theater+in+conflict

Jürgen Bergmann Let me take the 18th Colloquium as an occasion to present a project for open discussion. I am speaking of a theater play, which I developped for the post-merger-integration process of the Degussa AG. The text will be given to all participants of Subtheme 16 beforehand (this will be my paper), as it was, by the way, also given to all participating managers of the Degussa AG before the presentation. In the beginning of the session in Barcelona I will present the business context that has led to it. We have the opportunity to watch a video film of the play. This input, however, is only considered as a warm-up. The discussion should more-over centre around the creative and developmental process of a play, since the real effect of such work lies in this process. Certain procedures and proceedings which are completely different to the usual ways of work are only accepted very reluctantly by all business forces even when they have been recognised as highly efficient. This attitude still leads to large financial expenses without any effective outcome and use and is completely in opposition to the economic ideology. In consideration of this paradox it is important to discuss the following questions: - What could be the role of art in this processes and attitudes? - Why and how does this role change during the internal discussions? - How can this change be put into effect and be made useful for the company over a fundamentally long period of time?
 * EGOS ** – European Group for Organizational Studies, 17th Coloquium, Lyon

Abstract The most significant aspect of my projects is the research and dramatic analysis of internal business projects and their description by a text with the qualities of poetry (dramas, tragedies, etc.). This opens up new ways for important strategic decisions. I do not focus too closely on the momentary presentation of a theatre play as is, but consider instead the complete and integral process giving birth to the play. If we take this integral process as the product and not only the representation, we suddenly find ourselves equipped with a very sensitive management tool perfectly apt to accompany and implement strategic business decisions. One strength (art) of high-quality literary and dramatic work is the analysis, presentation and development of complex systems. This awareness of the integral process is one of the fundamental factors for the success of theatre (in the business context). Unfortunately, it has not yet reached the appreciation and the recognition of managers on a broad basis, given the fact that the costs for theatre are generally still registered as expenses in the "event" sector, instead of being recognised, for example, as an investment in change management projects. If, in the beginning of a dramatic process, all objectives and intentions are already defined and set, the representation of a play can only be "put on top". But, if on the other hand, the specific dramatic know-how is considered and used as an integral feature of business projects, the dramatic analysis of the interaction of all participating factors (dramaturgy) of the project can be used for fostering the development of a "strategic plot" for this project. If this plot serves now to articulate the analytical results in a text for a play, the presentation of this play transforms itself into an integral component of the strategy. This is why I do not understand theatre as event, training, marketing or communication tool. If the realisation of such a project is integrated in the internal development of a business process, the analysis of the interaction of all participating factors (dramaturgy), the development of the process as well as the planning of follow-up implementation are altogether essential features. Such an approach cannot simply be considered as "mirroring" a target group, for example with the idea of helping it "to recognise, unfreeze or communicate". Its strength is to open up mindsets by its very own potential and even by transgressing the limit of existing understanding (Is this the reason why many managers are afraid of this approach?), in order to offer completely new insights into the interdependent mechanisms of the system the target group and the project belongs to. It goes without saying that the deduction of new solutions for operational implementations is a very obvious fact. Theatre in my understanding of the term has its desired effect only if Emotional Logistics **® ** can be built up. This can be achieved by a conclusive dramaturgy, since it links elements of operational development with the meta-level the business is aiming at. This combination enhances very specifically existing paradigms with a final profit, resulting from a reciprocal reflection accelerating the effect of the expected processes. Only in this context, the task of staging a theatre play or realising a scenic action can bring the objectives "into life", communicate them visually and embody them emotionally. In practice, I conduct a thorough analysis with responsible persons and affected associates as well as through close studies of all documents available or information collected by using usual research methods. Via constant feedback meetings the interaction of the factors (dramaturgy) effecting the target group is made transparent, as for example, the interaction between operational processes, tradition, ROCE, structure, appearance on the respective market, fluctuation of associates, strategic orientation and so on. Seen from this point of view, the project has already reached such a high degree of individuality, that its specific characteristics have become unique. Naturally, the dramatic composition, therefore, is a new and unique one for each single project, thus providing the business enterprises with an extremely high added value through its unmistakable uniqueness. Due to the integral dramaturgy it is impossible to re-use modules or specific parts from already realised projects. An extensive interpretation of the plays over a long period of time do not wear out their quality. They can be considered as "reservoirs" of knowledge with an increasing top-margin advantage!