Role-play is Like Sushi , Part 1

Role-play is like sushi When it's good it's great; when it's bad, it can turn you off for a long time! We've seen a lot of bad, but we know it can be one of the most powerful of developmental tools and we're here to rehabilitate its reputation! Welcome to the first of our series on using role-play productively and painlessly.

Tip 1: Know your learning objective! There are many ways role-play can be used - many types of developmental outcome - from skill-building to mindset shifting to brainstorming and problem-solving. Be clear about which kind of role-play you are running and then really specific about what skills or mindset or problem you are addressing. Let's take a closer look at skill-building role-play:

Assume you are using role-play to build coaching skills. Ask yourself: 

·What do you want the participant to be able to DO differently? This is NOT the same as the desired outcome within the role-play.  The internal desired outcome is what the characters within the scenario want to achieve. So in this case, the learning objectives may be for the participant to get better at:

o   Empathic listening

o   Asking powerful questions

o   Using the GROW (or some other) coaching model

Those are distinguishable from the desired outcomes within the roleplay which might be for the manager to:

o   Understand their report’s goals and objectives

o   To build a trusting relationship

o   To support the report in generating their own ideas and solutions

o   To help the report identify and commit to an action-plan

·      Have you set up those skills or processes ahead of time so that they are clear and the participant knows what they are practicing? (i.e. have you taught the skills, provided resources, set expectations? Unless your goal is explicitly to make people who think they are good coaches realize they are not, don't set folks up to fail by not teachings skills before you ask folks to demonstrate or practice them.)

·      Have you designed a role-play that provides the right opportunities to exercise those skills appropriately? (e.g. If you have designed a role-play in which a manager is meeting with a report who has been on the job for only a week and has no idea what to do, then pure coaching might not be the right intervention. Make sure your scenario fits the skills you want to practice.

·      Does the role-play provide positive and negative feedback to the participant depending on whether or not they demonstrate the skills you would like them to be practicing? (The “foil” or “sparring partner” is a critical part of an effective role-play. Whether you play this role yourself or have a professional compatriot or fellow participant play the part, the person opposite the role-player must understand the learning objective and respond by “rewarding” or “punishing” behavior as the participant succeeds or fails. At Koppett, we often use professional actor/role-players because they are so good at assuming a character that serves the scene, calibrating their responses based on the participant’s behavior, and articulating their emotional reactions during the debrief.

·      How will you capture the learning? As with any activity, debrief and follow-up action-planning can offer as much opportunity for development as the experience itself. How will your provide coaching? What feedback will you give? How will you set the stage for continued practice and application?

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Relishing Feedback: Tips from the Theatre

Everyone knows that feedback enhances performance. Most management training programs include some module on how to give it. And at some point in those pieces of training, almost invariably, someone says, “Yeah, but you know what we need…. We need to teach THEM how to RECEIVE feedback. They are so defensive, or dismissive, or ….”

A couple things about this comment:

All we can control is ourselves. Blaming others for unsuccessful interactions is a dangerous and unproductive path to walk. If we are working on how to give feedback effectively, that does not mean “giving feedback effectively if the person I am giving it to is perfectly open, willing and self-aware.” The techniques we practice assume that the person receiving the feedback might be resistant or confused.

Good point.

Receiving feedback well is as much of a skill as giving feedback well. In fact, selfishly, it may be the more important skill, because it is when we are on the receiving end of feedback that we have the opportunity to learn and grow.

I realized that actors (like athletes) have special receiving-feedback skills when my first O.D. mentor, Cal Sutliff, pointed the fact out to a group of my colleagues and me at the New York Association for New Americans. We were mostly starving actors, who had been teaching English as a Second Language to Russian refugees, and now, promoted to supervisors, we needed foundational management skills.

Cal delivered a half-day training for us, sharing best-practices and procedures and giving us some specific coaching and feedback. Then he went away. When he returned six weeks later to watch us in action, he was floored. “Uh, what happened?” he said. “ You are doing everything we talked about. Your behavior is completely different now.”

