TAKE ME TO YOUR LEADERSHIP：帶我去領(lǐng)導(dǎo)?

AT FIRST THOUGHT and perhaps even at second thought, “improvisational leadership” might seem to be an oxymoron. Improvisation by nature is a team endeavor, in which no one individual is more important than the ensemble and consequently no one leads. If in the art of theatrical improv I was forced to recognize a leader I would have to say that the improvisational performance itself leads.

在第一時(shí)間荷腊，甚至在第二次思考時(shí)，“即興領(lǐng)導(dǎo)”似乎是一種矛盾钉蒲。天性即興是團(tuán)隊(duì)的工作，其中沒(méi)有人比合奏更重要，因此沒(méi)有人領(lǐng)導(dǎo)。如果在戲劇即興表演的領(lǐng)域中炊甲，我不得不承認(rèn)一位領(lǐng)導(dǎo)者，我不得不說(shuō)欲芹，即興表演本身就是領(lǐng)導(dǎo)者卿啡。

?The piece being performed influences each performer’s role and responsibilities just as any good leader would, and every individual performer in the piece is there to serve the needs, wants, and demands of the overall group performance. In improv this is known as the improvised performance taking on a life of its own—a creative process that is both semimystical and quite practical, in which the natural talents and heightened communication of the performers come together to serve the ultimate “boss”: a great, audience-pleasing performance.

表演的作品會(huì)像任何優(yōu)秀的領(lǐng)導(dǎo)者一樣影響每個(gè)表演者的角色和責(zé)任，并且表演中的每個(gè)表演者都可以滿(mǎn)足整個(gè)團(tuán)隊(duì)表演的需求菱父，需求和要求颈娜。即興演奏被稱(chēng)為即興表演，具有自己的生命-一種半神秘的浙宜，非常實(shí)用的創(chuàng)作過(guò)程官辽，在這種過(guò)程中，表演者的天賦和高度溝通共同為最終的“老板”服務(wù)：出色的觀眾表現(xiàn)粟瞬。

The leveling of status I’ve spoken of is crucial to a theatrical improv troupe. However, behind the scenes there are leaders organizing warm-ups, scheduling rehearsals, and taking care of all the show business logistics. Up on stage there are no VPs of Wordplay, no Chief Farcical Officers, and no C-level scene-stealers—are all equal. Part of embracing improv as a theatrical art form is accepting that the?group must always come before the individual. I’ve mentioned an old improv phrase that I first learned from my mentor, Martin de Maat: “Follow the follower.”1 Onstage, we all follow each other as a way to facilitate organic discovery in the group. We focus so intently on the other individuals in the group that no one can become the leader; we work in service to that which is bigger than any individual: the team,the process, the show.

我講過(guò)的地位水平對(duì)于戲劇即興表演團(tuán)至關(guān)重要同仆。但是，在幕后有一些領(lǐng)導(dǎo)者組織熱身活動(dòng)裙品，安排排練并照顧所有演藝業(yè)務(wù)的后勤工作俗批。在舞臺(tái)上俗或，沒(méi)有Wordplay的VP，沒(méi)有首席Farcical Officer岁忘，也沒(méi)有C級(jí)的場(chǎng)景竊取者-都是平等的辛慰。即興表演作為戲劇藝術(shù)形式的一部分是接受團(tuán)體必須始終走在個(gè)人之前。我提到了一個(gè)古老的即興短語(yǔ)干像，我是從我的導(dǎo)師馬丁·德·馬特（Martin de Maat）那里首先學(xué)到的：“跟隨追隨者帅腌。” 1在舞臺(tái)上麻汰，我們大家都互相跟隨速客，以促進(jìn)小組內(nèi)的自然發(fā)現(xiàn)。我們?nèi)绱藢?zhuān)心地專(zhuān)注于小組中的其他人什乙，以至沒(méi)有人可以成為領(lǐng)導(dǎo)者挽封。我們致力于為任何人提供更大的服務(wù)：團(tuán)隊(duì)，流程臣镣，表演辅愿。

