What can business leaders learn from stagecraft? The National Theatre says: ‘More than you think’
At the National Theatre, actors and directors are teaching techniques that sharpen executives’ presence, build trust and elevate how leaders communicate under pressure.
An actor and an entrepreneur walk into a room. At first glance, they have little in common but today they have gathered at the National Theatre in London with the same goal: to influence people and build rapport. Together with theatre director Corinne Micallef, actor Sarah Thom is leading a workshop that will shake up its participants’ beliefs about themselves and their abilities.
Running since 1997, these courses at the National Theatre have channelled the art of stagecraft to help everyone – from apprentices to top-level executives – to feel more confident and persuasive in their line of work.
But what can a seasoned leader with years of experience and successful businesses under their belt learn from this kind of seminar? “We’re surprised by how often people at really senior levels seek out this kind of training because no one gives them feedback anymore,” says Micallef. “During these courses, we shine a light on things that they weren’t aware they knew, which they can now use consciously.”
The cosy, wood-panelled Duffield Studio, with views over the River Thames, is a safe space to try and fail without judgement. “It’s quite a leveller in some ways,” says Micallef, as she and Thom take Monocle through rounds of exercises that involve warming up our face and body. We also visualised a place where we’ve been happiest – an exercise that can help to stay present and grounded during moments of uncertainty or high pressure. Some pertinent questions reveal participants’ management style, which can be an eye-opener for those who believed that they were good communicators or negotiators but find that the opposite might be the case.
A key takeaway from the workshop is for participants to understand how others might perceive them (some discover that they come across as tense or unfocused, while others pick up on their particular speech quirks for the first time) and how a slight adjustment in manners of sitting or speaking can change an atmosphere entirely.
The day concludes with participants role-playing various scenarios that they find troublesome, with Thom, Micallef and the others giving notes – much like during a theatrical rehearsal. “As a director, it’s about being able to see where people need to go or where they could go,” says Micallef. “The goal of the participants is that they learn how to be confident, charismatic and genuine communicators.”
The outcome, says the theatre director, can be a more astute understanding of how to nurture partnerships, become better collaborators and, most importantly, build trust. “Ultimately, people want to do business with people that they believe and trust,” she says.
In today’s world, where so much of our business is carried out online, building trust and cementing relationships is more challenging than ever. And even when we’re finally in the room with the people we’d like to win over, so much rests on not just what we say but how we say it. A well-honed message delivered with chutzpah and conviction – or even just with a straight posture and good eye contact – can help steer the conversation to a desirable outcome. “I love it when I can translate stage skills to everyday life,” says Thom as we pile out of the studio. “There are moments of theatre throughout the day for everybody.”
Five tips to take from the rehearsal room to the boardroom:
1.
Ground yourself. Plant your feet hip-width apart. Soften your knees. Relax your shoulders.
2.
Breathe low and deep. Feel your breath in your belly. Expand your ribcage with every inhale.
3.
Take your time. Slow down and take time to breathe. Pauses are a gift to your audience – they allow your message to land.
4.
Be intentional. What effect do you want to have on your audience? Do you want to motivate? Reassure? Inspire?
5.
Focus on your audience, not yourself. Be present. Don’t be distracted by what’s coming next or fixating on what just happened.
For a discussion of the production design behind the National Theatre’s ‘Inter Alia’, tune in to ‘Monocle on Design’.
