects shape our

personalities,” 18

276 INDEX

IIdentification, 47, 55, 100, 103, 105,

107, 109Imagination, 31, 37, 47, 207Imposter syndrome, 222Improvisation, 72, 80, 94, 99, 105,

112, 115–131, 139, 161, 220Inclusivity, 44, 148, 149, 183India, 63, 133, 135, 137–144Indian Method in Acting, 137, 143INFJ, 51Inhibition, 141–143, 236Inner monologue, 40, 71, 95, 141Inner Monologue in Acting, 204“Inside Every Introvert is an

Extrovert,” 15Internalize, 14, 237Intimate rehearsal, 183“Introversion and Acting,” 13, 20,

27–41, 57, 63, 167, 209, 258“Introversion and Medical Student

Education,” 6Introversion, associations, 27,

94, 139Introversion/extroversion (I/E), 7–9,

13, 17, 44, 50Introvert, 6–8, 11–17, 27, 43, 61, 85,

89–90, 99, 107, 115–131, 134, 155, 166–168, 170–171, 189, 199, 217, 231, 241, 257

Introvert Advantage, The, 11, 248Introvert in an Extrovert World: Essays

on the Quiet Ones, An, 18Introvert’s Way, The, 6Intuition, 54“In your head,” 40, 108, 251Isolation, 7, 169, 224

JJirial, Shafali, 47Jung, Carl, 5–7

KKaenzig, Lisa, 3, 15, 31, 94, 128, 129,

135, 136, 208, 224, 234, 235, 244, 245, 251

Kagan, Jerome, 9Kahnweiler, Jennifer, 56, 106Kapur, Anuradha, 137Karaghiozi, 143Kasevich, Heidi, 85, 100Kaufman, Scott Barry, 8, 10Kemp, Rick, 48Kirste, Imke, 95

LLabels, 5, 14, 134, 174, 258LAMDA, see London Academy of

Music and Dramatic ArtLaney, Marti Olsen, 6, 11, 248Language, 14, 75, 120, 134, 138,

140, 143, 166, 167, 174, 202, 220, 226

Leader, 85, 89, 110, 192Leadership, 3, 4, 85, 89, 128,

129, 265Learners, 70, 74, 99, 103, 106, 111,

166–168, 172, 174, 176, 177, 181, 183, 184

Learning, 72, 73, 85–96, 100, 101, 103, 105–107, 109–111, 129, 136, 157, 163, 166, 172, 174, 180–183, 185, 190, 259, 260, 263

Lee, K., 10Lemon Juice Introversion Test, 9Life in Parts, A, 204“Light barrier,” 234Lippman, Walter, 11Listening, 15, 16, 38, 39, 85, 86, 89,

92, 102, 119, 123, 135, 136, 167, 175, 209, 211, 243, 261

Little, Brian R., 17–19, 30

277 INDEX

Little Red School House & Elisabeth Irwing High School (LREI), 5, 16, 211, 250

London Academy of Music, 153London Academy of Music and

Dramatic Art (LAMDA), 146–148, 153, 156, 162, 163

Long Runway, 92–93, 111, 121, 157, 182, 183, 217, 235

Loudness, 94Lucas, Richard, 29, 49, 135, 199,

203, 205, 206, 231, 233, 238, 252, 253

MMagee, Joanne, 5, 16, 211, 250,

251, 265Manners, 10, 17, 19, 55, 105,

165, 170, 171, 178, 180–181, 195

Marks, Matthew, 31, 34, 36, 38, 92, 201, 202, 205, 218, 225, 227, 243, 248, 249, 259

McGowan, Sean Patrick, 16, 36, 37, 50, 86, 104, 235, 254, 259

Meisner work, 205Memorization, 191, 223, 224Mentoring, 158Michigan State University

(MSU), 29, 94, 100, 110, 115, 201

Midgely, Patrick, 122, 208, 212, 219, 225–228, 232, 233, 238, 243, 249

Midler, Bette, 189Mikel, Betsy, 95Mindfulness, 233, 236, 237, 251Misra, Kavya, 46, 139, 261Mobilization, 32Monologue, 11, 40, 71, 95, 127, 141,

162, 200, 211

Motivation, 20, 28, 29, 31, 32, 34–36, 39, 48, 54, 62, 64–66, 86, 107, 126, 205, 246, 259