This is the crux of “Yes, and . . . ” and as we’ve seen in discussing everything from branding to brainstorming, from status leveling to silo busting, this “Yes, and” philosophy can be easily and effectively adapted to the workplace. Obviously, though, when improvisation moves into a corporate setting the dynamics of leadership also have to be accounted for. Though we may all be equals as humans who put pants on one leg at a time, a lot of us have job duties that tell us otherwise. And whether or not your job title labels you as a leader, in general terms the corporate workplace might be broadly defined as “an arena in which somebody is trying to get somebody else to do something.” In other words if work is going to get done someone needs to be a leader.

這是“是和”的癥結(jié)所在。忆某。点待。”弃舒，正如我們?cè)谟懻搹钠放仆茝V到集思廣益癞埠，從地位提升到孤軍奮戰(zhàn)的一切過(guò)程中看到的那樣，這種“是和”的理念可以輕松有效地適應(yīng)工作場(chǎng)所聋呢。但是苗踪，顯然，當(dāng)即興演奏進(jìn)入公司環(huán)境時(shí)削锰，領(lǐng)導(dǎo)力的變化也必須考慮在內(nèi)通铲。雖然我們可以像一次將一條褲子放在一條腿上的人類(lèi)一樣平等，但是我們當(dāng)中許多人的工作職責(zé)卻告訴我們器贩。不管您的職稱(chēng)是否標(biāo)榜您為領(lǐng)導(dǎo)者颅夺，總的來(lái)說(shuō)，公司工作場(chǎng)所可能被廣泛定義為“一個(gè)有人試圖讓別人做某事的舞臺(tái)”蛹稍。換句話說(shuō)吧黄，如果要完成工作，就必須有人當(dāng)領(lǐng)導(dǎo)唆姐。

Given that theatrical improvisation is more rooted in group harmony than in individual solos, do improv techniques have to be discarded with extreme prejudice when we focus on the corporate environment and excellent leadership? Absolutely not. After a bit of quiet contemplation (and energetic head pounding) in the early days of developing Business Improv, I came to an aha moment: even though there’s no “l(fā)eader” on an improv stage, the same skills and mind-set that make an excellent improviser make for an excellent leader in the business setting. This chapter draws on all that has come before it in examining how improvisation can be used as a means of effective leadership. By analyzing traits of great and horrible leaders,we will show how, through improv, leadership skills can be developed so that one has an understanding of how one’s energy, attitude, and communication style affect others.

鑒于戲劇即興表演更植根于群體和諧而不是個(gè)人獨(dú)奏拗慨，當(dāng)我們專(zhuān)注于公司環(huán)境和卓越的領(lǐng)導(dǎo)力時(shí)，是否必須在極端偏見(jiàn)的情況下放棄即興表演技術(shù)？絕對(duì)不赵抢。在開(kāi)發(fā)Business Improv的初期瘫想，經(jīng)過(guò)一番沉靜的思考（和充滿(mǎn)活力的頭部撞擊）后，我陷入了一片昏昏欲睡的時(shí)刻：即使在即興創(chuàng)作階段沒(méi)有“領(lǐng)導(dǎo)者”昌讲，同樣的技能和思維定式也可以出色的即興演奏者，是企業(yè)環(huán)境中出色的領(lǐng)導(dǎo)者减噪。本章利用了之前所做的一切短绸，來(lái)研究如何將即興創(chuàng)作用作有效的領(lǐng)導(dǎo)手段。通過(guò)分析偉大而可怕的領(lǐng)導(dǎo)者的特征筹裕，我們將展示如何通過(guò)即興發(fā)展領(lǐng)導(dǎo)技能醋闭，使人們了解自己的能量，態(tài)度和溝通方式如何影響他人朝卒。