Rob Roznowski

• Master of Fine Arts
• Professor (Full) at Michigan State University

This chapter explores pedagogical adaptations made during a semester-long acting class at Michigan State University. These changes can serve as blueprint for actor educators to implement throughout the semester: assigning articles on temperament diversity, taking online temperament tests, leading discussions about temperament, and creating syllabi...

The authors support the idea that introverts can and do thrive in improvisation, one of the most feared activities for introverted actors. The authors explore the many misconceptions related to improvisation and introversion: the loudest voice is the best; improv is about being the funniest; introverts can’t think quickly. The technique of coaxing...

In this concluding chapter, the authors ask actors, educators, and directors to enact the changes described throughout the book. Highlights include self-advocacy for the introverted actor and redefining class participation for the educator. Final advice from working professionals includes stirring affirmations and thoughts about vulnerability, stil...

The chapter begins with a brief history of Susan Cain’s and Dr. Kasevich’s “Quiet Schools Network,” where educators from around the country were trained in the basics of temperament-inclusive pedagogy. The authors posit that leveling the playing field for introverts and extroverts alike in any classroom begins with self-awareness, and they offer a...

The ways in which bravery is required for auditioning actors are explored, as well as many strengths that introverts possess in any audition situation. Several professional actors share their struggles in auditioning and how they overcame them. Advice related to connecting to the passion of acting is provided as a way to succeed in auditions. Strat...

This chapter examines why an introvert would choose the field of acting when so many of its activities seem to favor the stereotype of a spotlight-loving extrovert. One of the main suppositions of the book—introverts enjoy acting to “become another”—is scrutinized, while other motivations for acting, including instant community and connection with...

One of the most potentially draining aspects of the introverted actor’s life is examined: networking. Introverted professional actors share their initial struggles and later successes at networking. The concept of “acting like an extrovert” is examined from multiple angles, including the importance of preserving authenticity while pursuing stretch...

This chapter involves the transcript of an interview with the award-winning Broadway actor Jennifer Simard. The interview examines Simard’s struggles as an introverted actor and her later acceptance of her own personality style. She shares a variety of ways to succeed in the more extroverted aspects of the business, emphasizing self-love, acceptanc...

This chapter answers the essential question: “What does it mean to be an introvert, an extrovert, or an ambivert?” The authors provide a definition that focuses on two key elements of our biogenetic nature: sensitivity to stimulation and sensitivity to rewards. This common language provides a framework for the rest of the book and debunks popular W...

The results of an international survey of actors (professional and student) and actor educators comprise the bulk of this chapter. Over 400 people completed a signature thirty-one-question survey. The survey examines personality styles, actor training, and professional standards in relation to temperament and acting. The results of each question, a...

This chapter delves into introversion and acting in three unique countries, each with a rich theatrical tradition: India, Greece, and England. The chapter acknowledges the generalities that can come with such an overview and first looks at the stereotypes of actors from the United States. Based on interviews, the authors conclude that numerous cult...

The concept of being self-aware and able to critically examine your work is covered in this chapter. Standardized testing that records introversion is studied, and the authors ask the reader to take such a test four times. The first test explores the personal or private self. The second test explores the professional self the actor has cultivated....

This chapter is a transcript, along with author commentary, of an interview with Rodney Cottier, who heads the London Academy of Music and Dramatic Arts (LAMDA). In the interview, Cottier discusses how LAMDA’s small classes and physical approach benefit introverted actors. Other aspects of the training program, such as the personal creation of crea...

The ultimate motivation for being an actor has arrived: performance. The authors offer performance strategies to the introverted actor, including finding comfort in regular patterns and identifying routines that optimize preparation for performance. The question of whether it is best to acknowledge or create a barrier from the audience is examined....

While the ways in which introverts excel in rehearsals are examined in relationship to the concept of deliberate practice, the ways in which they struggle—and persevere—are investigated through first-hand accounts by professional actors. Advice is given to directors for simple, yet subtle, adjustments in the rehearsal hall to best nurture and suppo...

This chapter examines many standard acting classroom approaches and how they may favor extroversion, including participation, improvisation, ensemble building, theatre games, and warm-ups. The chapter is divided into two sections: “To the educator” and “To the actor.” In the educators’ section, advice on how to reconsider warm-ups and group work is...

Do you have to be an extrovert to succeed as an actor? This book offers ideas to create inclusive acting environments where the strengths of the introverted actor are as valued as those of their extroverted counterparts. As this book shows, many introverts are innately drawn to the field of acting, but can often feel inferior to their extroverted p...

