TAKE ME TO YOUR LEADERSHIP：带我去领导
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.
在第一时间，甚至在第二次思考时，“即兴领导”似乎是一种矛盾。天性即兴是团队的工作，其中没有人比合奏更重要，因此没有人领导。如果在戏剧即兴表演的领域中，我不得不承认一位领导者，我不得不说，即兴表演本身就是领导者。
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.
表演的作品会像任何优秀的领导者一样影响每个表演者的角色和责任，并且表演中的每个表演者都可以满足整个团队表演的需求，需求和要求。即兴演奏被称为即兴表演，具有自己的生命-一种半神秘的，非常实用的创作过程，在这种过程中，表演者的天赋和高度沟通共同为最终的“老板”服务：出色的观众表现。
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.
我讲过的地位水平对于戏剧即兴表演团至关重要。但是，在幕后有一些领导者组织热身活动，安排排练并照顾所有演艺业务的后勤工作。在舞台上，没有Wordplay的VP，没有首席Farcical Officer，也没有C级的场景窃取者-都是平等的。即兴表演作为戏剧艺术形式的一部分是接受团体必须始终走在个人之前。我提到了一个古老的即兴短语，我是从我的导师马丁·德·马特（Martin de Maat）那里首先学到的：“跟随追随者。” 1在舞台上，我们大家都互相跟随，以促进小组内的自然发现。我们如此专心地专注于小组中的其他人，以至没有人可以成为领导者。我们致力于为任何人提供更大的服务：团队，流程，表演。
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.
这是“是和”的症结所在。。。”，正如我们在讨论从品牌推广到集思广益，从地位提升到孤军奋战的一切过程中看到的那样，这种“是和”的理念可以轻松有效地适应工作场所。但是，显然，当即兴演奏进入公司环境时，领导力的变化也必须考虑在内。虽然我们可以像一次将一条裤子放在一条腿上的人类一样平等，但是我们当中许多人的工作职责却告诉我们。不管您的职称是否标榜您为领导者，总的来说，公司工作场所可能被广泛定义为“一个有人试图让别人做某事的舞台”。换句话说，如果要完成工作，就必须有人当领导。
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 “leader” 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.
鉴于戏剧即兴表演更植根于群体和谐而不是个人独奏，当我们专注于公司环境和卓越的领导力时，是否必须在极端偏见的情况下放弃即兴表演技术？绝对不。在开发Business Improv的初期，经过一番沉静的思考（和充满活力的头部撞击）后，我陷入了一片昏昏欲睡的时刻：即使在即兴创作阶段没有“领导者”，同样的技能和思维定式也可以出色的即兴演奏者，是企业环境中出色的领导者。本章利用了之前所做的一切，来研究如何将即兴创作用作有效的领导手段。通过分析伟大而可怕的领导者的特征，我们将展示如何通过即兴发展领导技能，使人们了解自己的能量，态度和沟通方式如何影响他人。