Running Head Preliminary Research Design Preliminary Research D.docx
Project extracts
1. DISSERTATION
The Application of Acting Training Techniques
to Creativity Training: Enhancing Creativity in
Corporate Environment
A fieldwork-based project submitted in partial fulfilment of the
requirements for the degree of
Master of Art in International Business and
Management
At The Westminster Business School of the University of
Westminster, by
Ratanakorn Sangsit
August 2013
2. Abstract
The advancing technology, globalisation and global economic crisis have
created a dynamic and complex competition within business world. Human
resource development and company collective knowledge has become
increasingly important as company strive to gain competitive advantages for
survival and growth. One way in which company can differentiate itself from
other is through creativity and innovation. Creativity training is now widely
practice in the corporate world.
An area that is highly associated with creativity is the performing art; acting.
This research has investigated the acting exercises which is widely practice
within the acting profession that can be apply to create a new and effective
creativity training program.
A pilot training program was deduced and delivered. The analysis of the pilot
training shows promising future.
3. ii
Table of Contents
ACKNOWLEDGEMENTS ERROR! BOOKMARK NOT DEFINED.
ABSTRACT I
TABLE OF CONTENTS II
CHAPTER 1: INTRODUCTION 1
1.1 BACKGROUND 1
1.2 AIM, OBJECTIVE AND RESEARCH QUESTION 3
CHAPTER 2: LITERATURE REVIEW ERROR! BOOKMARK NOT DEFINED.
2.1 LEARNING AND TRAINING ERROR! BOOKMARK NOT DEFINED.
2.2 CREATIVITY ERROR! BOOKMARK NOT DEFINED.
2.3 CREATIVITY AND ORGANISATION ERROR! BOOKMARK NOT DEFINED.
2.4 CREATIVITY TRAINING ERROR! BOOKMARK NOT DEFINED.
2.5 ACTING ERROR! BOOKMARK NOT DEFINED.
CHAPTER 3: METHODOLOGY ERROR! BOOKMARK NOT DEFINED.
3.1 RESEARCH PHILOSOPHY AND APPROACH ERROR! BOOKMARK NOT DEFINED.
3.2 RESEARCH STRATEGY ERROR! BOOKMARK NOT DEFINED.
3.3 RESEARCH DESIGN ERROR! BOOKMARK NOT DEFINED.
3.3.1TRAINING DESIGN ERROR! BOOKMARK NOT DEFINED.
3.3.2 TRAINING DELIVERY AND EVALUATION ERROR! BOOKMARK NOT DEFINED.
3.4 ETHICAL CONSIDERATION ERROR! BOOKMARK NOT DEFINED.
CHAPTER 4: FINDING AND ANALYSIS 4
4.1 EXPLORATION OF TRAINING AND CREATIVITY ERROR! BOOKMARK NOT DEFINED.
4.1.1 CREATIVITY ERROR! BOOKMARK NOT DEFINED.
4.1.2 TRAINING ERROR! BOOKMARK NOT DEFINED.
4.2 EXPLORATION OF ACTING TRAINING AND THE SELECTION PROCESS 4
4.2.1 ACTING TRAINING 4
4.2.2 TRAINER BRIEFING 5
4.3 DELIVERY AND ANALYSIS OF THE TRAINING DAY 5
4.3.1 WARM-UP 5
4.3.2 ASSOCIATION, ADAPTATION AND DIVERGENT THINKING 7
4. iii
4.3.3 OBSERVATION AND PERSPECTIVE 9
4.3.4 PRESENTATION/PERFORMANCE 10
4.3.5 PRE AND POST TEST 10
CHAPTER 5 11
5.1 DISCUSSION & RECOMMENDATIONS ERROR! BOOKMARK NOT DEFINED.
5.2 LIMITATION AND FUTURE RESEARCH ERROR! BOOKMARK NOT DEFINED.
5.3 CONCLUSION 11
REFERENCE 12
APPENDIX 1 - PARTICIPANT INFORMATION AND CONSENT FORM ERROR!
BOOKMARK NOT DEFINED.
1 .1 PARTICIPANTS’ INFORMATION ERROR! BOOKMARK NOT DEFINED.
1.2 PARTICIPATION INFORMATION SHEET – PROFESSIONAL INTERVIEW ERROR!
BOOKMARK NOT DEFINED.
1.3 PARTICIPATION INFORMATION SHEET – TRAINEE ERROR! BOOKMARK NOT
DEFINED.
APPENDIX 2 – TRAINEE INTERVIEW QUESTION ERROR! BOOKMARK NOT DEFINED.
