Project extracts

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

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.

ii

Table of Contents

ACKNOWLEDGEMENTS ERROR!BOOKMARKNOTDEFINED.

ABSTRACT I

TABLEOFCONTENTS II

CHAPTER1:INTRODUCTION 1

1.1BACKGROUND 1

1.2AIM,OBJECTIVEANDRESEARCHQUESTION 3

CHAPTER2:LITERATUREREVIEW ERROR!BOOKMARKNOTDEFINED.

2.1LEARNINGANDTRAINING ERROR!BOOKMARKNOTDEFINED.

2.2CREATIVITY ERROR!BOOKMARKNOTDEFINED.

2.3CREATIVITYANDORGANISATION ERROR!BOOKMARKNOTDEFINED.

2.4CREATIVITYTRAINING ERROR!BOOKMARKNOTDEFINED.

2.5ACTING ERROR!BOOKMARKNOTDEFINED.

CHAPTER3:METHODOLOGY ERROR!BOOKMARKNOTDEFINED.

3.1RESEARCHPHILOSOPHYANDAPPROACH ERROR!BOOKMARKNOTDEFINED.

3.2RESEARCHSTRATEGY ERROR!BOOKMARKNOTDEFINED.

3.3RESEARCHDESIGN ERROR!BOOKMARKNOTDEFINED.

3.3.1TRAININGDESIGN ERROR!BOOKMARKNOTDEFINED.

3.3.2TRAININGDELIVERYANDEVALUATION ERROR!BOOKMARKNOTDEFINED.

3.4ETHICALCONSIDERATION ERROR!BOOKMARKNOTDEFINED.

CHAPTER4:FINDINGANDANALYSIS 4

4.1EXPLORATIONOFTRAININGANDCREATIVITY ERROR!BOOKMARKNOTDEFINED.

4.1.1CREATIVITY ERROR!BOOKMARKNOTDEFINED.

4.1.2TRAINING ERROR!BOOKMARKNOTDEFINED.

4.2EXPLORATIONOFACTINGTRAININGANDTHESELECTIONPROCESS 4

4.2.1ACTINGTRAINING 4

4.2.2TRAINERBRIEFING 5

4.3DELIVERYANDANALYSISOFTHETRAININGDAY 5

4.3.1WARM-UP 5

4.3.2ASSOCIATION,ADAPTATIONANDDIVERGENTTHINKING 7

iii

4.3.3OBSERVATIONANDPERSPECTIVE 9

4.3.4PRESENTATION/PERFORMANCE 10

4.3.5PREANDPOSTTEST 10

CHAPTER5 11

5.1DISCUSSION&RECOMMENDATIONS ERROR!BOOKMARKNOTDEFINED.

5.2LIMITATIONANDFUTURERESEARCH ERROR!BOOKMARKNOTDEFINED.

5.3CONCLUSION 11

REFERENCE 12

APPENDIX1-PARTICIPANTINFORMATIONANDCONSENTFORM ERROR!

BOOKMARKNOTDEFINED.

1.1PARTICIPANTS’INFORMATION ERROR!BOOKMARKNOTDEFINED.

1.2PARTICIPATIONINFORMATIONSHEET–PROFESSIONALINTERVIEW ERROR!

BOOKMARKNOTDEFINED.

1.3PARTICIPATIONINFORMATIONSHEET–TRAINEE ERROR!BOOKMARKNOT

DEFINED.

APPENDIX2–TRAINEEINTERVIEWQUESTION ERROR!BOOKMARKNOTDEFINED.

APPENDIX3–PROFESSIONALINTERVIEWTRANSCRIPT ERROR!BOOKMARKNOT

DEFINED.

3.1CHANTIMAOURAIPRIWAN ERROR!BOOKMARKNOTDEFINED.

3.2CATCLANCY ERROR!BOOKMARKNOTDEFINED.

APPENDIX4–TRAININGRESEARCHANDFINALSCHEDULE ERROR!BOOKMARK

NOTDEFINED.

4.1TRAINERPROFILE ERROR!BOOKMARKNOTDEFINED.

4.2TRAINERBRIEF ERROR!BOOKMARKNOTDEFINED.

4.3FINALTRAININGSCHEDULE ERROR!BOOKMARKNOTDEFINED.

APPENDIX5–TRAINEES’INTERVIEW ERROR!BOOKMARKNOTDEFINED.

5.1GROUPINTERVIEW ERROR!BOOKMARKNOTDEFINED.

5.2INTERVIEWEEA-NITCHANUNAEMLAONG ERROR!BOOKMARKNOTDEFINED.

5.3INTERVIEWEEB-ONNAMONDAN ERROR!BOOKMARKNOTDEFINED.