Mugleston, Linda, 32, 37, 208, 212, 223, 232, 233, 238

Musical, 32, 90, 157, 162, 163, 189, 212

Myers, Isabel Briggs, 7Myers-Briggs Type Indicator

(MBTI), 7, 44

NNatyashastra, 137Nerves, 191, 209–211, 225, 234–236,

250, 251, 261Nettle, Daniel, 16, 28Networking, 10, 17, 18, 78, 80, 157,

158, 202, 239, 241–255Networking for People Who Hate

Networking, 242“Neuroscience Reveals the Nourishing

Benefits that Science has on your Brain,” 95

Neurotransmitter, 10, 11New York Times, 12, 48Noise, 9, 10, 57, 88, 94, 124,

128, 209Norms, 8, 17, 28, 57, 85, 86, 93, 135,

140, 158, 180North Carolina School of the

Arts, 162Notes, 5, 13, 14, 19, 27, 30,

31, 38, 40, 49, 76, 88, 93, 94, 102, 103, 106, 109, 115–120, 122, 123, 125–129, 135–137, 139–141, 144–146, 148, 149, 167, 175, 201, 202, 204–206, 209, 212, 214, 219–221, 223, 224, 226, 227, 233, 234, 238, 242, 243, 245, 246, 248, 250, 254, 259

278 INDEX

OObservation, 38, 95, 119, 127, 128,

139, 148, 149, 176, 219, 228, 242, 260

Opening night, 106, 204, 217, 222, 231, 235, 241

Origin, 3–6, 63

PPage, Kevin, 29Parsi theatre, 138Participation, 3, 86, 93, 99, 101–103,

108, 110, 125, 167, 168, 221Partner, 6, 12, 16, 17, 19, 32, 40, 67,

68, 70, 73, 79, 88, 91, 92, 105, 108, 109, 115, 126, 130, 154, 167, 177, 178, 180, 181, 183, 204, 211, 218, 227, 234, 235, 239, 251

Passion, 17, 30, 46, 54, 86, 87, 144, 145, 193, 204–206, 211, 217, 222, 237, 246, 250, 254, 258, 259, 262

Paunonen, S. V., 10Pavot, William, 14Pearl Theatre Resident Acting

Company, 32Pedagogy, 147Pelletier, Allan, 6Performance, 9, 15, 20, 32, 37,

39–41, 68, 69, 71, 74, 76, 77, 91, 93, 94, 99, 110, 111, 116, 119, 122, 126, 127, 137, 138, 140, 147, 157, 163, 165, 181, 183, 184, 189, 200, 205, 206, 212, 226, 229, 231–239, 257, 260, 263

Performing, 14, 15, 35–37, 65, 122, 141, 162, 180, 182, 234, 238

Personality, 4–6, 8, 11, 12, 17, 27–30, 32, 33, 41, 44–52, 54–56, 61,

64, 76, 80, 86–87, 89, 95, 100, 103, 105–107, 109, 111, 116, 135, 136, 141, 149, 163, 166–173, 179, 181, 183, 185, 200, 208, 212, 218–220, 222, 225, 226, 228, 234, 237, 243, 244, 247–250, 258, 261, 265

Personality Brokers, The, 6Personality Preferences

Indicator, 86–87“Personality Traits of Drama School

Students,” 28“Personal Projects and Free Traits,” 19Perspective, 15, 16, 29, 63, 67, 74,

133, 136, 138, 143, 146, 147, 169, 171, 172, 182, 234, 246

Physicality, 40, 65, 194Pitching ideas, 177Polivy, Janet, 18“Positioning the drama teacher,” 100Post-show process, 238Power, 16, 30, 33, 38, 85, 95, 111,

120, 126, 127, 173, 181, 199, 260, 263

Practice, 20, 29, 39, 40, 47, 74, 90–91, 101, 107, 116, 119, 121, 129, 140, 153, 165, 168, 185, 191, 196, 203–206, 208, 234, 239, 246, 247, 252, 257, 260, 265

Prasanna, 143Preparation, 16, 61, 68, 70–72, 92,

111, 117, 141, 174, 183, 191, 200, 204, 206–208, 214, 218, 223, 224, 231–234, 252, 253

Presence, 16Presentation, 4, 99, 147, 162,

174–176, 179, 182, 234Prince, Faith, 193Process, 3, 7, 9, 15, 17, 19, 28, 34,

36, 37, 39, 43, 44, 47, 66, 68–70, 73, 76, 87, 88, 92, 96,

279 INDEX

99, 103, 105, 106, 108, 109, 123, 126, 130, 137, 144, 145, 149, 155, 157–160, 172, 173, 175–179, 181–184, 191, 200–206, 208, 212–214, 217–220, 222, 223, 225, 229, 235, 237, 238, 245, 247, 248, 260, 262–265