APPENDIX 3 – PROFESSIONAL INTERVIEW TRANSCRIPT ERROR! BOOKMARK NOT
DEFINED.
3.1 CHANTIMA OURAIPRIWAN ERROR! BOOKMARK NOT DEFINED.
3.2 CAT CLANCY ERROR! BOOKMARK NOT DEFINED.
APPENDIX 4 – TRAINING RESEARCH AND FINAL SCHEDULE ERROR! BOOKMARK
NOT DEFINED.
4.1 TRAINER PROFILE ERROR! BOOKMARK NOT DEFINED.
4.2 TRAINER BRIEF ERROR! BOOKMARK NOT DEFINED.
4.3 FINAL TRAINING SCHEDULE ERROR! BOOKMARK NOT DEFINED.
APPENDIX 5 – TRAINEES’ INTERVIEW ERROR! BOOKMARK NOT DEFINED.
5.1 GROUP INTERVIEW ERROR! BOOKMARK NOT DEFINED.
5.2 INTERVIEWEE A - NITCHANUN AEMLAONG ERROR! BOOKMARK NOT DEFINED.
5.3 INTERVIEWEE B - ONNA MONDAN ERROR! BOOKMARK NOT DEFINED.
5.4 INTERVIEWEE C - EKASIT WICHAIRAT ERROR! BOOKMARK NOT DEFINED.
6. 1
Chapter 1: Introduction
1.1 Background
Competition has intensified and become more complex in the business world
especially in this global economic crisis. The advancing technology has new
innovation launching continuously to keep up with the greater expectation of a
new and better products and services from customer (Halal, 1996 cited by
Mason, 2006, p.243). The environment and resources that the company owns
are no longer the only focal factor contributed to the company’s competitive
advantages that allow it to prevail (Haberberg and Rieple, 2008; Grant 1996,
Buckley and Caple 2009; Prusak and Matson, 2006). Grant (1991) identify
that in a dynamic competitive market, the strategic resources that hold the key
to competitive advantages need to hold certain characteristics; scare and not
easy to transfer or replicate, which put knowledge as one of the most
important resource for the organisation (Grant, 1996). Knowledge is more
important than ever as it provide the ability to be able to react to the fast
changes that are happening today and obtain sustainable competitive
advantage (Johannessen and Olsen, 2003; Haberberg and Rieple, 2008;
Buckley and Caple 2009 Eijnatten and Putnik, 2004; Prusak and Matson,
2006; Grant, 1996; Mankin, 2009; Baron and Armstrong, 2007). Organisation
can increase their collective knowledge by investing in human resource
development to increase their human capital (Mankin, 2009; Baron and
Armstrong, 2007).
Knowledge is resides in the data and the information that the company holds
as well as the collective intellectual acquired from individual members of the
organisation (Buckley and Caple, 2009). Learning organisation, knowledge
creation and knowledge management concept evolved from the increase
significant of knowledge in the business world (Reid, Barrington and Brown,
2004).
Senge (1990) define learning organisation as “an organisation that is
continually expanding its capacity to create its future” (Reid, Barrington and
Brown, 2004, p.273) and acknowledged 5 disciplines that built learning
organisation; personal mastery, metal models, shared vision, team learning
7. 2
and the most important of all, systems thinking (Reid, Barrington and Brown,
2004). Pedler Boydell and Burgoyne (1991) offered description of “an
organization which facilitates the learning of its members and continually
transforms itself” (Buckley and Caple 2009, p.7). Buckley and Caple (2009)
concluded that the learning organisation should have a business vision that is
recognised by its members and provide adequate resources for individual
learning and development in pursue of collective organisational knowledge.
Wang and Horng (2002) and Ceserani (2012) also expressed one area that
can increase the degree of endurance to the turbulence business environment
and hold the key to organisation success is innovation and intern creativity.
Creativity have significant impact on the business performance; creating
meaningful differentiation to compete with the competitors (Andrews and
Smith, 1996).
Over the years many different creativity training has been develop to enhance
people creativity skills (e.g. Murdock, Isaksen and Lauer, 1993; Clapham,
1997) including cognitive creative problem solving skill, divergent thinking and
ideation skill (Scott, Leritz and Mumford, 2004a). It can be said that creativity
training is a relatively new subject in the research area and it is fundamental
that the research continue to explore creativity training as the demand for the
skills rises in the present day.
One form of art that has been highly associated with creativity is the
performing art. In theatre audiences and performers alike are required to use
their imagination, to interpret and understand the situation. Actors are require
to be able to put themselves in another perceptual position to understand and
portrait the character while thinking creatively for ways to communicate the
character’s feeling and intension to the audiences (Panet, 2009; Gordon,
2006 and Fransen, 2003) and so linking creativity to the art of acting. In
theatre, you are also exposed to other creative craft such as set, costumes
and visual design as well as the creative writing master pieces that are being
performed. Therefore theatre and acting training can be a great way of
inducing creativity.