5.4INTERVIEWEEC-EKASITWICHAIRAT ERROR!BOOKMARKNOTDEFINED.

iv

5.5INTERVIEWEED-SETENAYDILEK ERROR!BOOKMARKNOTDEFINED.

5.6INTERVIEWEEE-SIRINTHORNKITTISRISAWAI ERROR!BOOKMARKNOTDEFINED.

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

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.

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.

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

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

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

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/Presentation

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

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 experience 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

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

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.

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.

12

Reference

Abbott, J., (2007).The improvisation book: how to conduct successful

improvisation sessions. London: Nick Hern Book.

Anderson, P., (1999). Complexity Theory and Organization Science.

Organization Science. May-June 1999, 10 (3), 216-232. [online] Available

from: EBSCO Host <http://web.ebscohost.com> [Accessed 23 February

2013]

Andrews, J. and Smith, D.C., (1996). In Search of the Marketing Imagination:

Factors Affecting the Creativity of Marketing Programs for Mature

Products. Journal of Marketing Research. May 1996, 33 (2), 174-187.

[online] Available from: JSTOR <http://www.jstor.org> [Accessed 10

February 2013]

Barker, C., (1977). Theatre Games: A New Approach to Drama Training.

London: Methuen Drama.

Baron, A. and Armstrong, M., (2007). Human Capital Management: Achieving

Added Value through People. London: Kogan Page.

Beard,C.M. and Wilson, J.P., (2006). Experiential Learning: A Best Practice

Handbook for Educators and Trainers. 2nd ed. London: Kogan Page

Publishers.

Bilton, C., (2007). Management and Creativity: From Creative Industries to

Creative Management. Oxford: Blackwell Publishing.

Birkinshaw, J., (1995). Encouraging Entrepreneurial Activity in Multinational

Corporation. Business Horizons. May-June 1995, 32-38. [online] Available

from: EBSCO Host <http://web.ebscohost.com> [Accessed 23 February

2013]

Blanchard, P.N. and Thacker, J.W., (2010). Effective Training: System,

Strategies and Practices. 4th ed. New Jersey: Pearson.

Blaxter, L., Hughes, C. and Tight, M., (2010). How to Research. 4th ed.

Maidenhead: Open University Press.

13

Bohm, D. and Nichol, L., (2003). On Creativity. EBSCOhost [Online].

Available from: EBSCO Host <http://www.ebscohost.com> [Accessed: 8th

July 2013]

Bryman, A. and Bell, E., (2007). Business Research Methods. 2nd ed. Oxford:

Oxford University Press.

Buckley, R. and Caple J., (2009). The Theory & Practice of Training. 6th ed.

London: Kogan Page.

Carliner, S., (2003). Training design basics. Alexandria: ASTD.

Ceserani, J., (2012). Making innovation happen – moving beyond a

conceptual framework. Industrial and Commercial Training. 44 (3), 171-

178. [online] Available from: Emerald <http://www.emeraldinsight.com>

[Accessed 21 February 2013]

Clapham, M.M., (1997). Ideational Skills Training: A Key Element in Creativity

Training Programs. Creativity Research Journal. 10 (1), 33-44. [online]

Available from: Taylor & Francis Online <http://www.tandfonline.com>


De Bono, E., (1980). Lateral Thinking; A text book of creativity.

Harmonsworth: Penguin Books.

Dusya, V. and Crossan, M., (2005). Improvisation and Innovative

Performance in Teams. Organization Science. May-Jun 2005, 16 (3), 203-

224. [online] Available from: EBSCO Host <http://web.ebscohost.com>


Eijnatten, F.M. and Putnik, G.D., (2004). Chaos, complexity, learning, and the

learning organization. The Learning Organization. 11 (6), 418-429.

[online] Available from: Emerald <http://www.emeraldinsight.com>


Fontenot, N.A., (1993). Effects of Training in Creativity and Creative Problem

Finding upon Business People', The Journal of Social Psychology, 133(1),

11-22 [Online] Available from: Taylor & Francis Online

<http://www.tandfonline.com> [Accessed: 20th June 2013]

14

Fransen, W.J., (2003). Process drama and creative problem solving: an

integrated approach. Texas Tech University Library. [online] Available

from: <http://repositories.tdl.org/ttu-ir/handle/2346/10184?show=full>


Gordon, R., (2006). The Purpose of Playing: Modern Acting Theories in

Perspective. United State of America: The University of Michigan Press.

Grant, R.M., (1996). Prospering in Dynamically-competitive Environments:

Organizational Capability as Knowledge Integration. Organisation Science.

July-August 1996, 7 (4), 375-387. [online] Available from: EBSCO Host

<http://web.ebscohost.com/> [Accessed 22 February 2013]

Gryskiewicz, S.S., (1993). Discovering creativity. [Online]. Available from:

EBSCO Host <http://web.ebscohost.com/> [Accessed: 8th July 2013]

Haberberg, A. and Rieple, A., (2008). Strategic Management: The Theory and

Application. Oxford: Oxford University Press.

