Myth Two: Improvisation Is Making Stuff Up as a Last Resort
誤區(qū)二：即興創(chuàng)作已成為最后的手段
What we’ve got here is both a misconception and a matter of semantics. If you grab five random items out of your refrigerator, throw them in a pot of water, and bring it up to boil, technically you might say you were “cooking,” a word that could describe the simple application of heat to foodstuffs. But we all know that the simple act of cooking can be raised to an elite art form, one that depends on skill, training, technique, thoughtfulness, and imagination. A hot pot of gross mush and an elite chef ’s tasting menu may both be cooked, but there’s quite a tastable difference in the quality of the cooking there.
我們在這里遇到的既是誤解黎茎，又是語義問題三热。如果您從冰箱中拿出五個隨機物品棋枕，將它們倒入一鍋水中东揣，使其沸騰烫葬，從技術(shù)上講，您可能會說您在“煮飯”睦番，這個詞可以描述對食物進行簡單加熱的過程。但是我們都知道冗疮，烹飪的簡單舉動可以提升為一種精英藝術(shù)形式，這取決于技巧檩帐，訓練术幔，技巧，周到和想象力湃密∽缣簦可以煮一鍋粗糊狀的火鍋和一個名廚的品嘗菜單，但是那里的烹飪質(zhì)量有很大的不同泛源。
Similarly we sometimes call it improvising when someone is driven to make things up on the spot after discovering that plans A, B, and C have all fallen apart. This kind of improvisation is a sort of survival skill and coping mechanism, and can certainly be relied on when all hell breaks loose and the scramble-sweat is flowing. However, this is a terribly limiting definition—improvisation as an emergency measure or last-ditch effort. This conception of improvisation does not factor in technique, training, practice, and thoughtfulness and seems to imply that the need for improvisation is only dictated by the level of chaos one finds oneself in.
類似地拔妥，當發(fā)現(xiàn)某人計劃A，B和C都分崩離析后达箍，當有人被迫當場整理事情時没龙，有時我們稱其為即興創(chuàng)作。這種即興創(chuàng)作是一種生存技能和應對機制幻梯，當所有的地獄破滅而爭吵不斷時，當然可以依靠努释。但是碘梢，這是一個極具局限性的定義，即作為緊急措施或最后努力而進行的即興創(chuàng)作伐蒂。即興創(chuàng)作的概念沒有考慮技術(shù)煞躬，訓練，實踐和周到性，似乎暗示了即興創(chuàng)作的需求僅取決于自己所處的混亂程度恩沛。
In fact improvisation at its most effective is a deliberate strategy that draws on intelligence in concert with instinct. Improvisation isn’t simply panicky reaction; it’s a way in which people can actively explore possibilities, synthesize available information, and innovate in response to a challenge in real time. Improvisation thrives where planning meets execution, and the art of improvisation is really about making fast decisions and adapting when faced with unanticipated situations. The quality of those decisions—of the improvisation—is in direct proportion to an improviser’s abilities and the degree to which those abilities have been developed through training and preparation. Improvisers don’t really make stuff up in the moment; they have been trained to draw on everything around them and on everything they’ve learned right up until the moment they have to improvise.
實際上在扰，即興發(fā)揮其最有效的作用是一種精心設計的策略，它可以與本能一起利用智力雷客。即興創(chuàng)作不只是驚慌的反應芒珠；通過這種方式，人們可以積極地探索各種可能性搅裙，綜合可用信息皱卓，并進行實時創(chuàng)新以應對挑戰(zhàn)。即興創(chuàng)作在計劃與執(zhí)行相遇的地方蓬勃發(fā)展部逮，即興創(chuàng)作的技巧實際上是在面對意外情況時做出快速決策并做出適應娜汁。即興創(chuàng)作的決策質(zhì)量與即興演奏者的能力以及通過培訓和準備而發(fā)展出這些能力的程度成正比。即興創(chuàng)作者目前還不能真正彌補問題兄朋。他們已經(jīng)受過訓練掐禁，可以利用周圍的一切以及他們所學到的一切，直到他們必須即興創(chuàng)作為止颅和。
Preparation and awareness are hugely important parts of improvisation. Those Navy SEALs carried out their mission effectively even when their planning did not specifically cover the circumstances they encountered. The SEALs trained extensively for the raid on the bin Laden compound, created scale models of it, and drew up several contingency plans to cover what-if scenarios such as a Black Hawk helicopter going down—a previously experienced contingency that unfortunately had very real mortal consequences in Mogadishu,Somalia.When the raid finally took place, the SEALs discovered that the intelligence they’d based their plans on was not entirely accurate. There were a number of unknown variables (how many people they would encounter, the types of people, the weapons, the doors and hallways, etc.). So they had to improvise—not by making things up but by drawing on every bit of skill, training, and knowledge their preparation had equipped them with.