8. 3
While many acting method has been employed as communication,
presentation and public speaking training, there has been limited academic
research into acting training as a method to enhance creativity especially in
corporate environment (e.g. Dusya and Crossan, 2005; Hilton, 2003) despite
the clear connection between theatre training and creativity.
1.2 Aim, Objective and Research Question
The aim of this project is to explore a non-traditional approach to induce and
enhance creativity of an individual via utilising training commonly practice in
the acting profession to formulate a new creativity training program that can
be use in human resource development.
The objectives are; 1) Explore the subject of creativity and training as to
identify assessment criteria, the key component and key success factors in
designing a good training program, 2) Explore acting training and identify
applicable acting exercises that can increase creativity, and finally 3)Design
and analyse a creativity training program base on the acting exercises.
Consequently, the research question is to investigate what acting training
exercises can be applied to create a viable creativity training program.
9. 4
Chapter 4: Finding and Analysis
This chapter will illustrate the information discovered through the research
and analyse the implication of the result.
4.2 Exploration of acting training and the selection process
4.2.1 Acting Training
The nature of acting and its connection to creativity has been explored in
chapter 2. The acting training games where explored (Panet, 2009; Poulter,
1987; Abbott, 2007; Swale, 2012; O'Brien, 2011; Levy, 2005; Johnstone, 2007
and Barker, 1977). Combine with the data from interview a professional acting
coach from the primary research that suggested that the acting games could
involve storytelling to help with idea generation, objectives games to look at
different objective and ways in which you could affect other, and improvisation
games to increase idea spontaneity. Games such as ‘freeze’ game
(Cliffhanger; appendix 4.3, 11) and yes game were mention as well as a
version of Mirror game (appendix 4.3, 7) to release imagination.
The creativity criteria mentioned above was used to assess the viability of the
acting training methods encountered in primary and secondary research;
resulted in 49 possible activities plus their variation of the activities. The
activities were then categories according to the purpose and skills develop
(See appendix 4.2). The time for each activity was estimated by comparison
with other given activities time researched (Panet, 2009, Poulter, 1987) and
personal experiences. After the selection process through which the affect
score was awarded to each activity, the sequence of the day is shown in is as
follow;
10.00 – 10.30 Introduction for the day and Pre-test
10.30 – 11.30 Warm-up exercise
11.30 – 11.40 Break
11.40 – 13.00 Association, adaptation and divergent thinking
13.00 – 14.00 Lunch
10. 5
14.00 – 14.55 Observation and Perspective
14.55 – 15.45 Presentation/Performance
15.45 – 16.00 Conclusion and Post-test
16.00 – 17.00 Interview with participants
4.2.2 Trainer briefing
The trainer briefing took place on 15th
July 2013. It started with a recap of
what the event was going be and follow on by a discussion about the purpose
and detail of each exercise that will take part. A brief summary of creativity
was also given to the trainer as background information.
A total of 20 exercises were given to the trainer, some with varies variation
(See appendix 4.2). However the structure was design to have plenty of
material and provide the trainer with some flexibility. The decision has been
made earlier to allow the trainer to use their own version of the exercises
since running exercises that trainer is more familiar with would be more
effective and beneficial to the participants in term of how to approach the
exercise, time spent and what can activate the participants.
4.3 Delivery and analysis of the training day
The day starts off with a half hour introduction in order to make sure all
participants are present at the first activities as suggested by HR professional
in the primary research. This included the explanation of how the day will run,
a rough schedule and 5 minutes pre-test.
A post-test and group interview was conducted right after the training and 5
individual in dept interview were conducted approximately 2 weeks after the
training (Appendix 5). The next section will explore each stage of the pilot
training day.
4.3.1 Warm-up
After the introduction, the first hour of activities were spent on warm-up games
to ensure that participants are comfortable with each other as well as to
prepare them physically (Appendix 3.2) which is especially important with
11. 6
acting activities as energy can determine the success of the learning
outcome.
Time No. Games min Purpose Reference
2)
10.35 – 11.35
Warm up
1 I’m Jane with red shoe – introduce yourself
with 1 fact with partner and present to the
group in talent show format
20 Getting to know
people
Abbott
(2007),
p.24
2 Catch the name
Setting: standing, circle, ball
Introduce your name
Calling the person name that you throw the
ball to or say the name and walk toward the
person
5 Reinforce
connection
Poulter
(1987), p.
