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The purpose of this paper is to examine why theatre‐business links are relevant to management. The focus is on two types of links: using theatre techniques as a training method for managers, and using corporate theatre as a change management tool. The paper seeks to share an experience and tries to explicate the processes involved in order to explain the success of these two kinds of courses, both training theatre and corporate theatre (specifically, action theatre in this case).

This is a case study. Theatre has been taught for ten years at the Grenoble Graduate School of Business under the author's responsibility, and also the corporate theatre method is taught to initial students and to continuing training managers. This paper is based on those teaching experiences. To explain the relevance of both of theatre as a training tool and corporate theatre as a management tool, the author relates to both theories of body memory from neuroscientists and to the catharsis phenomenon.

The goal was to make hypotheses from the above theories which explain the process that takes place inside the manager undergoing training and to open further research.

Main limitations come from the lack of established empirical and relevant measures of the effects of such theatre processes on participants’ management abilities and from the lack of tools to measure the long‐term effects of theatre.

The most important implication is that practitioners could make more relevant use of such techniques when designing training sessions or utilizing corporate theatre interventions.

Social implications come from how the “human” face of theatre can help the personal development of managers, improving or changing their views on the world and other people.

Although theatre and business links are more than 20 years old, nobody has previously tried to understand the inner processes involved.

The purpose of this paper is to examine the value of improvisation training, as used in schools of acting, in preparing front‐stage service employees perform their roles when interacting with customers as cabin crew in Aer Arann, a regional Irish airline.

To discern the relevance and impact of improvisation training, a case study methodology was employed. The subjects of the investigation were seven recently hired cabin crew personnel for Aer Arann. Data for the case study were collected from the new hires at three different times.

The study shows that participants both enjoyed the improvisation training and found it to be very valuable as preparation for their roles in the airline. A key finding was that the new hires strongly recommended that improvisation training be incorporated into the airline's regular induction training programme. Specifically, participants felt the improvisation training improved their confidence, effectiveness, ability to adapt, spontaneity and comfort in successfully handling unique situations.

As with many case studies, the study presented here focuses on a single company for its data generation. Further, because of the realities of commercial life, the subject pool is quite small, i.e. due to the demands of their position, only seven new hires were available for the 12 hours needed to conduct the training, as well as the subsequent assessment activities. Nevertheless, the case study enabled the authors to gain meaningful insights into the utilisation of improvisation training in a real‐world setting.

The research makes several key contributions. First, it links theory and practice by demonstrating in a real world context the efficacy of framing service as theatre. Second, based on the service theatre literature, the paper details the utility of improvisation training as a means of preparing front‐stage service employees for the rigours of their jobs. Finally, the research presents new, empirically based insights regarding the value and contribution of improvisation training in the services sector.

In this account of a study of a Theatre of the Oppressed (TO) intervention in a preservice teacher classroom, the authors explore an alternative way of learning to teach, as well as the dynamics of interdisciplinary collaboration between Theater and Education. Measures of racial and political attitudes did not demonstrate any change in the preservice teachers; however, several limitations made these findings inconclusive. Observations and journal entries suggested that interactive theater may be a promising way to make beliefs about teaching and learning visible, and therefore accessible for critical reflection.

The question of cultural identity has taken new levels of importance in the Andean country of Ecuador. Ecuadorian scholars often treat identity as a historical construction, revealing the country's Mestizo population as a culture of oppression. However, such statements only take into account the Western definition of history and fail to appreciate the indigenous concept of myth and the human need to constantly rewrite history in terms of today. Since Ecuador's majority is profoundly Mestizo (people with both Spanish and indigenous ancestry), there exists a clash of thought structures, both Western and indigenous, which do not allow for collective transformation. This research utilizes interactive research methods, particularly Augusto Boal's “Theatre of the Oppressed,” to penetrate the clash, intensifying it so that the “cultural oppression” becomes clear to those involved in the explorations, allowing them to uncover the “power of myth” now deeply buried in the collective unconscious.

This study focuses upon the importance of group narrative work by ill and injured individuals who are participants/listeners/viewers in the reciprocity of testifying and witnessing one another’s stories. Their creative collaboration addresses a transformation of self that is engendered by illness and injury. An emphasis on narrative within a group setting offers tools to validate individual autonomy, build collective strength, and assist those in the group to gather momentum for the journeys that await each of them. The rationale and exercises described serve to complement and enhance traditional modes of healing.

While the terms theatre and drama are often used synonymously, they are marked by distinct differences. Drama is concerned with the literature of the theatre, the written basis for theatrical presentations. Theatre refers to the art of presentation, and includes the creations of the playwright, the designer, the architect, and the actor.

This paper aims to demonstrate the applicability of a theatrical framework for improving the effectiveness of the knowledge transfer of service research findings to practitioners.

A case study approach is adopted. The operation of a practitioner-oriented seminar is examined through a theatrical lens to establish the extent to which direction, audience participation and creativity, emotions and visual aesthetics can contribute to bridging the academia-practitioner divide.

Planning a practitioner-oriented seminar performance is as important as planning the program content. Effective knowledge transfer requires active audience engagement, activation of favorable audience emotions and an enjoyable learning process. The lack of these requirements can render written dissemination by journal papers relatively ineffective in reaching and engaging practitioners.

Findings are based on one case study: a seminar delivered to practitioners on “service theater”.

In addition to face-to-face seminars, contemporary dissemination methods (webinars, podcasts) can apply the theatrical lessons introduced and evaluated. Practitioners do not respond positively to only written declarative information, through academic papers and/or PowerPoint slides, from academicians.

The article recognizes that dissemination of service research findings is, itself, a service, requiring depth of thought and understanding.

To present an improvisational theater game (ITG) workshop design that allows participants to surface their perceptual shortcuts, practice alternative behaviors, overcome biases, and expand their repertoire of managerial skills.

The ITGs described in this paper were originally presented by the authors to management professionals in US classroom settings from approximately 1995 through the present.

Managerial processes involving interpersonal communications are imperfect because they are greatly influenced by perception. Perception often involves shortcuts, however, which may have significant negative effects on managerial functions, but these effects can be mitigated by applying ITGs – a particularly effective method of arts‐based experiential learning – to management development.

This is not an all‐inclusive workshop design of ITGs for management development, but one example for practitioners' use. Many other ITGs exist outside of this design. Also, this workshop was tested and presented in the USA only, thus its utility in other countries cannot be generalized from the findings.

A step‐by‐step guide on conducting ITG workshops, with a discussion of how and why they can be effective.

This paper provides detailed technical resources for practitioners who wish to incorporate ITGs in their management development programs.