We were as surprised at his feedback as he was at our behavior. “Well, we did what you told us to do,” we said. As any good actor would, we had taken his notes, shifted our performances based on them, and continued to practice over time.

This, we learned from Cal, rated as wildly aberrant behavior. What we took for granted as actors – that a core part of our job was to glean and apply feedback – Cal revealed as a unique and special set of skills and mindsets that we should treasure.

So, some thoughts from the actor on how to hone your Receiving Feedback skills:

Value Feedback – Often actors complain not that they are getting bad feedback, or too much, but not enough. If a director ignores an actor in her notes (which are given before, during and after every rehearsal) that actor is likely to feel lost and anxious. There is a covenant between director and actor that is based on this exchange of feedback. Both parties know that you can see things from the outside that you cannot from the inside. The giving of feedback does not imply that the director does not trust or respect the actor. Rather, it allows the artists to collaborate and create in ways that are larger and deeper than either could without the other.  By definition, someone outside of you has a view of you that you do not have. When they share that view, and you can receive their insights, your opportunities for growth uh, grow!

Value Any Feedback – Not every director is great. And not every great director is good at giving feedback. But actors know that it is their job to serve the production, lead by whoever the director happens to be. Part of that job entails receiving feedback and implementing it even when you don’t like it. An apocryphal story has Coppola directing Brando in a scene, “Marlon," says Coppola, "Say your line, walk over here, and then say the next part.”  Brando replies, “What’s my motivation?”  To which Coppola says, “Your motivation is we’re losing the light. Do it now.” Part of the actor’s job is to justify the direction – to make the feedback work. Period. 

Value Any Feedback, Part 2 - When you demand that the person giving you feedback does it "the right way" you are missing opportunities. Learning to learn from anyone at any time affords you a huge opportunity. Become a lesson gathering machine. Why give someone else's clumsy communication the power to deprive you of development?

First Implement, Then Evaluate – We all have defenses...and habits and assumptions and comfort zones. There are many stories of highly successful people ignoring feedback and common wisdom along their journey and shocking everyone with their achievements. But, we remember those stories of exceptional people because they are exceptions. Often it is the best feedback that we are the most resistant to. Why? Because it is the feedback that addresses weaknesses head on that makes us the most vulnerable. In addition, we don’t know what we don’t know. Coaching can be understood only through implementation. DO it. To the best of your ability, the way you are being asked to do it. THEN figure out whether the change deserves to stick. You can always go back to your old ways. That’s easy. 

Make Friends with Discomfort - Perhaps the most important tip for getting better at receiving feedback is to remember that it will likely feel bad. We improvisers talk about "celebrating failure". What we mean is, celebrate the result of risk-taking, whatever it is. Celebrate trying something new. Celebrate that you have stretched yourself. The phrase reminds us that in order to grow we MUST fail. That we must measure success as much by the process as by results because it is the process that will lead to ongoing success over time. But the part we tend to gloss over is that failing often feels BAD. We can experience embarrassment, shame, anger, disappointment and fear when we fail - even when the failure is innocuous or highly subjective; even when there are no real-life consequences. Good directors learn to be gentle with their actors; managers and coaches get trained on how to give feedback in the most constructive way, but still there is no getting around it: negative feedback can hurt. So make friends with the hurt, rather than avoiding it. The goal is to be okay being uncomfortable - to learn to move into the discomfort, in fact. 

That is where the growth is. When we workout physically, we don’t get so freaked out by pain. We understand that some physical pain is an indicator of progress, and we are able to distinguish between soreness and injury. It is that level of comfort that we seek in other arenas.

Seek Feedback You Trust - Of course, not all feedback is created equal. Actively seek out feedback from people whose insight and input you trust. These may be people who are skilled professional coaches or people who are naturally gifted at seeing behaviors and articulating challenges and suggestions, or people who are terrible at giving feedback but who know a lot about things you want to learn. If you have been honing your receptors, you can learn even from this last group.