87
Levy
(2005), p.
132
3 Zip, Zap, Boing – with 3 word and movement
sending energy around the circle
5 Focus Abbott
(2007),
p.167
Walk around the room – in step, first just walk,
secondly choose a person to stay close and
then choose the person to stay away
5 Getting familiar with
the space and
people
Trainer
addition
4 Clapping around the circle
Sending clap around then return to original
position
5 Energy Abbott
(2007),
p.167
3 Pass the movement and sound around the
circle
Sent moment and sound around, it can be
change at any point.
Throwing different ball, heavy/light/bomb etc.
5 Energy
Release tension
and self-
curiousness
Abbott
(2007),
p.168
Barker
(1977), p.
115
6 Rock paper scissor monster version
Same principle as rock paper scissor but
instead act out the character of either giant,
elf, or goblin – play in teams
5 Energy
Release tension
and self-
curiousness
Trainer
addition
5 Walk as if.....
Stage 1 – Walk around the room, then start
doing the walk in different style via trainer
instruction, walk as if…. Zombie, spy and so
on.
Stage 2: trainer start creating situation for
example you just saw your twin.
10 Letting go
Incorporate
imagination
Abbott
(2007),
p.172
7 Mirror
Pretend to look in the mirror – first image you
see your own reflection then sudden see the
reflection change into something and react to
it – share experience and discussion after.
5 Imagination Trainer
addition
12. 7
4.3.2 Association, adaptation and divergent thinking
The first session lasted for an hour. It began with improvisation exercises to
improve divergent thinking, opening up the idea that anything is possible.
Follow by storytelling exercises that focus on adaptability; accepting and
building on other people idea, and the association exercises aim to make the
participants think about new connection as well as learn from observe other
people logic. The final part of the first session is a first performance exercise
that uses the skills learnt in the session.
3)
11.45-13.00
Association,
adaptation
and divergent
thinking
8 Chair game
Setting: circle with chair in the middle
One at a time a person step into the circle and
use the chair completely different from what it
is i.e. Earring
5 Exploring possibility
Breaking the
establish
pattern/way of
thinking
Abbott
(2007),
p.32
9 Birthdays
Setting: standing circle
It’s A’s birthday, everyone is giving a present
to A.
A can only choose to accept 1
The person that A accept the present become
the next birthday boy/girl
10 Generate idea
Association
Originality
Expression/Present
ation
Poulter
(1987), p.
83
Johnston
(2007), p.
100
10 Catch a story
Setting: circle, ball
Start a story then throw a ball, the catchers
carry on
10 Generate idea
Adaption – cannot
plan or might have
to change as story
changes
Discovery
Poulter
(1987),
p.134
11 Cliffhanger
Setting: circle, 2 volunteer in the middle
A pair start and improvisation
Leader freeze
A leaves while B carry on freezing,
Another person join B and make a different
scene out of the position B is in
5 Observation
Interpretation
Adaptation
Association
Poulter
(1987),
p.106
13. 8
3)
11.45-13.00
Association,
adaptation
and divergent
thinking
12 Yes and….
Working in pair, take it in turn to tell a story.
The other person has to say yes and to
whatever your partner said and try to continue
the story
15 Ideation
Association
Adaptation
Accept and build on
other idea
Panet
(2009),
p.8
13 Name eight
Setting: circle, an object
Pass object along, A call stop and shout out a
letter.
The person holding the object will have say 8
things begin with that letter.
- Instead of letter use subject, person
then have to think of 8 things related
to the subject > ask if you don’t see
the connection
- Play it as a competition
5 Association -
encourage
participant to make
connection of may
be unrelated object.
Perspective - see
other people
connection that
they might not have
made.
Poulter
(1987),
p.145
14 Free association
Start with a word then the next person say the
associated word around a circle.
5 Association,
making connection
Swale
(2012), p
.16
15 2 scene from 4 lines;
For the first scene, the line has to be in the
sequence that it was given. Then the lines
have to be swap into another order to make a
second scene. Both scene will then be
perform and discuss
20 Creativity within
constrain
Association
Adaptation
Perception
Performance and
presentation
Personal
experienc
e and
trainer
consultant
The interviews indicated that the Chair game and the Birthdays seem to be
able to open people mind to a new way creating idea, helping to the dissolve
some of the pre-establish barrier that we gain as we grow up and allow more
possibility to be explored. The chair game in particular seems to be the
favourite for many and was mention is several interview (interview A, C), the
Birthdays was also a favourite of one interviewee. Interviewee also expressed
understanding of creativity implication for both games which suggested that
these games are highly suitable for creativity training.
