People involved:
Director, Scriptwriter, Props Manager
Context: Chatterbox theatre is
staging a production in three weeks’ time at the University Cultural Center. However, the props and script are not finalized at this present moment.
Points of view:
Props Manager: He thinks that the
Director is overbearing and demands too much from the backstage crew. The Props
Manager also does not like the director’s habit of shouting his orders to the
crew.
Scriptwriter: She thinks that the
Director is stifling her creativity by changing the script at his whims and
fancies. She feels that as a scriptwriter, it is her right to express her
freedom of creativity.
Director: He feels that shouting out his orders instills discipline among the crew. In addition, he is shortening the
script in order to fit into the two hour production. He feels that both the
props manager and the scriptwriter are not being cooperative.
Main problem: Everyone is unhappy as he/she thinks that the
other party is trying to obstruct his/her line of work. Personally, I think
these misunderstandings occur mainly due to the lack of candour within the
organization (refer to my previous post about candour). However, in
addition, all parties are lacking in Emotional Intelligence (EQ). Explicitly, all
parties lack self-awareness and empathy. For example, the director should see
from his crew’s perspective (empathy) that being shouted at creates unnecessary
pressure. At the same time, the director
may also need to be more self-aware and recognize that his unilateral action of
changing the script may be disrespectful to the scriptwriter.
Therefore, envision yourself in the
director’s shoes; you are pressed for time and unable to discuss every changes to the script with the scriptwriter. What will you do to ensure that the
scriptwriter will still feel respected?
Given that three week time frame, I would be left with little choice but to leave the script entirely to the scriptwriter. But of course, I will have to set her a deadline bearing in mind other logistical preparations, rehearsals etc that still need to be carried out. Of course, I would also try to understand my rationale for all the cuts, and with that have her agreement to work within the 2 hour constrain.
ReplyDeleteHowever, it is not simply what I tell her, it is also very much about how I tell her. I have to ensure that I do not sound over bearing, but take a slightly sympathetic/apologetic tone as I seek her understanding. Sometimes, being the first to bow and show a little humility helps the other party soften their aggressive stance. Also setting the tone right improves the chances of putting aside past negative feelings and working towards a common goal. After the script has been completed, I would have some follow up action, to make sure she knows that her efforts are appreciated.
But of course, if given the opportunity to go back to the start, I would have aligned the committee's vision and expectations at an initial meeting. I would have also established a timeline for members to meet, and also share the roles and responsibilities of each member so that everyone can have a brief understanding to one another's roles and challenges. Regular updates along the way will also help to ensure that the production progresses smoothly without having to face such a last minute crunch. (Easier said than done of course, but definitely worth the effort to try.)
"I would also try to understand my rationale for all the cuts, and with that have her agreement to work within the 2 hour constrain."
Deletesome typo there. It should be "I would also try to get her to understand my rationale for all the cuts, and with that have her agreement to work within the 2 hour constrain."
We might all recall that tone of speech is an important form of non-verbal communication. It can go as far as affecting how others respond to us! In this case, the director's loud tone and shouting has certainly resulted in a negative response from his crew. I believe that no one likes to be shouted at and perhaps a more moderate tone will do wonders for the working relationship.
ReplyDeleteI have to say I particularly like the concept of candour, as forthrightness is the key to effective communication! As such, I believe that the director should at least make the effort to explain his changes to the scriptwriter no matter how short of time he is. This will go a long way in appeasing the scriptwiter and it is a basic form of respect too. Alternatively, he can request the scriptwriter to edit his script within a certain deadline. Doing so will ensure that there is no "encroachment" of duties. Furthermore, it might even be better for the production itself, since scriptwriting is the niche of the scriptwriter.
The lack of Emotional intelligence plays an important role in fueling the conflict between the director and his co-workers. It resulted in poor relationships and ineffective communication between parties. Reflecting on some of the EQ principles we covered, I believe that having self awareness, self regulation, and empathy would make a big improvement in their group dynamics. In the case of the director, self awareness would make him realize that he is shouting at his workers and not showing respect, self regulation would enable him to control his emotions, and having empathy for others would make him realize that being shouted at isn't a pleasant experience. These will in turn, cause changes in his behaviour.
ReplyDeleteIn order to show the scriptwriter respect, the director should definitely consult her about the changes regardless of the time constraint. When communicating, he should reason with her in a logical manner instead of trying to impose his ideas on her. This is after all, her speciality. Consulting her shows that he values her work and opinions. Feeling respected and knowing that she is important to the team, she will most probably be more receptive to whatever changes he needs to make.
As you, wee pin and valerie have correctly pointed out, it seems like everyone is keeping to themselves. No point bottling up their thoughts and feelings especially in dire times such as the approaching dateline. It surely isn’t helping matters!
ReplyDeleteSuppose if I am the director, I would have took the extra time to speak to the Scriptwriter of the need to curtail the script due to time constraints which are not within my control. Since the script is her work, it is only right that I speak to her about this and get her to understand the difficulties I am facing. Out of respect for her professional ethics, I would leave it to her to decide on the unnecessary portions to be omitted and how she would like it to be done in order for the script to be fitted into the 2 hour schedule without any significant loss in quality.
The props manager would be more difficult to deal with. I would include him in the loop of communication with the scriptwriter in order to let him understand the predicament that everyone of us is in. Since he is in the loop (be it for email correspondence or meetings), he should have develop a clearer idea of the current developments and be able to schedule the props according to the needs of me and the scriptwriter. He was would be informed asap when any changes are made so that he would have adequate time to prepare the props. I would take the initiative and trouble to prepare a “standing props list” and update it accordingly as suited. I would also pass clear instructions to the team not to request for additional props within 3 days from the show so as not to put the props manager in a fix.
Cheers!
Jie Yang
If the director feels strongly compelled to introduce a time constraint on the production, he should share that view with the script writer. By communicating microdeadlines, the director can also ensure that the crew understands the pace at which it needs to work, and moreover, the director can track the progress of the production.
ReplyDeleteHowever, the director needs to take time to sit down and work through components of the production with some of the crew. This is especially crucial for those filling backbone roles, like the scriptwriter. If the director would consider sharing a revision session with the scriptwriter instead of dictatorially enacting the adjustments independently, he will ease the relationship between the two. Also, the script will likely benefit if the two cooperate well, as the scriptwriter can explain to the director her decisions in developing it.