準備和意識是即興創(chuàng)作的重要組成部分傅事。這些海軍海豹突擊隊即使其計劃并未特別涵蓋他們遇到的情況，也有效地執(zhí)行了任務融虽。海豹突擊隊接受了本拉登大院的突襲訓練享完，建立了比例模型，并制定了一些應急計劃有额，以應對諸如黑鷹直升機墜毀這樣的假設情景-不幸的是般又，以前經(jīng)歷過的應急行動非常不幸突襲終于發(fā)生時，海豹突擊隊發(fā)現(xiàn)巍佑，他們根據(jù)其計劃制定的情報并不完全準確茴迁。有許多未知的變量（他們會遇到多少人，人的種類萤衰，武器堕义，門和走廊等）。因此脆栋，他們必須即興創(chuàng)作倦卖，而不是化妝，而是動手做椿争。他們的技能怕膛，訓練和知識使他們具備了能力。
I recently spoke with Navy SEAL captain Jamie Sands, who at the time was working at the Joint Special Operations Command at Ft. Bragg, and was preparing to take command of SEAL Group 2. Our conversation focused on how planning, preparation, and training affect the way people react and adapt when a plan cannot be executed flawlessly. Not so surprisingly the improvisational thinking required of SEALs is not a matter of “making things up” but instead one of drawing on a previously developed skill set.
我最近與海軍海豹突擊隊隊長杰米·桑德斯（Jamie Sands）進行了交談秦踪，當時他正在Ft的聯(lián)合特種作戰(zhàn)司令部工作褐捻。布拉格掸茅，正準備接任海豹突擊隊第二小組的指揮。我們的談話重點是計劃柠逞，準備和培訓如何在無法完美執(zhí)行計劃的情況下影響人們的反應和適應方式昧狮。毫不奇怪，海豹突擊隊所需的即興思維不是“編造”的問題板壮，而是一種利用先前發(fā)展的技能組合的問題逗鸣。
“Training to a very high standard is an imperative,” said Captain Sands. “It provides the foundation for everything else and creates muscle memory. The fact is, repetition matters, as it affects all aspects of performance: mental, physical, situational preparation, communication. Shooting, for example, is a perishable skill. You need repetitions to be at the highest level of proficiency. Training prevents brain freeze.”
“必須達到很高的標準，”金沙船長說个束∧焦海“它為其他一切提供了基礎，并創(chuàng)造了肌肉記憶茬底。事實是沪悲，重復很重要，因為重復會影響績效的方方面??面：心理阱表，身體殿如，情境準備，溝通最爬。例如涉馁，射擊是一種易腐的技能。您需要重復才能達到最高水平爱致。訓練可以防止大腦凍結(jié)烤送。”
Whether you’re on the battlefield or in the boardroom, practice and repetition of the specific skill set required for the task at hand puts you in a position to succeed when that task must be carried out in times of uncertainty or even chaos. Regarding the specific skills required for throwing oneself out of a plane, Sands had this to say: “When you first start free-falling, your awareness of space is very small and you can only focus on what’s right in front of you—gauges, timing, ripcord. Around your tenth or twentieth jump, you begin to feel comfortable. However, it is only after your fiftieth jump that you’re seeing the whole sky and even thinking about what your next moves are once you land.”