Association games were also well received by participants with mention of
interesting and creative (Interviewee A, B, C). However, interviewee D who
has found the storytelling exercise quite comfortable earlier found this
exercise rather difficult while other did not, indicating that different people will
14. 9
have different area of development which suggests that these exercises
addressed different skills securing its place in the program. Most interviewees
also can see clear link between the exercise and creativity which imply the
success of the exercise as a way into thinking creatively.
The last game of the session is 2 scenes from 4 lines which is a little
performance to round up the morning activity and giving a taste of performing.
The interviewees seems to implicated the significant of creative team work in
these exercise however many were unsure about the link to creativity. The
exercise aim was to utilise the skills learnt, implying that clearer explanation is
needed.
4.3.3 Observation and perspective
Activities after lunch start with an exercise suggested by trainer to bring up the
energy and focus of the participants.
The session then start to focus on observation, exploring the objectives of
each individual through the script and improvisation. After that the exercise
focused on looking at a story from different perspective.
5)
14.05 -15.30
Observation
and
Perspective
5)
14.05 -15.30
16 Boxer, Bouncer, Ballerina
Stand in circle, pointing at someone and say
boxer, bouncer or ballerina. The person who
has been chosen then have to act as though
they are the designated character and the
people on either side have to act the
supporting role
5 Warm-up
Energy
Trainer
Addition
17 The super object
Setting: semi circle
Ask student what is their objective in life.
Then give them a story to read, ask what is
the objective of the character, question their
answer whether they dig deep enough
25 Perspective
Association
character objective
with product
promotion >
consumer
objectives etc.
O'Brien
(2011),
p.103
18 Let me have it
Setting: 2 groups of 3 and 4
1 is a teacher the rest are student who want
something from the teacher - start
improvisation trying to get what they want
without naming it.
Can choose specific topic for student
30 Observation
Expression
Perspective –
stating things
differently
Levy
(2005), p.
128
19 Trail 25 Perspective Trainer
Addition
15. 10
Observation
and
Perspective
1 person tell a true naughty story,
Another person retells the story as if it was
his/her own story.
Then set up a trail where one person at a time
assume a different role and trying to speak for
or against the subject i.e. Prosecutor,
defender, victim, witnesses etc.
All interviewee indicated that reintroducing warm-up game after lunch has
been beneficial. However a few also mentioned that more energetic game
should be played (interviewee C, D). This prompt a further exploration into the
selection of the exercise in this stage is needed.
4.3.4 Presentation/performance
Finally to conclude the day, the participants were separated into 2 groups
and ask to put together a final performance that utilize. A task that allows
them to utilize the skills learnt throughout the day.
6)
15.30 – 16.00
Presentation
20 Headlines
Setting: teams of 5/6, news paper headline
with ambiguous meaning
With 5 minutes prep, each time perform a
scene of 2-5 mins that fit headlines
30 Perspective
Ideation
Originality
Poulter
(1987),
p.113
4.3.5 Pre and Post Test
A simple test to identify alternate uses of an object base on Guilford’s
Alternative Uses Task was administrated before and after the training. The
participants were given 1 minute to write as many uses for a paper clip (pre-
test) and brick (post-test) as possible.
Apart from the two (Participant 4 and 5), the test indicated a better alternative
use thinking skill for the participants. Although this is by no mean a proof of
increase creativity skills, it does imply that the training have had a positive
effect for most participants.
16. 11
Chapter 5
5.3 Conclusion
The research has explored the subject of training in human resource
development and identified 8 steps of training design process; 1) Identify
training need, 2) Gather information analysis, 3) Establish objective, 4)
Training plan development, 5) Training design, 6) Training preparation, 7)
Delivery, and 8) Assessment (Objective 1).
The link between acting and creativity has been established and although the
wide area of creativity study is a cause of concern in the investigation, 5
creative criteria were suggested and used to identify acting training methods
that are applicable for creativity training; i) Perspective shift, ii) Observation,
iii) Divergent thinking, iv) Flexibility/adaptability, and v) Creative
communication/presentation (Objective 1 and 2). A creativity training that uses
the acting method has been successfully developed and a pilot training
session has been delivered. However it should be acknowledged there are
only 8 participant involved in the pilot training which limited perspective to the
training effect.
Despite the limitation in participants’ number and research resources, the pilot
training was well received and while it cannot be said for certain that the
training has enhance individual creativity, it can be said that the training has in
some way open people mind to another way of thinking that they might not
have before (Interviewee A,B). The diversity provided should result in some
increase in creativity skills.
In conclusion the research has show that the acting training methods have a
high potential to create a viable creativity training program in corporate
environment. However further research in the area is needed to verify the
result.
17. 12
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