Process, creative, 43, 44, 123, 172, 175, 181, 217, 264

Processing time, 39, 57, 93, 99, 101, 102, 106, 125, 126, 175, 217, 218

Profession, 4, 17, 27, 30, 46, 47, 49, 57, 61, 62, 67, 139, 148, 153, 166, 199, 200, 205, 210, 233, 234, 239, 241, 246, 248, 255, 258, 260, 263

Professional actor, 30, 37, 62, 74, 104, 122, 148, 185, 196, 199, 201, 220, 254

Projects, 4, 16, 17, 57, 105, 167, 168, 173, 180, 182, 222, 264

Prudence, 15, 16“Psychological Profiles of Professional

Actors,” 16, 28Psychological Types, 5Psychology, 7, 17, 28–31, 40, 45, 48,

49, 65, 76, 86, 108, 116, 130, 134, 147, 199, 202, 203, 231, 250, 252, 259

Psychology for Actors, 29Psychology Today, 13, 103Public, 4, 8, 13, 17, 30–32, 35, 36,

45, 46, 55, 95, 102, 107, 110, 118, 137, 144, 147, 155, 157, 161, 163, 171, 181, 183, 184, 210, 222, 225, 229, 231–235, 239, 241, 242, 244, 246, 251, 257

“Public mask,” 235Punctuality, 208

QQualtrics, 61Quiet, 9, 12–14, 18, 33, 35, 38, 46,

48, 68, 80, 88, 94–95, 99–102, 106, 128, 129, 135, 137, 140, 158, 166–168, 174, 180, 195, 209, 210, 213, 219, 220, 225, 226, 232–234, 239, 250, 261, 264–266

Quiet Ambassador Experience, 85Quiet Revolution, 8, 10, 85“Quiet Revolution Personality Test,

The,” 62Quiet Schools Network, 85–86, 89, 94Quiet: The Power of Introverts in a

World that Can’t Stop Talking, 4, 85, 136

“Quiet zones,” 94

RRace, 64Reactive, 9, 10, 54Recharge, 14, 15, 17, 20, 46, 57, 73,

89, 90, 94, 170, 211, 223–226, 228, 237–239, 246, 251

Reflection, 5, 7, 8, 14, 35, 36, 57, 70, 71, 80, 90, 93, 99, 100, 106, 119, 122, 125, 128, 130, 137, 165, 166, 170, 173, 174, 181, 183, 203, 219–221, 234, 264

Reflective pause, 16, 57, 85, 86“Reforming Theatrical Education from

Its Extrovert-Based Model,” 167Rehearsal, 17–19, 30, 34, 35, 37, 39,

40, 43, 46, 56, 57, 66–68, 71, 72, 74, 76, 77, 88, 92, 94, 96, 106, 128, 129, 140, 141, 143–145, 155, 158, 162, 175, 178, 183, 190, 192, 193, 214, 217–229, 231, 232, 234, 235, 238, 239, 245, 252, 258, 262–265

280 INDEX

Relationship, 43, 62, 65, 67, 70, 71, 78, 88, 104, 108, 110, 121, 125, 126, 131, 135, 136, 142, 146, 159, 194, 206, 226, 227, 236, 237, 242, 250, 251, 254, 257, 264

Relaxation, 119, 212, 262Release, 31, 145, 211Religion, 140Research, 4–6, 10, 14, 17, 28, 33, 61,

65–67, 71, 72, 88, 90, 93, 95, 120, 144, 147, 173, 203, 204, 218, 222, 242, 252, 254, 259

“Restorative niche,” 19–20Rewards, 8–11, 13, 28, 31, 56, 80,

86, 116, 134, 155, 166, 177, 200, 207, 222, 251, 252

Rhythm, 155, 156Richard III, 159Ringwald, Molly, 30, 38, 234Risk, 16, 18, 28, 53, 69, 73, 80, 92,

101, 108–110, 116, 118, 119, 122, 134, 156, 167, 191, 202, 221, 223, 228, 237, 249

Ritual, 137, 143Roadblocks in Acting, 47Roberts, Julia, 31Roumain-Yang, Emmanuelle,

212, 264“Round Robin,” 93Routine, 207, 210, 232–234, 237Roznowski, Rob, 204Rubber band theory, 18–19

SSafe, 33–35, 48, 49, 53, 54, 66, 73,

80, 91, 101, 104, 108, 117, 137, 161, 169, 171, 173, 175, 185, 217, 222, 228, 234, 235, 244, 265