Hackett, P., (2003). Training practice. London: Chartered Institute of

Personnel and Development.

Hilton, K., (2003). Acting on behalf of the concept. European Academy of

Design. 5th EAD Conference, Barcelona, Spain. 2003 [online] Available

from: Northumbria Research Link <http://nrl.northumbria.ac.uk/3743/>


Jackson, P.Z., (1995). Improvisation in training: freedom within corporate

structures. Journal of European Industrial Training. 19 (4), 25 – 28. [online]

Available from: Emerald <http://www.emeraldinsight.com> [Accessed 23

February 2013]

Johannessen, J. and Olsen, B., (2003). Knowledge management and

sustainable competitive advantages: The impact of dynamic contextual

training. International Journal of Information Management. August 2003,

23 (4), 277–289. [online] Available from: Science Direct

<http://www.sciencedirect.com> [Accessed 22 February 2013]

Johnston, C., (2007). Improvisation Game: Discovering the Secrets of

Spontaneous Performance. London: Nick Hern Books.

15

Johnstone, K., (2007). Impro: Improvisation and the Theatre. London: A&C

Black Publishers Limited.

Kaufman, J.C. and Beghetto, R.A., (2009). Beyond big and little: The four c

model of creativity. Review of General Psychology, 13(1), 1-12 [Online].

Available from: <http://psycnet.apa.org> [Accessed: 28th July 2013]

Kumar, R., (2011). Research Methodology 3rd Edition. London: SAGE

Publications.

Kyriakopoulos, K., (2011). Improvisation in Product Innovation: The

Contingent Role of Market Information Sources and Memory Types.

Organization Studies. August 2011, 32 (8), 1051-1078. [online] Available

from: Saga <http://www.sagepublications.com/> [Accessed 23 February

2013]

Lamm, H. and Trommsdorff, G., (1973). Group versus individual performance

on tasks requiring ideational proficiency (brainstorming): A review*.

European Journal of Social Psychology, 3(4), 361–388 [Online]. Available

from: Wiley <http://onlinelibrary.wiley.com> [Accessed: 1st July 2013].

Lehrer, J., (2012). Imagine: how creativity works, Boston: Houghton Mifflin

Harcourt.

Levy, G., (2005). 112 acting games: a comprehensive workbook of theatre

games for developing acting skills, Colorado Springs: Meriwether

Publishing Ltd.

Lubart, T.I., (2001). Models of the Creative Process: Past, Present and

Future',Creativity Research Journal, 13(3-4), 295-308 [Online]. Available

from: Taylor & Francis Online <http://www.tandfonline.com> [Accessed:

12th August 2013]

Ma, H., (2006). A Synthetic Analysis of the Effectiveness of Single

Components and Packages in Creativity Training Programs', Creativity

Research Journal, 18(4), 435-446 [Online]. Available from: Taylor &

Francis Online <http://www.tandfonline.com> [Accessed: 1st July 2013]

Mankin, D., (2009). Human Resource Development. Oxford: Oxford University

Press.

16

Mason, R.B., (2006), Coping with Complexity and Turbulence – An

Entrepreneurial Solution. Journal of Enterprising Culture. December 2006,

14 (4), 241-266. [online] Available from: EBSCO Host

<http://web.ebscohost.com> [Accessed 23 February 2013]

McCorkle, D.E., Payan, J.M., Reardon, J. and Kling, N.D., (2007). Perceptions

and Reality: Creativity in the Marketing Classroom. Journal of Marketing

Education. December 2007, 29 (3), 254-261. [online] Available from: Saga

<http://www.sagepublications.com/> [Accessed 21 February 2013]

Michalko, M., (2001). Cracking creativity: the secrets of creative genius.

Berkeley: Ten Speed Press.

Mongeau, P.A. and Morr, M.C., (1999). Reconsidering brainstorming. Group

Facilitation: A Research and Applications Journal, 1(1), 14-21 [Online].

Available from: <http://www.csub.edu> [Accessed: 1st July 2013]

Moshavi, D., (2001). “Yes and...” Introducing Improvisational Theatre

Techniques to the Management Classroom. Journal of Management

Education. August 2001, 25 (4), 437-449. [online] Available from: Saga

<http://www.sagepublications.com/> [Accessed 21 February 2013]

Mumford, M.D., (2003). Where Have We Been, Where Are We Going? Taking

Stock in Creativity Research', Creative Research Journal, 15(2-3), pp.

