Power Plays: Shakespeare's Lessons in Leadership and ManagementWhat can Shakespeare teach us about effective leadership? Everything, according to John Whitney, former president of Pathmark Supermarkets and now a leading professor at Columbia Business School, and Tina Packer, founder, president, and artistic director of the critically acclaimed theater group Shakespeare & Company. Whether we are dealing with an indecisive Hamlet or a corporate Lear, this innovative approach to management helps us tap the timeless wisdom and profitable genius of the Bard. The issues fueling the intricate plots of Shakespeare's 400-year-old plays are the same common yet complex issues that business leaders contend with today. And, as Whitney and Packer so convincingly demonstrate, no one but the Bard himself can penetrate the secrets of leadership with such piercing brilliance. Let him instruct you on the issues that managers face every day: POWER: Who wants it, who has it, who lost it? Richard II's fall from power can enlighten us, as can Jamie Dimon, who lost out at Citigroup, or Gary Wendt,who was asked to resign as CEO of GE Capital. COMMUNICATION: Shakespeare wrote, "All the world's a stage," and no writer has a deeper grasp of the power of performance. Leadership is theater. Learn how to feel comfortable in the leadership role and communicate effectively. TRUST: Every leader needs to know whom to trust, why, and how to earn trust. Draw on the experiences of King Lear and Othello, as well as John Sculley when he lost at Apple Computer. DECISION: Understand what causes one to falter or "freeze up" when making crucial decisions. Hamlet illustrates the do's and don'ts of decision making. ACTION: Decision without action is useless. See why Henry IV and Jack Welch from GE were effectiveand why Richard II, Henry VI, and Robert Allen from AT&T were not when it came down to putting ideas into action. HIERARCHY: When a leader enters or takes over an existing group, this inherently invites conflict. Explore Henry IV and see the parallels that can be drawn for every leader, manager, or follower who is promoted or transferred or has changed companies. Know where the pitfalls lie in these situations and learn how to avoid them. WOMEN IN MANAGEMENT: A look at Rosalind's success in As You Like It and Desdemona's failure in Othello will help you to understand what women uniquely offer and what it takes for women to succeed in business. John Whitney and Tina Packer do not simply compare Shakespeare's plays with management techniques, but rather draw on their own wealth of business experience to show us how these essential Shakespearean lessons can be applied to modern-day challenges. Power Plays infuses the world of business with new life -- and plenty of drama. |
搜尋書籍內容
第 1 到 3 筆結果,共 39 筆
第 145 頁
THE LEADER AS ACTOR Richard III was one of Shakespeare ' s first great roles ,
and fine actors have always been eager to play him , from Richard Burbage , the
leading actor of Shakespeare ' s day , to such modern - day stars of stage and ...
THE LEADER AS ACTOR Richard III was one of Shakespeare ' s first great roles ,
and fine actors have always been eager to play him , from Richard Burbage , the
leading actor of Shakespeare ' s day , to such modern - day stars of stage and ...
第 154 頁
PLAY THE PART AND KNOW YOURSELF Good acting , like a good golf swing ,
is not a natural phenomenon . A golf swing uses muscles in a way that they ' re
not accustomed to being used . Good actors use their bodies and voice along
with ...
PLAY THE PART AND KNOW YOURSELF Good acting , like a good golf swing ,
is not a natural phenomenon . A golf swing uses muscles in a way that they ' re
not accustomed to being used . Good actors use their bodies and voice along
with ...
第 155 頁
Actors received “ sides , ” which included only their speeches with the two lines
preceding theirs . Onstage , actors had to be listening like mad for their cues . 14 •
Energy . If an actor ' s energy does not infect the audience , there is no play .
Actors received “ sides , ” which included only their speeches with the two lines
preceding theirs . Onstage , actors had to be listening like mad for their cues . 14 •
Energy . If an actor ' s energy does not infect the audience , there is no play .
讀者評論 - 撰寫評論
我們找不到任何評論。
內容
Prologue | 11 |
Power Is a Freighted Idea | 23 |
Uneasy Lies the Head That Wears a Crown | 55 |
版權所有 | |
11 個其他區段未顯示
其他版本 - 查看全部
常見字詞
action actor Antony audience battle become believe better boss Brutus Cassius cause chapter colleagues common corporate course create crown death deception decision effective employees England enterprise executive face fact Falstaff feel fired followers give Hamlet honor idea important Jack John Julius Caesar keep kill kind King Henry King Richard II lead leader lieutenant lives look lose Macbeth managers mind move never nobles once organization person play points political Prince problems question relationship Richard role Roman seems sense Shakespeare share shows society speak speech story strategy success sure tell things thought Tina tion true trusted turn turnaround understand woman women