Let It Go - You are not obligated to fulfill someone else's vision when it conflicts with your own. Some feedback is unsolicited and unhelpful, period. As you exercise your receiving feedback muscles we suggest you take a moment to reflect on even that feedback which you initially want to reject. (See the points above.) Ask: "What value is there here?" Say: "Okay, that's stupid, but if I don't take it literally, what inspiration could I find?"  But ultimately, after you have openly received, reflected upon, and implemented feedback, THEN, if it doesn't work for you: let it go.  If a tip doesn't help you - even if it's a good tip in theory - release it and seek out other strategies. When unsolicited advice seems to serve an agenda that conflicts with yours, disengage. 

  

Finally, for many of us, the more experienced and expert we are, the harder it becomes to receive feedback. We expect things to continue indefinitely to work as they have in the past. We expect ourselves to succeed. We expect to know more than others. We demand of ourselves that we perform better than the rest.

The story goes that Laurence Olivier developed increasingly bad stage fright as he got older. One day a young actor said to him, "You get stage fright? But you're Laurence Olivier!"

"Exactly," Olivier replied. "When you go out there, you just have to be good. I have to be Olivier."

So, along with your receiving-feedback journey, remember this: be gentle with yourself; know that the courage to receive feedback ultimately makes you look, as well as be, stronger.  And remember to celebrate your feelings of discomfort and failure. They are surely signs of success.

We’d love your feedback: whether we like it or not.

Yes, And...WHAT?

That  "Yes, and..." rule...

Are you a lifelong "yes, and..." evangelist?  A born-again one? A skeptic? An analytic parser of nuance? A tired old-timer over the whole topic?

Regardless, I humbly suggest you may be missing something.

Let me catch up the uninitiated: The now ubiquitously heralded improv principle, taught and embraced by organizations worldwide, goes like this:

Everything - in a scene, in a conversation, in a problem-solving session - EVERYTHING is an "offer".

As improvisers, it is our obligation to see and hear the offers that our partner makes and build with them. (The "yes" means I see, hear and accept the existence of the offers. The "and" means I use those offers and add some of my own.)

The "yes, and..." rule is the foundation of all improv. It allows us to develop scenes and song and stories collaboratively, on-the-spot, with whatever happens, rather than freezing, judging, debating or hedging - activities that would scuttle any creative endeavor.

In the world of personal and organizational effectiveness (a.k.a. Applied Improv), the "yes, and..." rule enables better brainstorming and innovation, more respectful, trusting and satisfying relationships, clearer communication and problem-solving, and deeper understanding and connection.

"Yes, and..." is a profoundly powerful approach to interactions on and off stage. Some people fall deeply in love with "yes, and..." right away. Others reject it as simplistic or cloying or even as a dangerous path to "group think". Improvisers parse the difference between a character saying 'no' and the actor saying 'no'. We have long conversations about when and where and how "yes, and..." is useful - what we get and what we risk when we apply it.

Here's what we often miss:

We are ALWAYS "yes, and..."-ing SOMETHING.

In any given moment there are infinitely more offers than we can receive, let alone accept. With every choice, we focus on and build with some and ignore and block others. For example:

When I say "no" to a colleague's suggestion, I may feel I am "yes, and..."-ing budget limitations, or my own idea, or Joe's idea, or my understanding of what's physically possible.

When I say "no" to more cake, I am perhaps "yes, and..."-ing my health.

By choosing to fight back when I feel insulted, I may be "yes, and..."-ing my sense of justice or self-respect. Alternatively, by ignoring an insult, I may be recognizing and "yes, and..."-ing someone else's pain or insecurity.

By saying "no" to an exciting and lucrative professional opportunity, I am able to say "yes" to being present for my daughter's first day of school.

So, really, the question is not ARE we "yes, and..."-ing but WHAT are we "yes, and..."-ing? To maximize it's potential value to you, revisit "Yes, and..." Ask yourself:

What offers AM I "yes, and..."-ing?

What is that getting me?

What might it be costing me?

What kinds of offers may I be missing because I'm focusing on other kinds? (e.g. By focusing on the content of what someone says too specifically, we may miss an underlying emotional offer or need.)

Are the things I'm noticing and "yes, and..."-ing aligned with my intentions and values?

What other kinds of offers could I look for that would be valuable?