107-120 [Online]. Available from: Taylor & Francis Online

<http://www.tandfonline.com> [Accessed: 10th August 2013]

Murdock M.C., Isaksen, S.G. and Lauer, K.J., (1993). Creativity training and

the stability and internal consistency of the Kirton Adaption-Innovation

Inventory. Psychological Reports. 72, 1123-1130. [online] Available from:

<http://cpsb.com/research/articles/problem-solving-style/Stability-of-

KAI.pdf> [Accessed 26 February 2013]

O'Brien, N., (2011). Stanislavski in Practice: Exercises for Students, Oxon:

Routledge.

Panet, B., (2009). Essential Acting: a practical handbook for actors, teachers

and directors, Oxon: Routledge.

Poulter, C., (1987). Playing the Game, London: The Macmillan Press Ltd.

17

Powers, M., (1991). Michael Chekhov; On the technique of acting, New York:

Harper Perennial

Prusak, L. and Matson, E., (2006). Knowledge Management and

Organizational Learning. Oxford: Oxford University Press.

Reid, M.A., Barrington, H. and Brown, M., (2004). Human Resource

Development: Beyond Training Interventions. 7th ed. London: Chartered

Institute of Personnel and Development.

Reiter-Palmon, R., (2011). Introduction to special issue: The psychology of

creativity and innovation in the workplace, Psychology of Aesthetics,

Creativity, and the Arts,5(1), pp. 1-2 [Online]. Available

from: <http://psycnet.apa.org> [Accessed: 3rd August 2013]

Robinson, K., (2011). Out of Our Minds: Learning to be Creative, Chichester,

UK: Capstone.

Runco, M.A., (2004). Creativity. Annual Review of Psychology. February

2004, 55, 657-687. [online] Available from: Annual Review

<http://www.annualreviews.org> [Accessed 21 February 2013]

Saunders, M., Lewis, P. and Thornhill, A., (2012). Research Methods for

Business Student. 6th ed. Essex: Pearson

Scott, G., Leritz, L.E. and Mumford, M.D., (2004a). Types of creativity training:

Approaches and their effectiveness. The Journal of Creative Behavior.

September 2004, 38 (3), 149–179. [online] Available from: Wiley

<http://onlinelibrary.wiley.com/> [Accessed 23 February 2013]

Scott, G., Leritz, L.E. and Mumford, M.D., (2004b). The Effectiveness of

Creativity Training: A Quantitative Review. Creativity Research Journal.

2004, 16 (4), 361-388. [online] Available from: EBSCO Host

<http://web.ebscohost.com/> [Accessed 24 February 2013]

Shalley, C.E., Zhou, J. and Oldham, G.R., (2004). The Effects of Personal

and Contextual Characteristics on Creativity: Where Should We Go from

Here? Journal of Management, 30(6), 933-958 [Online]. Available

from: <http://www.sagepub.com> [Accessed: 1st July 2013]

18

Simmonds, D, (2003). Designing and delivering training, London: Chartered

Institute of Personnel and Development.

Simonton, D.K., (2000). Creativity: Cognitive, Personal, Developmental, and

Social Aspects. American psychologist, 55(1), 151-158 [Online]. Available

from: <http://psycnet.apa.org> [Accessed: 28th July 2013]

Sogunro, O.A., (2004). Efficacy of role-playing pedagogy in training leaders:

some reflections. Journal of Management Development. 23 (4), 355-371.

[online] Available from: Emerald <http://www.emeraldinsight.com>


Sternberg, R.J. (2010). The Cambridge Handbook of Creativity. Dawson

Books [Online]. Available from: Dawson Era

<https://www.dawsonera.com> [Accessed: 12th August 2013]

Sternberg, R.J., (1999). Handbook of Creativity. Cambridge: Cambridge

University Press.

Svanaes, D. and Seland, G., (2004). Putting the users center stage: role

playing and low-fi prototyping enable end users to design mobile systems.

Computing Systems. 24-29 April 2004, 6 (1), 479-486. [online] Available

from: ACM Digital Library <http://dl.acm.org/> [Accessed 10 February

2013]

Swale, J., (2012). Drama Games For Devising, London: Nick Hern Books.

Vernon, P.E., (1970). Creativity, Harmondsworth: Penguin Education.

Villalba, E., (2012). Searching for the Holy Grail of Measuring

Creativity', Creativity Research Journal, 24(1), 1-2 [Online]. Available

from: EBSCO Host <http://web.ebscohost.com/> [Accessed: 9th July

2013]

Wang, C. and Horng, R., (2002). The effects of creative problem solving

training on creativity, cognitive type and R&D performance. R&D

Management. January 2002, 32 (1), 35–45. [online] Available from: Wiley

Online Library <http://onlinelibrary.wiley.com/> [Accessed 12 February

2013]

19

Young, J.G., (1985). What Is Creativity? The Journal of Creative

Behavior, 19(2), 77-78 [Online]. Available from: Wiley

<http://onlinelibrary.wiley.com> [Accessed: 10th August 2013]

Project extracts

Documents

Transcript of Project extracts