|SUMMARY of TD14: Postmodern Theatrics. Transorganizational consulting work by Boje, Boal, and Saner draws on theatre work by Deborah Geis, Aristotle, Burke, & Goffman, and Theatre of Consumption work by Fuat & Dholakia, and Society of the Spectacle work by Debord.|
|Similarities to other TD
Dissimilar to other TD Methods:
|NAVIGATION ON THIS PAGE|
If you do not know postmodern theory, start here.
How to become a postmodern theorist
is Metatheatre? Metatheatre
is a multiplicity of theatres (formal, informal, off and on stage) simultaneous
in a TAMARA of sites; with starring and supporting cast of characters who
(1) affect the quality of products and services, (2) enhance or lower
productivity, and (3) constitute the concentrated and diffuse spectacles of
theatrical performances experienced by employees, investors, customers and
vendors. Metatheatre is defined here as the multiple and contending
theatres that constitute organizations. The Metatheatre can be defined as a
network of simultaneous, TAMARA-esque stage performances. In your organization
you can never see all the theatre performed; it is occurring simultaneously on
different stages; some you see and perform, but other acts you hear about from
colleagues, vendors, and customers.
Metatheatre Intervention Method is designed to be a companion to the SEAM
(Socio-Economic Approach to Management) Method (Savall, 1974, 2000; Savall,
Zardett & Bonnet, 1999).
Metatheatre Intervention Method is designed to be a companion to the SEAM (Socio-Economic Approach to Management) Method (Savall, 1974, 2000; Savall, Zardett & Bonnet, 1999).
defined as the multiplicity of scripts, mostly unwritten ones, that constitute
the micro and macro structure, behavior, social dysfunctions, and hidden
costs/performance potential of complex organizations. Metascript is a
multiplicity of scripts that define the field of actions, where strategies are
plotted, rhythms find their time patters, characters get trained in their lines,
and many feel con-scripted and imprisoned in their character roles and dialog;
there are themes of working conditions for on and off stage performers, and some
of the mindsets are incommensurate with other mindsets; a mess of directors,
script editors, and characters learning and refusing their scripted lines
compete for time on the center stage.
for more on thistopic.
See Metascript for more on thistopic.
SEPTET (7 dramatistic elements), by directing a cast of (1) characters, in strategic (2) plots, which create oppressive (3) themes. Leadership is produced, distributed, and consumed in (4) dialogs (in talk, in stories, and in discourses). Leadership affects and is affected by the temporal (5) rhythms (seasons, cycles, recurring patterns). Leadership is the championing some (6) frames (ideologies) over others. And, leadership is most of all the (7) spectacle theatrics (four types), a dynamic hybrid of (a) concentrated corporate culture theatre, (b) diffuse theatre on the global stage, the (c) integration concentrated and integrated, and the more and more frequent (d) megaspectacle of corporate scandal turned by media frenzy and spectator appetite into mass entertainment. See SEPTET at http://cbae.nmsu.edu/~dboje/septet/ for more on this topic.
|1. Characters||1. Characters|
|2. Plots||2. Plots|
|3. Themes||3. Themes|
|4. Dialogs||4. Dialogs|
|5. Rhythms||5. Rhythms|
|6. Frames||6. Frames|
|7. Spectacles||7. Spectacles|
What is a TAMARA NETWORK
TAMARA networks have multiple and poly-voiced (polyphonic) stakeholder organizations in dynamic interaction. Each is a storytelling organization embedded in TAMARA network with multiple, parallel story logices. A TAMARA network has flexible links among its stakeholders, as they chasing competing storylines and logics. In a TAMARA network knowledge and collective system dynamics are rapidly changing as new stories are told and reinterpreted to alter patterns of interaction. Different storytellers story the netwrok dynamics differently based uon their net-position and thier unique experience history in the network patterns. Someone for example, who wandered through links A-B-N-K will have a different story to tell then someone who experienced A-B-O-K strands. The probelm in a TAMARA Network is there is no universal story-reader to tell one universal history or give one monological, unilateral, and linear historical reading of the network dynamics. The network is polyphonic (multi-voiced) and polysemous (many meanings). it is in these networks, that we think TD ICEND Theatrics Workshops can have an impact. What matters in such workshops is find a way to deepend collective understanding of network dynamics, competing logics, and the depth of human relationships. The focus is on how people narrate their experience and in experiential enactments of the theatrics of network dynamics. As always we assume "storytelling is the preferred sensemaking currency of human relationships among internal and external stakeholders" to these networks (Boje, 1991: 106).