無論您是在戰(zhàn)場上還是在會議室中糠悯，練習和重復完成手頭任務所需的特定技能都可以使您在必須在不確定甚至混亂的情況下執(zhí)行該任務時獲得成功帮坚。關于將自己從飛機上摔下來所需的特定技能，桑茲曾這樣說：“當您第一次開始自由落體時互艾，您對空間的了解非常小试和，您只能專注于擺在自己面前的東西-量規(guī)，時間纫普，撕裂阅悍。在第十或第二十跳時，您開始感到舒適昨稼。但是节视，只有在第五十跳之后，您才可以看到整個天空假栓，甚至在思考著陸后的下一步行動寻行。”
The point here is that no matter what you do—cooking, accounting, playing sports, jumping out of airplanes, or embracing business improv—your skill level is achieved and maintained through practice. Especially in times of crisis, you want to be able to rely on well-developed muscle memory, not on making stuff up.
這里的要點是但指，無論您做什么工作寡痰，例如做飯，記賬棋凳，參加體育運動拦坠，跳飛機或擁抱業(yè)務即興表演，您的技能水平都是通過練習來達到并保持的剩岳。尤其是在危機時期贞滨，您希望能夠依靠發(fā)達的肌肉記憶力，而不是靠化妝拍棕。
In theatrical improvisation one of the common phrases is “performing at the top of your intelligence,” a concept that is about 180 degrees away from simply working off the top of your head. If you think about some of the other great improvisers I mentioned earlier—the soldier, the athlete, the chef—they don’t respond to unpredictable events by doing just anything, willy-nilly. They work at the top of their intelligence, drawing on all their skills, training, and experience to make fast choices about the actions they will take. When musicians improvise, they “make up” the music in the sense that they are playing notes of their extemporaneous choosing. However, the success(and listenability) of that improvisation depends on the players’ musical knowledge and skills and their ability to communicate with fellow musicians and an audience. If you don’t actually know how to play a trumpet, improvising on one isn’t going to help you sound any better.
在戲劇即興演奏中晓铆，常見的短語之一是“在您的智力之巔進行表演”，這個概念與簡單地從頭頂開始工作大約有180度的距離绰播。如果您考慮我之前提到的其他一些即興演奏者骄噪，即士兵，運動員蠢箩，廚師链蕊，他們不會通過做任何事情來應對不可預測的事件，這很隨意谬泌。他們會發(fā)揮自己的才能滔韵，利用所有技能，培訓和經(jīng)驗來快速選擇要采取的行動掌实。當音樂家即興演奏時陪蜻，他們在演奏自己即興演奏的音符的意義上“組成”音樂。然而贱鼻，即興演奏的成功（和可聽性）取決于演奏者的音樂知識和技能以及他們與其他音樂家和聽眾交流的能力宴卖。如果您實際上不知道怎么彈小號，即興演奏不會幫助您聽起來更好忱嘹。
Even when improvisation is actually about comedy, it’s not just about making stuff up. Somewhere around 1996, very early in my improv career, I was serving as the host of the iO’s evening shows and I described to first-timers in the audience that the improvisers onstage would be “making things up off the top of our heads.” Offstage I was promptly and vehemently reamed by improv legend Noah Gregoropoulos, who impressed upon me how insulting that phrase was in relation to the level of work done by improvisers. Lesson learned. This resonates strongly with me to this day. Performing at the top of your intelligence is a lot different from flying by the seat of your pants.
即使即興創(chuàng)作實際上是關于喜劇的嘱腥，它也不只是編造喜劇。在1996年左右的某個時間拘悦，即我即興創(chuàng)作生涯的早期齿兔，我擔任了iO晚會的主持人，我向第一次參加聽眾的觀眾描述础米，即興創(chuàng)作的即興演奏者將“使事情變得浮躁”分苇。在臺下，我被即興傳奇Noah Gregoropoulos迅速而激烈地打了個草屁桑，他給我留下了深刻的印象医寿，即這句話與即興創(chuàng)作者的工作水平有關。學過的知識蘑斧。直到今天靖秩，這一直引起我的共鳴须眷。發(fā)揮最高才能與在褲子座位旁飛翔有很大不同。
The myth that improv is a means of last resort dismisses the knowledge and training, coordination, focus, and intellect needed to perform in the moment. If you are drawing upon everything you know and working at the highest level your abilities allow, you are improvising at the top of your intelligence—a stunning feat when seen.