Safety, 33–35, 65, 92, 107–108, 110, 125, 156, 157, 182, 184, 229, 234, 238, 245

“Say Goodbye to the MBTI, the Fad that Won’t Die,” 7

Scenes, 6, 32, 67, 68, 70, 71, 88, 92, 102, 104, 105, 108, 109, 115, 117, 119, 124–127, 129, 130, 137, 156, 160, 161, 165, 169, 178, 180, 181, 190, 191, 193, 194, 206, 211, 217, 218, 220, 223, 224, 227, 228, 234, 239, 251, 265

Schultz, Carol, 16, 32, 131, 201, 203, 204, 218, 227, 243, 248, 258

Schwartz, Carl, 9, 10Scofield, Paul, 158Scott, A. O., 48Script, 11, 31, 33, 35–37, 39, 47, 71,

72, 80, 88, 108, 122, 144, 161, 204, 217, 225, 226, 234, 244–246, 251, 257, 259, 266

Self, 7, 29, 32, 34, 37, 45, 47, 50, 51, 54–57, 74, 86, 110, 141, 174, 184, 193, 202, 212, 223, 227, 237, 239, 245, 260

Self-awareness, 7, 18, 19, 38, 41, 43–57, 68, 69, 72, 86–87, 91, 106–107, 168, 196, 202, 205, 206, 211, 212, 224, 238, 239, 243, 248, 252, 260

Self-confidence, 212, 260Self-consciousness, 32, 260Self-doubt, 91, 122, 123, 128,

212, 222–225Self-talk, 40, 108, 179, 201–205, 209,

243, 246Seltzer, Leon F., 15Sensitivity, 6, 8–11, 37, 38, 86, 221Shakespeare, William, 37, 141, 149,

154, 155, 157, 162Sharing, 16, 37, 38, 56, 57, 92, 103,

104, 112, 169, 174, 177, 179, 184, 201, 202, 221, 237, 249

Shatkin, Laurence, 27, 105, 242Shrek The Musical, 189

281 INDEX

Shy, 10, 12–14, 33, 144, 168, 190, 194, 218

Shyness, 6, 12, 13, 34, 192, 218“Shyness: Evolutionary Tactic?,” 6, 12Sidetracked, 8Silence, 38, 39, 50, 86, 95, 102, 201,

233, 264Simard, Jennifer, 189–196Sitcoms, 165, 180–181Sketch comedy, 165, 176–180Skills, 37–40, 71, 89, 90, 108, 116,

118–120, 122, 123, 127, 131, 135, 144, 145, 159, 171, 179, 182, 190, 202, 211, 218, 242–244, 252, 254, 266

Sloey, Andy, 46, 115, 117–120, 123, 126–131

Smith, Lauren, 18Socialization, 35, 201, 226, 233Solitude, 8, 14, 19, 20, 35, 57, 85,

86, 89, 93, 95–96, 173, 239, 261

Solo, 65–67, 72, 74, 80, 90, 101, 102, 156, 174–176, 180, 233, 250

Solutions, 70, 93, 120, 201–205, 225, 227–229, 236, 238, 248–250, 254

Sound of Music, The, 34Sources, 12, 29, 51, 71, 142, 155,

201, 211, 242South Africa, 63Speaking, 12, 46, 90, 93, 134, 139,

171, 177, 179, 223, 227, 235, 250, 258, 261

“Speak up,” 10, 13, 17, 70, 134, 168Stand Up, 10Stereotype, 11, 30, 31, 36, 116, 118,

121, 134, 139, 146, 148, 219, 266

Stimulation, 8–11, 13, 19, 20, 56, 57, 86, 94, 95, 101, 128, 258

Storytelling, 32, 39, 141, 142, 174

Strategies, 10, 43, 56, 57, 72, 73, 76, 77, 85–96, 104, 105, 121, 123, 126, 129, 165, 168, 177, 189, 200, 202, 204, 205, 208, 212, 217, 218, 224–226, 228, 229, 233, 234, 238, 239, 242, 247–249, 251–253, 265

Streep, Meryl, 111Street theatre, 137, 138Strength, 15, 16, 20, 31, 36, 39–41,

68, 69, 72, 73, 79, 85, 87, 89–90, 95, 105, 106, 109, 112, 116, 126, 127, 144, 148, 163, 166, 178–180, 184, 202, 203, 206, 211, 217, 220, 223, 228, 229, 234, 241, 242, 248–250, 254, 258, 263, 266

“Strength-Stretch-Restore,” 90Stress, 4, 18, 72, 75, 78, 80, 121,

204, 208, 209, 212, 218, 223, 225, 227, 242, 244, 245, 247, 249

Stretching, 11, 17–19, 56, 80, 94Structure, 35, 62, 86, 111, 117, 118,

124–126, 130, 137, 140, 149, 161, 169, 172, 184, 217, 219, 220, 222, 228, 245, 246, 264

