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This paper discusses the parallels between business strategy and improvisational comedy.

This is an opinion column.

This column examines certain surprising commonalities between business and strategy on the one hand, and improvisational comedy on the other. Strategy, like improv, is creative reaction to a reality that you cannot control (the actions of other people), in real time.

Injects useful ideas from an unlikely source into the process of business strategy.

Many scholars have noted the critical skills needed for leaders in the face of volatility, uncertainty, complexity, and ambiguity (VUCA). These skills include self-awareness, listening, communication, adaptability, critical thinking, and collaboration. Students who are able to develop these skills would be better equipped to lead in settings where the answers—and even the questions—are unknown. This paper details an approach to developing leadership skills to prepare undergraduate leadership students for a VUCA world, through the use of a classroom workshop on improvisational comedy. I have refined this improv workshop over sixteen course iterations spanning the past nine semesters, and students commonly point to the workshop as one of the most challenging and rewarding class sessions of the course. In this paper I review the literature that has informed my approach, explain the learning objectives addressed by the improv workshop, describe the approach I use, share quantitative and qualitative data that illustrate the success of the approach, and share my lessons learned, all in service of supporting colleagues who wish to try this approach.

The core purpose of the paper is to propose that improvisational practices have the potential to bring an additional dimension to the learning process in a typical manufacturing organization governed by a culture‐implied “plan what we do and do what we plan” environment. In today's turbulent environment employees should possess both the capability to follow a plan, while at the same time remaining able to respond instinctively to outcomes that are unexpected.

Several authors view the concept of improvisation associated with performing arts and creativity‐based artistic productions such as jazz performance, comedy and improvisational theater as a model to shape organizational processes. The instances of improvisation cited in the literature are first classified as either proactive or reactive. Using the jazz metaphor, the paper offers a model of decision making by an agent and a process view of communication.

The authors propose that a culture of a manufacturing environment described as “plan what we do, do what we plan, but improvise with bias toward improved system performance” is very desirable and should be legitimized.

Although the model is conceptual, it will benefit from more empirical or case‐based research.

For practising managers, this work offers a goalpost toward productive thinking.

The paper argues that improvisational experience of other domains of activity (e.g. in creativity‐based artistic productions such as jazz bands, theatres) should be considered for adoption into the manufacturing environment after a suitable transformation.

In this paper, the authors engage with embodied critical literacies through an exploration of the possibilities provided by the use of improvisational comedy (improv) in the classroom. The purpose of this paper is to extend understandings of critical literacy to consider how embodied critical literacy may be transformative for both individual students and classroom assemblages. The research question asks: how might improv, as an embodied literacy practice, open up spaces for critical literacy as embodied critical encounter in classroom assemblages?

The authors used case study methodology informed by post-qualitative research methods, and in particular, posthuman assemblage theory. Assemblage theory views the world as taking shape through the ever-shifting associations among human and more-than-human members of an assemblage. The case study took place in a sixth-grade classroom with 28 11-year-olds over a four-month period of time. Audio and video recordings provided the empirical materials for analysis. Using Bruno Latour’s three stages for rhizomatic analysis of an assemblage, the authors mapped the movements of participants in an assemblage; noted associations among those participants; and asked questions about the larger meanings of those associations.

In the sixth-grade classroom, the dynamic and emerging relations of the scene work and post-scene discussion animate some of the ways in which the practice of classroom improv can serve as a pedagogy that involves students in embodied critical literacy. In this paper, the authors are working with an understanding of critical literacy as embodied. In embodied critical literacy, the body becomes a resource for that attunes students to matters of critical importance through encounter. With this embodied attunement, transformation through critical literacy becomes a possibility.

The case study methodology used for this study allowed for a fine-grained analysis of a particular moment in one classroom. Because of this particularity, the findings of this study are not considered to be universally generalizable. However, educators may take the findings of this study and consider their application in their own contexts, whether that be the pedagogical context of a classroom or the context of the empirical study of language and literacy education. The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The authors argue that providing students with critical encounters is an important enterprise for 21st-century classrooms and improv is one means for doing so. As an embodied literacy practice, improv in the classroom teaches students to listen to/with other players in the improv scene, become attuned to their movements and move responsively with those players and the audience. It opens up spaces for critically reflecting on ways of being and doing, which, in turn, may inform students’ movements in further associations with each other both in class and outside the walls of their school.

In this paper, building on work conducted by Author 1, the authors extend traditional notions of critical literacy. The authors advocate for developing critical learning opportunities, such as classroom improv, which can actively engages students in critical encounter. In this vein, rather than viewing critical literacy as critical framing that requires distancing between the learner and the topic, the posthuman critical literacy the authors put forward engages the learner in connecting with others, reflecting on those relations, and in doing so, being transformed. That is, through critical encounter, rather than only enacting transformation on texts and/or material contexts, learners themselves are transformed.

Previous studies have confirmed the potential benefits of participating in theatrical improvisation, including improved mental health, well-being, skills and strategy development. This study aims to explore the experiences of improv (a subset of theatrical improvisation) for autistic, non-autistic, yet neurodivergent and neurotypical people. In particular, it explores whether participants believe that there have been any benefits from participating in improv.

Twenty adult participants were recruited using snowball sampling. Semi-structured interviews were conducted and analysed using interpretative phenomenological analysis (IPA) and qualitative content analysis (QCA). IPA explored the autistic lived experience during improv participation, while QCA sought to identify the benefits gained.

Implementing IPA allowed for the benefits of improv to be embedded into autistic lived experience. This was aggregated into two themes: “life beyond improv” and “social worlds negative impact”. Findings from QCA found five themes: “creativity and opportunities: the arts and workplace”; “acceptance, cognitive flexibility and rolling with it”; “interpersonal, social and communication skills and human connection”; “gains in mental health, quality of life and wellbeing”; and for just autistic participants, “‘I've gone full autistic’ (and can learn why neurotypicals are like they are)”.

To the best of the authors’ knowledge, this is a novel study area that has not been investigated previously.

While scholars have demonstrated persistent demographic inequalities in hiring, performance evaluations, and compensation decisions, many of the mechanisms driving these effects remain less clear. Qualitative research methods, including ethnographic approaches, are uniquely poised to fill this gap because they can illuminate how workplace inequalities are produced and reproduced on the ground. But studying workplace inequalities qualitatively also poses specific methodological challenges and considerations. In this essay, I discuss common issues researchers face when studying workplace inequalities ethnographically, including barriers in gaining access to sensitive organizational processes, building sufficient trust and rapport to move beyond official narratives of organizational practice (‘the company line’), and managing the emotional and psychological burden of discovering what lies beyond that line. I discuss potential strategies for navigating these challenges.