即興表演是不得已的手段的神話無視了當下表演所需的知識和訓練沟突，協(xié)調(diào)花颗，專注和智慧。如果您充分利用自己所知道的一切惠拭，并在自己的能力所允許的最高水平上工作扩劝，那么您就在即興發(fā)揮能力時即興發(fā)揮-當被看到時，這是一項了不起的壯舉职辅。
With that debunking out of the way, you’ve got a better sense of what improvisation isn’t. So what the heck is it then?
擺脫了這種挑戰(zhàn)棒呛，您對即興創(chuàng)作不是什么有了更好的了解。那到底是什么呢域携？
Improvisation, when stripped down to its basic building blocks, is about reacting, adapting, and communicating. You see what’s happening around you. You quickly consider how to respond. You communicate to others. And then you do what needs to be done to succeed. Repeat as necessary.
即興發(fā)揮的基本要素是反應簇秒，適應和溝通。您會看到周圍發(fā)生了什么秀鞭。您很快就會考慮如何應對宰睡。您與他人交流。然后气筋，您需要做一些成功的事情拆内。根據(jù)需要重復。
The first step in any improvisation is indeed reaction. This is not reacting blindly or out of panic, however. With effective improvisation, reaction involves being focused and present, being in the moment, and being completely open to the idea of responding honestly to whatever it is that requires a response. There’s a parallel force existing alongside reaction, and that’s adaptation—the skill of being ever aware of the shifting parameters one is working within while keeping in mind the specific objective that needs to be achieved. Reacting and adapting are channeled together to create the true resultant force of improvisation: communication. Communication in this context refers to productive engagement in any form—between individuals, within or between groups, as part of a process, or the final stage of decision making.
即興創(chuàng)作的第一步確實是反應宠默。但是麸恍，這不是盲目的反應或出于恐慌。通過有效的即興創(chuàng)作搀矫，反應包括集中精力和呈現(xiàn)抹沪，時刻存在，并完全接受誠實地對需要回應的內(nèi)容做出回應的想法瓤球。在反應的同時存在著平行的力量融欧，那就是適應性-一種始終意識到變化參數(shù)的技能，同時牢記需要實現(xiàn)的特定目標卦羡。反應和適應被引導到一起噪馏，創(chuàng)造了即興創(chuàng)作的真正合力：溝通。在這種情況下绿饵，溝通是指任何形式的生產(chǎn)性參與-作為過程的一部分或決策的最后階段欠肾，在個體之間，群體內(nèi)部或群體之間拟赊。
Why would this definition of improvisation make sense in a business setting? Because improvisation is a method of dealing with situations in which we need to send and receive messages accurately,effectively, efficiently, and quickly.Of course as a businessperson and an improv veteran I’d say it’s always important to set proper expectations, so one of the things that has bothered me incessantly over the last decade is the overpromising that takes place in corporate training sessions—promising often done by smiling (though great) improv coaches who honestly want to spread the message that if you simply relax, adopt a positive attitude, and trust your instincts, your business will thrive, your job title will turn to gold, and you’ll receive the keys to glorious executive washrooms that can only be discussed in whispers.