Struggles, 37, 51, 54, 69, 79, 162, 171, 190, 201–202, 204, 205, 207, 212, 218–219, 235, 243–245, 249, 251, 259

Studio, 43, 70, 72, 74, 96, 99, 100, 102, 103, 106, 107, 110–112, 120, 133, 148, 163, 166, 169, 173, 183, 185, 239, 263, 265

Success, 4, 38, 41, 46, 51, 55, 73, 74, 77–80, 87, 94, 102, 105, 106, 109, 119, 123, 129, 145, 146, 175, 176, 179, 181–183, 200, 201, 203–206, 208, 212, 213, 221, 228, 233, 246, 251

282 INDEX

Support, 17, 28, 65, 71, 90–92, 102, 110, 118, 126, 128, 130, 156–159, 174, 182, 212, 217, 231, 249, 259

Survey, 29–31, 39, 57, 61–80, 99, 107, 110, 115, 149, 182, 200, 207, 210, 213, 224, 226, 228, 231, 233, 237, 239, 242, 249, 253

Survey, Qualtrics, 61Susman, Warren, 5Syllabus, 93, 102, 106, 109, 165–168,

174, 175, 177, 180Synergy, 45, 55, 146Szegedy-Maszak, Marianne, 10

TTeacher, 3, 4, 45, 50, 52, 74,

93–95, 100, 102–104, 106–109, 120, 121, 124, 128, 129, 133, 136

Team, 7, 68, 75, 89, 93, 105, 119, 128, 129, 172, 178–180

Technique, 93, 101, 123, 142, 147, 183, 203, 206, 238, 242, 249, 254, 265

Technology, 242Temperament, 3–20, 27, 28, 30, 38,

39, 41, 43, 44, 46, 48–51, 55, 61, 64, 68, 73, 75, 79, 85–87, 92, 105, 109, 117, 141, 142, 144, 145, 154, 161, 165, 166, 168–170, 172, 174, 176, 179–181, 183, 214, 217, 219, 222, 245, 246, 265

Text, 29, 90, 122, 134, 137, 138, 143–145, 161, 193, 211, 212, 219

Theatre, 5, 6, 16, 17, 30, 34, 35, 56, 99, 101, 106, 126, 129,

137–140, 142–145, 157, 162, 163, 166, 168, 169, 171, 175, 204, 206, 218, 232, 233, 237, 239, 250, 258, 260, 261, 264, 265

Theatre festival, 13, 33“Theatrical,” 27, 136, 261Through line, 80, 165, 199, 218Thully, Polly, 159Timetable, 155Tony Award, 189Touring, 35Tragedy, 144Training, 29, 62, 65, 67, 69–75, 80,

99–101, 112, 115–121, 127, 130, 131, 133, 136–139, 143, 144, 146–149, 153–158, 161–163, 169, 185, 190, 196, 258, 259, 265

Transaction, 36, 38Transformation, 40, 48, 54, 55, 65Transition, 5Trust, 16, 37, 68, 72–74, 89, 108,

112, 123, 128, 130, 140, 145, 155, 206, 235, 243, 263

200 Best Jobs for Introverts, 27, 105, 242

U“UK vs US: How is drama training

different?,” 147“Unconscious Discrimination,” 12United Arab Emirates (UAE), 13–15,

33, 34, 40, 44, 49, 50, 209, 247, 262

United Kingdom (UK), 63, 146–149, 153

United States of America, 3–5, 11, 63, 65, 133–136, 139, 143, 146, 147, 149, 158, 162, 208, 213

283 INDEX

VValidation, 103, 201, 222Values in Action Institute, 16Video, 46, 177, 200Visualize, 207, 251Voice, 30, 35, 73, 94, 95, 102, 128,

129, 131, 134, 135, 143, 146, 156, 168, 175, 177–180, 194, 208, 258, 259, 261, 266

Vulnerability, 36–37, 54, 111–112, 118, 221, 222, 263, 265

WWagele, Elizabeth, 43Waiting room, 149, 199,

207–210, 214Wales, Prue, 100, 107

Warm-up, 10, 11, 35, 88, 92, 100–102, 111, 122, 171, 207–209, 220, 224, 226, 232–234, 265

Webster University, 115Well-Being, 17, 19, 20, 135“Why Introverts and

Extroverts are Different: The Science,” 10

Why Should Extroverts Make All the Money?, 242, 246, 254

Wild Duck, The, 159Winter's Tale, A, 160WorkLife, 17

ZZack, Devora, 242