Where might a "no" be a "yes, and..." of some higher value or goal?

When we shift the conversation from IF we accept and build with offers to WHAT we are going to accept and build with, we open up powerful new vistas of exploration.

Let’s Debrief!

“Augghh, Mom! Stop it! You always do that,” snarls my daughter. She’s just shared some small quip a friend made at school, or maybe it was a little failure or frustration.

 “What?’ I responded - not exactly taken aback, she is a 12-year-old after all, but not quite sure what I’d done this time.

“You always do that! You always turn everything into some kind of learning experience. Sheesh.”

I’m sure I’m not alone. I’m a parent who’s grown up in the age of “teachable moments.” I’m also sure, she’s right - that I’m especially obnoxious about it. It’s an occupational hazard. You see, our work is built on the premise  - one we learned from our great mentor, Thiagi, the guru of interactional strategies for learning (www.thiagi.com) - that experiential activities are incredibly valuable learning tools. And, what, after all, is life, but a series of experiential activities?

Thiagi also taught us that an activity is “just an excuse for a good debrief.” So, we are clear in our work with our clients - and, as my daughter has discovered - in our lives, that the value of the experience comes not just from that experience itself, but from how it is processed.

But creating a “good” debrief isn’t always so easy. (Just check in on your local news channel or Facebook page after a recent current event to see it done badly.) What makes a good debrief?

A good debrief helps people:

  • capture their experience

  • understand and process the learning from their experience

  • think about how to apply the learning from their experience

Not surprisingly, we believe the best way to achieve the objectives above is to ask open-ended questions, rather than to tell participants what their experience was supposed to be or mean. Here are some high-level questions to get you started:

Capturing the Experience:

  • How Do You Feel?

  • What Happened?

  • What strategies did you employ?

  • What delighted you?

  • What surprised you?

  • What impacted you the most?

Understanding and Processing the Learning:

  • What worked?

  • What didn’t work?

  • What strategies did you discover?

  • What did you learn?

  • What principles will you take away?

Applying the Learning:

  • How does this apply to real life?

  • Where else can you apply these principles?

  • What will you do differently?

  • What will you commit to trying?

After my daughter reprimanded me, I apologized, told her I understood how annoying that must be, and then went on to riff on the topic - debriefing, if you will, her comment that I always turn everything into a learning experience. I said, “Yeah, when I die, I’ll probably think, ‘I’m sure I can learn something from this.’” You should put “Let’s Debrief” on my tombstone.

She didn’t even crack a smile. 

Last week, a young fashion design student I was coaching said it to me this way, “If you live, you learn. If you die, you teach.”

In any moment there so many lessons to be gathered,  so many insights to gain, so much wisdom to share - or ignore.  May we all continue to hone our debriefing skills, and may we all continue to grow and learn from one another. 

Improv is the Gym

Improv principles entered the workplace somewhere around the mid-90's. Back then, the idea of applying those mindsets and exercises was pretty wacky. Now, there are thousands of practitioners around the world working in organizations of all sorts, sought out to help develop creativity, flexibility, performance and collaboration, the cornerstones of applied improv. The ideas and approaches that improviser has claimed, have become integrated into general consulting and business practices in much more general ways.

We no longer have to spend much time pitching the value of developing those skills. Mainstream and traditional publications such as the NY Times, the Wall Street Journal, Harvard Business Review regularly run pieces on the value of listening better, taking creative risks, celebrating failure, collaborating across differences, "yes, and"-ing. Sometimes these articles reference applied improv. Often, not.

So, what, if any, is the special value that improvisers bring to the table? I think it's this: Improv is the Gym. Many people TALK about the importance of listening well, of not censoring ourselves in brainstorming, of accepting and building with others' ideas and opinions. Improvisers have developed  - over the last half-century or so - exercises to build "muscles" in those areas. Perhaps the principles are the same in every discipline, but improvisers, because their work has no other goal than to create collaboratively on the spot, have developed a rich set of tools and skill-building activities.

Wanna build those strengths? Reading books won't do it. At least not JUST reading books. Go find an improv class. Or find a group to work out with. Get up off your butt and play!