TD Workshop ICEND steps have been adapted from NYC Theater of Oppressed approach to theatrics (press here):
Then try these:
Lessons from Theater: Beyond Metaphor Symposium
Academy in Chicago 1999 (press here).
The Knight Errant's Ideology of Adventure
David M. Boje and John T. Luhman Academy presentation in Chicago 1999
(press here). I
acted scenes for Merchant of Venice, which to me encapsulates the
modern MBA program. Shakespeare wrote about the clash of feudal and
merchant/commercial capitalisms. The ideology of adventure is a term
used by Michael Nerlich in his two volume series. In my view,
Shakespeare has written about the theatrics of capitalism.
EDUCATION: The Postmodern Classroom as a Three Act play (Guild, Corporate & Postmodern Theater)
Call for paper Theatre of Capitalism Stream CMS 2003
See Special 2001 Issue of JOCM Journal of Organizational Change Management which was the result of the Discourse Conference in the UK
Boal, Augusto (1979). Theatre of the Oppressed. Translation by Charles A. & Maria-Odillia Leal McBride. Originally published in Spanish as Teatro de Oprimido in 1974. NY: Theatre Communications Group.
Boje, D. M. (1999). Notes on the Strategic Stories fad: Disney and other storytellers. June 29. http://cbae.nmsu.edu/~dboje/strategic.html
Boje, D. M. (1995). Stories of the storytelling organization: A postmodern analysis of Disney as 'Tamara-land.' Academy of Management Journal. 38 (4), 997-1035.
Boje, D. M. (2000a). Global Theatrics and Capitalism. November 12. Web text accessed May 15, 2002 at http://cbae.nmsu.edu/~dboje/teaching/338/global_theatrics_and_capitalism.htm
Boje, D. M. (2000b) "Spectacle and Inter-Spectacle in the Matrix and Organization Theory." Book chapter in Parker, Martin, Geoff Lightfoot, Matthew Higgins and Warren Smith (2001) Science Fiction and Organization, London: Routledge.
Boje, D. M. (2000c). Theatrics of Leadership?Web text accessed May 15, 2002 at http://cbae.nmsu.edu/~dboje/teaching/338/leader_model_boje.htm
Boje, D. M. (2000c) X,Y,Z model of leadership and Revolutionary Pedagogy. Web text accessed May 15, 2002 at
Boje, D. M. (2000d) “Using Narrative and Telling Stories” May 10. To appear in the Book: The Manager as a Practical Author Editors (David Holman and Richard Thorpe) Publisher: Sage. This is a quite practical piece, written for the practicing manager.
Boje, D. M. (2001a). Narrative Methods for Organizational and Communication Research. London Sage.
Boje, D. M. (2001b). Carnivalesque Resistance to Global Spectacle: A Critical Postmodern Theory of Public Administration. Administrative Theory & Praxis. Vol. 23 (3): 431-458.
Boje, D. M. (2001c) Spectacles and festival of organization: Managing Ahimsa Production and Consumption [Use ID=Aggie359 PASS=adventure]. Web text accessed May 15, 2002.
Boje, D. M. (2001d). Athletic Apparel Industry is Tamara-land. Tamara: Journal of Critical Postmodern Organization Science. Vol 1 (2), pp. 6-19. Web text accessed May 15, 2002.
Boje, D. M. (2001e). Festivalism web site http://www.zianet.com/boje/1/
Boje, D. M. (2001f). Carnivalesque resistance to global spectacle: A critical postmodern theory of public administration. Administrative Theory and Praxis, 23 (3), 431-458. http://cbae.nmsu.edu/~dboje/papers/carnivalesque_resistance_to_glob.htm
Boje, D. M. (2001g). Flight of Antenarrative in Phenomenal Complexity Theory, Tamara, Storytelling Organization Theory.