為什么這種即興定義在業(yè)務環(huán)境中有意義刺桃？因為即興創(chuàng)作是一種應對情況的方法，在這種情況下我們需要準確吸祟，有效瑟慈，高效和快速地發(fā)送和接收消息桃移。當然，作為一名商人和即興退伍軍人葛碧，我想說谴轮，樹立正確的期望總是很重要的，因此在過去的十年中吹埠，困擾我的一件事是公司培訓課程中的過分樂觀–許諾常常是通過微笑（雖然很棒）的即興教練來完成的，他們誠實地希望傳播這樣的信息：如果您只是放松一下疮装，請采納積極的態(tài)度缘琅，相信自己的直覺，您的業(yè)務將蒸蒸日上廓推，您的職位將變成金子刷袍，并且您將獲得光榮的行政洗手間的鑰匙，這些秘密只能在低聲中討論樊展。
I love these people. I am friends with hundreds of improvisers who teach this way. They are awesome performers, coaches, and teachers,and without question their approach to business improvisation is ineffective, because it does not dive more than an inch below the surface of a sea that is thousands of feet deep呻纹。
我愛這些人。我是數(shù)百位即興演奏者的朋友专缠，他們以這種方式教書雷酪。他們是出色的表演者，教練和老師涝婉，毫無疑問哥力，他們即興表演的方法是無效的，因為它的潛入深度不超過數(shù)千英尺深的海面以下一英寸墩弯。
Improvisation is not a panacea or a silver bullet. It is an art and a discipline—a set of techniques that have to be used at the right time and in the right place. Improv can improve the way ideas are generated. It can open a free flow of communication. It can boost the sense of organization within a workplace. It can help you manage the unexpected. And it is not the ultimate or only way to run a business. Potential improvisers, whether actors, athletes, or business leaders, all have to decide when and how improv techniques will be valuable. There’s more than one way to hit a pi?ata and improv is only one possible stick to swing—though I’ve found it to be a very effective stick when it comes to opening that sucker up and getting the sweet stuff inside.
即興創(chuàng)作不是萬能藥或靈丹妙藥吩跋。它是一門藝術(shù)，也是一門學科渔工，必須在正確的時間和正確的位置使用一系列技術(shù)锌钮。即興創(chuàng)作可以改善產(chǎn)生想法的方式。它可以打開自由交流的通道引矩。它可以增強工作場所中的組織意識梁丘。它可以幫助您管理意外情況。這不是經(jīng)營企業(yè)的最終方法或唯一方法旺韭。潛在的即興演奏者兰吟，無論是演員，運動員還是企業(yè)領導者茂翔，都必須決定即興演奏技巧何時以及如何變得有價值混蔼。擊打Pi?ata的方法不止一種，即興演奏只是一種可能的搖桿-盡管我發(fā)現(xiàn)打開吸盤并將甜食放入內(nèi)部時珊燎，它是非常有效的搖桿惭嚣。
Improvisation is not so much a creation of something out of nothing as much as it is the creation of something out of everything—everything one has been taught, everything one has experienced,everything one knows. Improvisers observe all and try to take advantage of everything around them: every word, every movement, every sound; every facial expression, body gesture, moment, data point. Improvisers will pull from all information at their disposal and will not dismiss anything that might possibly be useful. A great improviser can look at the tiny details and the big picture simultaneously.
即興創(chuàng)作不是從無到有的創(chuàng)造遵湖，而是從萬有的創(chuàng)造—一切都被教，一個人經(jīng)歷過的一切晚吞，一個人都知道延旧。即興演奏者觀察所有事物，并嘗試利用周圍的一切：每個單詞槽地，每個動作迁沫，每個聲音；每個面部表情捌蚊，身體姿勢集畅，時刻，數(shù)據(jù)點缅糟。即興創(chuàng)作者會從他們掌握的所有信息中獲取信息挺智，并且不會忽略任何可能有用的信息。出色的即興演奏者可以同時查看微小的細節(jié)和全局窗宦。
Improvisers observe everything for its worth and assess every situation as accurately and honestly as humanly possible. Great improvisers aim for the best possible overall solution in the moment, as opposed to “This is the best I could do given a set of circumstances.” And seasoned improvisers acknowledge that the unknown will happen no matter how well they attempt to plan things out. Murphy’s Law states, “Anything that can go wrong will go wrong.” For improvisers these aren’t words of caution but a rallying cry: when you are performing at the top of your intelligence, you not only expect the unexpected; you embrace it.