Through an examination of introversion in relation to theatrical teaching methods, educators may begin to augment their current practices to create a more inclusive creative classroom. Traditional and accepted methods of theatrical education (specifically actor training) rely on principles and constructs that favor extroverted students in their des...

I wrote this manifesto following a faculty meeting that occurred in my department at Michigan State University (MSU) in April 2013. During that meeting a challenging conversation arose regarding the changing face of theatre in an ever-expanding digital entertainment environment. Debates about the definition of theatre as solely a live art form, the...

What should actors be thinking when performing? This is a purely personal process and each actor is different, but by concentrating on IM, an actor will deepen her choices. Does an actor think in objectives: “I want to seduce her”? Or does an actor think in corrections: “I was told not to jut my head forward”? Or does an actor think in units: “This...

May we agree that IM is a necessary and powerful element to be included in acting at appropriate moments. The IM muscle needs constant flexing and attention in order to make the actor adaptable to any situation and waits below the surface ready to assist any interaction that needs processing. The IM does not supplant or interfere with pure interact...

These two terms, sometimes used interchangeably, are actually quite different. Subtext (literally meaning “below the written word”) requires lines in the script in order to exist as part of the actor’s tools. Sometimes the subtext and the IM may be at odds, at other times they may be in complete agreement. But the thoughts in between the lines are...

When an audience roars with laughter, an actor becomes “schizophrenic.” Actually even more schizophrenic than he is normally. In an earlier chapter, we explored the idea of a double consciousness where an actor is aware of the reality of contemporary life while also investing in the “reality” of the play. The idea of “schizophrenia” is an undeniabl...

The house lights go down. The orchestra begins playing. The curtain goes up. And downstage center, a lone figure is revealed in a spotlight. She looks off longingly into the distance; waiting to begin her song.

While this book concentrates on IM for actors, it is beneficial to examine other performance forms to deepen an understanding of the concept of personal and character IM. The phenomenon of a performance IM is not unique to acting. Performers of varying types all connect in some way to those voices in their head.

An actor is provided a script. The analysis, breakdown, and notations of the scene create the score. This score is a foundation with which the actor enters the scene. Once in the scene, the scoring waits in the background as the actor interplays with his partner, who also has her own score. The exchange contained within will shape the scene. The sc...

Certainly any book on Inner Monologue (IM) must answer the most basic psychological question: where does I M come from? Dr. Christopher Hopwood from Michigan State University’s Department of Psychology states: I guess the short answer to your question is that, as far as I know, there are no well-accepted theories about where inner monologue comes f...

For most of us, life is spent trying to silence our IM. Clearly in our alone time, most of us would rather distract than remain “lost in thought.” We watch television, listen to music, surf the web, read, or game in order to avoid the various solo conversations awaiting us in silence. The final moment when we power down the distractions, extinguish...

The basis to most acting theory includes derivations of the concept of objective (also goal, need, or action), tactic, and obstacle. These major concepts are Stanislavski-based and were created to keep the actor motivated and continually working or in action. While some may consider IM antithetical to action-based pursuit, it is actually enrichment...

As noted throughout this book, when used incorrectly, a devotion to IM can trap you inside your head. Thinking like the character certainly, but in no way sharing that internal work. That sort of selfish acting/thinking belies the entire motivation for IM work. IM is used to deepen your external work by making a connection internally. All of the in...

As you read earlier, no one theory related to the origin of an individual’s IM is accepted by all psychologists. Psychologist Dr. Christopher Hopwood compares psychological disagreement about IM to religion. He says “Inner Monologue, like religion, is indefinable as it breeds different beliefs and assumptions even to those who agree to one faith.”...

Nearly all actors offer feedback following a presentation in class or a performance of their work similarly: “I was in my head.” “I was watching myself.” “I was judging everything I did.”

May we agree that good acting contains vulnerability, honesty, rawness, flexibility, compassion, responsiveness, and boldness? If you don’t believe acting is any of these things, then read no further and explore other methodologies. Any teacher or book is merely a guide that allows you to find your personal way of accessing the truth. Truth in acti...

Around the turn of the twentieth century, the expansion of psychological theory (most importantly Freud and Jung) led to more psychologically complex dramas appearing onstage. While the public learned more about their unconscious desires, playwrights infused their work with unique theatrical devices that showcased these new concepts. While these pl...

As mentioned earlier in this book, classical theatre contains its own versions of interior drama that are the theatre’s earliest and most recognized use of IM. From ancient to modern times, the idea of sharing a character’s private thoughts has been used to allow an audience entrance into the inner workings of a character’s true motivations. While...