Boje, D. M. (2001h). Before the Story Can be Told: An Antenarrative of the World Trade Center and Pentagon Disaster; also see Hybridity Visuals Presentation in Netherlands.
Boje, D. M. (2001i) "Las Vegas Spectacles: Organization Power over the Body." M@n@gement, 4(3): 201-207. Special issue on Deconstructing Las Vegas. This article looks at spectacle impact on the body, and how women in strip club resist the male disciplinary gaze of the body.
Boje, D. M. (2002a). Critical Dramaturgical Analysis of Enron Antenarratives and Metatheatre. Plenary presentation to 5th International Conference on Organizational Discourse: From Micro-Utterances to Macro-Inferences, Wednesday 24th - Friday 26th July (London).
Boje, D. M. (2002b) Enron Metatheatre: A Critical Dramaturgy Analysis of Enron’s Quasi-Objects. Paper presented at the Networks, Quasi-Objects, and Identity: Reintegrating Humans, Technology, and Nature session of Denver Academy of Management Meetings. Tuesday August 13, 2002.
Boje, D. M. (2002c) Theatres of Capitalism. Book being published by Hampton Press (San Francisco). Available until publication, on line, at http://cbae.nmsu.edu/~dboje/theatrics/index.htm (password is required).
Boje, D. M. (2002d). Leadership Theatre Events. Contains guides fo Image, Invisible, and Forum Theatre
Boje, D. M. (2002e). What is Situation? Feb 19, 2002. http://cbae.nmsu.edu/~dboje/388/what_is_situation.htm#septet_table_1 Contains Septet table.
Boje, D. M. (2002f). Leadership in a Postmodern Age: Notes on Enron December 3, 2000; revised April 2, 2002 http://cbae.nmsu.edu/~dboje/teaching/338/leadership_in_a_postmodern_age.htm
Boje, D. M. (2002g). Exercises in Games of Power and Leadership. February 26. http://cbae.nmsu.edu/~dboje/388/games_of_power.htm Contains definition of Oppression, examples, and self-survey of oppression.
Boje, David & Robert Dennehy (1999). Managing in the Postmodern World. Web text accessed on May 15, 2002 at http://cbae.nmsu.edu/~dboje/mpw.html MWP Chap 3 Organizing.
Boje, D. M. & G. A. Rosile (2002a). The Metatheatre Intervention Manual. To be published by ISEOR Research Institute of University of Lyon 2, France.
Boje, D. M. & G. A. Rosile (2002a). Theatrics of SEAM. Paper to be published in Journal of Organiztional Change Management Special Issue on Socio-Economic Approach to Management (SEAM), guest edited by Henri Saval.
Boje, D. M., Grace Ann Rosile, Rita A. Durant & John T. Luhman (2002). Enron spectacle theatrics: A critical dramaturgical analysis. Under review at Organization Studies, for special issue on organization theatre.
Boje, D. M. ,G. A. Rosile, and Simon Malbogat (2000) "Festival, Spectacle and Carnival: Theatrics of Organizational Development and Change." Presentation to ODC division of Academy of Management, Toronto, August, 2000.
Czarniawska, Barbara (1997). Narrating the Organization: Dramas of Institutional Identity. Chicago, IL: The University of Chicago Press.
Demaray, John G. (1998). Shakespeare and the spectacles of Strangeness: The
Tempest and the Transformation of Renaissance Theatrical Forms.
Pittsburgh, PN: Duquesne University Press. This is about the
relation of small spectacle stagings and main play.
Geis, Deborah R. (1993). Postmodern Theatric(k)s: Monologue in Contemporary
American Drama. Ann Arbor, MI: The University of Michigan
Simard, Rodney (1984) Postmodern Drama: Contemporary Playwrights in America and Britain. Lanham, MD: University Press of America.
Whitmore, Jon (1994) Directing Postmodern theater: Shaping Signification in Perofmrance. Ann Arbor, MI: The University of Michigan Press. This book has postmod in the title, but is more of a structuralist work.