Power Plays: Shakespeare's Lessons in Leadership and ManagementSimon & Schuster, 2000 - 316 頁 How do you motivate people to give their all for the cause? Ask Henry V at Agincourt. Have you passed over someone who wanted to be promoted? Beware of the Iago syndrome. Facing a hostile audience? Take a cue from Mark Anthony. How do you fire someone? Learn the good & the bad from Henry IV. The issues fueling the intricate plots of Shakespeare's 400-year-old plays are the same issues with which business leaders contend today. & as John Whitney & Tina Packer demonstrate so convincingly & comprehensively, no one but the beloved Bard could ever penetrate the secrets of leadership with such piercing brilliance & invaluable instruction. For the benefit of corporate players at every level, this ingenious book holds up Shakespeare's powerful mirror to consider such perennial business themes as power, trust, communication, & decisiveness. Best of all, the authors drive the messages home with real-world models of modern-day success & failure--featuring such monarchs (both reigning & deposed) as GE's Jack Welch, AT&T's Robert Allen, & Apple's John Scully. Eloquent & consistently surprising, Power Plays injects the business literature with new life--and plenty of drama. |
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第 1 到 3 筆結果,共 31 筆
第 155 頁
... audience is the other half of the creative act , and the actor must be open to the energy of the audience . As we all have noticed , some audiences are better than others , more inclined to laugh or cry or get scared . A skilled actor ...
... audience is the other half of the creative act , and the actor must be open to the energy of the audience . As we all have noticed , some audiences are better than others , more inclined to laugh or cry or get scared . A skilled actor ...
第 156 頁
... audience is aware that the person they're watch- ing is just an actor . When it's just the mechanics of " acting " that the audience is watching instead of a human being " being , " it's awk- ward : there is no art , no creativity , no ...
... audience is aware that the person they're watch- ing is just an actor . When it's just the mechanics of " acting " that the audience is watching instead of a human being " being , " it's awk- ward : there is no art , no creativity , no ...
第 171 頁
... audience and build a case in such a way that your conclusion is inescapable . And if you're up against a hostile audience , as Antony was , you have to be careful what you reveal at the outset . If Antony had led his funeral oration ...
... audience and build a case in such a way that your conclusion is inescapable . And if you're up against a hostile audience , as Antony was , you have to be careful what you reveal at the outset . If Antony had led his funeral oration ...
內容
Prologue | 11 |
Power Is a Freighted Idea | 23 |
Uneasy Lies the Head That Wears a Crown | 55 |
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action actor Agincourt Antony Antony's audience banish battle believe Bolingbroke boss Bossidy Brutus Brutus's business leaders Cassius Claudius Cleopatra colleagues company's Coriolanus corporate create creative crown death deceives deception decision deposed Elizabeth employees England enterprise executive Falstaff give Hamlet honor Iago idea Jack Welch Jeff Bezos John JULIUS CAESAR JULIUS CAESAR 3.2 kill King Henry King Henry IV King Richard King Richard II leadership Lear lives look Macbeth managers Mark Antony mavericks murder never nobles Octavius Othello pany Pathmark person play Polonius Polonius's president Prince Hal Prince Hamlet problems relationship role Roman Rome Rosalind Shake society someone speech strategy success supermarket theater things thou thought throne Tina Packer tion trappings of power Troilus and Cressida troops true trusted lieutenant turn turnaround understand woman women