From the earliest silent films, title cards or intertitles interrupted the photographic action to let the audience know of sound effects (like “Boom!” when dynamite exploded), dialogue (as characters silently mouthed lines like “My hero!” when rescued from a railroad track), or in some cases, an early form of IM (like when the villain glares into t...

The most exciting thing for me as actor, director, or audience member is when a character is alone on stage or screen. This is where we become instant voyeurs into the true inner workings of the character. There is no pretense. There is no etiquette. There is no politeness. It is the character in truth.

In her book Auditioning, Joanna Merlin explores the idea of self-sabotage in any audition situation. An actor spend an inordinate amount of time panicked about the audition, letting her personal IM veer to thoughts of the auditor’s view of her rather than remaining focused on her work. More than any other situation in which an actor finds herself,...

Finding the correct acting style for any play is like a dinner with prospective in-laws. You spend your time finding the right tone, observing the etiquette of the household, exploring the boundaries of conversation topics, looking for the moments of shared compassion, and examining what makes them laugh, and all the while, your IM is racing to see...

It was when I was coaching a transition within a scene in class that I first I understood the power of the IM. As a neophyte educator, I asked the student how she got from one train of thought to a seemingly disconnected new topic in the script. Her response was that she was not sure. The choices on both sides of the transition were fine, but the c...

What should an actor be thinking onstage? This overlooked, important question is the crux of this new book that combines psychological theory, numerous practical exercises, and a thorough and wide-reaching examination of inner monologue in various forms including film, musical theatre, and comedy.

This chapter offers ways to assist in dealing with the initial meetings of the production team. The first impressions that you present to your collaborators are difficult to alter. Although we are using examples from our lives working at a university and in professional settings, our experiences can easily translate into any production venue. Our a...

Below are representative productions from the collaborative studio class. You will note that premise statements were not utilized in these projects.

In this chapter we will examine assessing your students needs; assessing your limitations; choosing the scripts; time management; prepping the class; prepping the student; and faculty support.

In this chapter we will explore graduates of the class in real situations; possible negative repercussions; possible adaptations for the course; and collaboration beyond theatre.

Thoroughly researching a play is impossible. There are always details you cannot even begin to tackle. Beside the imminent demand of production schedules, there are just too many elements that must be addressed. Even if you are lucky enough to have the assistance of a dramaturg, you can never cover everything.

In this chapter we will examine choosing a show; creating the premise; overcoming challenges; analyzing the script; assessing the collaborators; exploring personal history; expanding the vision; and communicating the premise.

This chapter will show you how to adapt your collaboration; defend your collaboration; allow others into your process; react proactively throughout rehearsals; and maintain your collaborative nature during technical rehearsals (techs). Up until this point, the production team has been secluded while finalizing analysis, research, and design decisio...

With our theoretical collaboration assured and many lofty goals in mind, we immediately began the collaborative process by breaking many tenets of the first part of the book. It seemed, even for us, that collaboration was about adaptation. We aimed for the perfect collaboration, but factors such as time, schedules, and other projects plagued many s...

This chapter will show you how to overcome variables in collaborative issues; continue to collaborate through revision; maintain communication between collaborators; maintain the chain of command; redefine roles in the collaborative team; learn how to “let go” of your favorite elements; and complete a cohesive design. You have presented your design...

For designers and directors alike, the entire production revolves around one collaborator who rarely attends production meetings: the playwright. You have heard it before but, honestly, it all begins and ends with the script: the common ground from which we all create. The deciding factor in most debates and the duty of any member of the production...

As mentioned in the first part of the book, there are several ways to monitor the success or failings of collaboration. Those modes of examination hold the true test of a successful production. The answers are sometimes painful to hear, but offer the theatrical artist a true guide to better work in the future.

The production has opened. The response was what you hoped for. You see the production team’s final product and you’ve marveled that this project, begun many weeks ago, has been successfully handed over to its intended audience. You have a few seconds to breathe before the whole process begins anew with a different production team.

With a solid base established for the show, the production meetings and rehearsals began. The entire production would eventually involve over 100 cast, crew, and musicians. To keep everyone in the loop, production reports and e-mails abounded. This chapter contains snippets of e-mails, notes, and other Life-centric communications.

You are a designer. You have listened to your collaborators. You have done your research. You have put pen to paper and you have designed. You designed with the audience’s reaction in mind. You designed the premise. You designed the climax. You have designed with the needs of others in mind while allowing your artistic abilities to create bolder, b...

Thesis (M.F.A.)--Ohio State University, 1989. Includes bibliographical references. Advisors: Marc Powers, Dr. Brown, Rex McGraw.