即興創(chuàng)作者會觀察所有事物的價值赦颇，并盡人所能地準確，誠實地評估每種情況赴涵。出色的即興演奏者致力于目前最好的整體解決方案媒怯，而不是“在特定情況下，我能做到的最好髓窜』ι悖”而且經(jīng)驗豐富的即興演奏者也承認，無論他們?nèi)绾斡媱澓檬虑樯春妫粗挛锒紩l(fā)生杨拐。墨菲定律指出：“任何可能出錯的地方都會出錯±奚叮”對于即興演奏者來說哄陶，這些不是謹慎的話，而是集會的吶喊：當您發(fā)揮最高才能時哺壶，您不僅會期待意料之外的事情屋吨；你擁抱它。
In the following chapters, then, let me guide you toward becoming a great improviser in your career. Here’s the path we’ll take: from personal development to interpersonal application, to team application, to creating culture. We’ll begin with a practical overview of how improvisation can be used as a tool to break through the barriers to creativity and collaboration that are common in workplace environments. Then we’ll get into the nuts and bolts of improvising by way of improvisation’s core principle: “Yes, and . . . ” We’ll look at the ways improv can be used for personal growth and empowerment—a method of strengthening your personal brand.
然后山宾，在接下來的章節(jié)中至扰，讓我指導您成為職業(yè)上的出色即興演奏者。這是我們要走的路：從個人發(fā)展到人際應用资锰，團隊應用再到文化創(chuàng)造敢课。我們將首先從實踐上概述即席演奏如何用作突破工作場所環(huán)境中常見的創(chuàng)造力和協(xié)作障礙的工具。然后，我們將以即興創(chuàng)作的核心原則深入探討即興創(chuàng)作的基本要素：“是直秆，而且濒募。。圾结」逄辏”我們將探討即興創(chuàng)作可用于個人成長和賦權(quán)的方法-一種增強個人品牌的方法。
We’ll also explore improv’s role in manipulating energy and attitude. Moving beyond personal growth, we will chart a path to implementing these techniques outwardly in dyadic and small group conversations. Then we will examine how improvisation can impact team dynamics by looking at its practical applications in fostering better group ideation and the breakdown of silos—a persistent workplace problem. We’ll then take these foundational blocks to show how improv techniques can improve leadership skills and how improvisation can be used as a catalyst for positive change in a corporate culture. In the final pages of this book we’ll focus on transferability and sustainability—how to utilize improvisation in your workplace immediately.
我們還將探討即興表演在操縱能量和態(tài)度方面的作用筝野。除了個人成長以外晌姚，我們還將為在雙向和小組對話中向外實施這些技術(shù)指明道路。然后歇竟，我們將通過研究即興創(chuàng)作在促進更好的團隊構(gòu)想和筒倉崩潰（這是一個持續(xù)存在的工作場所問題）的實際應用中挥唠，研究即興創(chuàng)作如何影響團隊動力。然后途蒋，我們將以這些基本的塊為基礎，展示即興技巧如何提高領導技能馋记，以及即興如何被用作企業(yè)文化積極變革的催化劑号坡。在本書的最后幾頁中，我們將重點討論可轉(zhuǎn)移性和可持續(xù)性-如何立即在工作場所利用即興創(chuàng)作梯醒。
I do not teach with talks or seminars alone. Instead I favor intensives based on experiential learning. In that spirit I’ve packed this book with step-by-step instructions for some of my most effective and practicable exercises. I hope you’ll give them a try.
我不會單靠演講或研討會來教書宽堆。相反，我贊成基于經(jīng)驗學習的強化課程茸习。本著這種精神畜隶，我為本書提供了一些最有效，最實用的逐步指導号胚。希望您能嘗試一下籽慢。
It is my explicit intention in these pages to get you to think differently about yourself, your work, your company, and of course your use of improvisation. No matter what your particular business is, the goal here is success. I promise I won’t ask you to take a trust fall or participate in a group hug. All I ask is that you commit to helping yourself.Done? Alright then, let’s go!(To be continued~)
我在這些頁面中的明確意圖是使您對自己，您的工作猫胁，您的公司箱亿，當然還有對即興使用的看法有所不同。無論您從事何種業(yè)務弃秆，這里的目標都是成功。我保證我不會要求您信任他人或參加小組擁抱。我要問的是您致力于自我?guī)椭：冒煽钩睿甙桑。ㄎ赐甏m(xù)）
