Caitlin McClure designs and facilitates experiential learning leadership development programs worldwide. Her formative years were spent studying at BATS Improv and with Keith Johnstone. She later received her MA in Adult Learning and Leadership at Columbia University. From 2011 to 2017 she led and helped redesign Tiffany & Co.’s core leadership development programs.
凯特琳Mc克卢尔设计和促进体验式学习领导力发展项目。她的成长岁月是在蝙蝠即兴表演和基思·约翰斯通一起学习的。后来，她在哥伦比亚大学获得了成人学习和领导力的硕士学位。从2011年到2017年，她领导并帮助重新设计了蒂芙尼公司的核心领导力发展项目。
The iconic blue box of Tiffany & Co. is associated with luxury, perfection, and beauty. Improv is associated with spontaneity, failing with good nature, and leaping before you look. This is the story of how Tiffany started to incorporate Applied Improvisation (AI) into its core leadership development programs.
蒂芙尼公司标志性的蓝色盒子与奢华、完美和美丽有关。即兴表演与自发性有关，以良好的天性失败，在你看之前跳跃。这是蒂芙尼如何开始将应用改进(AI)纳入其核心领导力发展项目的故事。
By the time I joined the Tiffany’s Organizational Effectiveness (OE) department in 2011, Charles Lewis Tiffany would have been amazed that 174 years after founding his stationary and small goods store in New York City, the name Tiffany & Co. would still be synonymous with quality, craftsmanship, and extravagance, and that his family business was now publicly traded, vertically integrated, on the forefront of sustainable environmental practices, and had expanded to more than 250 stores and 8,000 staff worldwide.
当我在2011年加入蒂芙尼的组织效率(OE)部门，查尔斯刘易斯蒂芙尼会惊讶于在纽约成立174年后，蒂芙尼公司这个名字仍然是质量、工艺和奢侈，他的家族企业现在公开交易，垂直整合，可持续环境实践的前沿，并扩展到全球250多家门店和8000名员工。
To thrive for so long, the people at Tiffany have had to identify and cast off whatever was no longer serving the company while maintaining the core aspects of what made it successful. In 2011, the OE department was at just such a point with their very successful three-day Management Development Program (MDP). It was Tiffany’s first company-wide leadership development program, created by the OE department in 2003, to address the needs of a rapidly expanding company, but by 2011 those needs had again changed. Tiffany’s chief human resources officer described it this way:
为了长久发展，蒂芙尼的员工不得不识别和抛弃那些不再为公司服务的东西，同时保持公司成功的核心因素。2011年，oe 部门的三天管理发展计划(mdp)正处于这样一个关键时刻。这是蒂芙尼的第一个全公司领导力发展项目，由 oe 部门在2003年创建，以满足快速扩张的公司的需求，但到了2011年，这些需求再次改变了。Tiffany 的首席人力资源官是这样描述的:
The leadership opportunities that excite us center on reducing the challenges and capitalizing on the advantages of globalization, which has become increasingly embedded in the framework of the organization. We have more people in more places, giving ideas, changing the fabric of Tiffany, bringing their energy to it. Generating ideas is not a challenge—it is how to bring those ideas to fruition.1
激发我们兴奋的领导机会集中在减少挑战和利用全球化的优势上，而全球化已日益嵌入到组织的框架中。我们有更多的人在更多的地方，给人想法，改变蒂芙尼的结构，带来他们的能量。产生想法并不是一个挑战，而是如何实现这些想法。1
A greater emphasis was now going to be placed on Tiffany leaders’ ability to respectfully disagree, collaborate effectively across silos,2 time zones, and cultural differences, and to unlock the potential of their staffs.
现在将更加强调蒂芙尼领导人能够尊重不同意见，跨越筒仓、两个时区和文化差异有效合作，并释放员工的潜力。
As the original creator of MDP, the director of Global Leadership Development wanted to revisit not only the core theories in the program but the teaching methodology as well. At my interview for the job, she said, “I feel that if our managers could play with our management theories they would incorporate them more into their work lives after MDP.” Did I hear her correctly? Play? Oh, I can do that. Conventional wisdom says that educational programs must feel serious to be taken seriously—if you feel good when you leave a workplace learning experience, then it must not have been a worthwhile program. Yet for eleven-plus years I had been incorporating play in my work as an external consultant: developing and leading programs for onboarding, leadership development, strategic thinking, coaching and communications, with world-class companies, using AI as a key methodology.
作为MDP的创始创始人，全球领导力发展总监不仅希望重新审视该项目的核心理论，还想回顾教学方法。在接受这份工作的采访时，她说：“我觉得如果我们的经理能运用我们的管理理论，他们会在MDP之后把它们更多地融入他们的工作生活。”“我听到她听对了吗？”正在播放吗？哦，我是可以做到的。传统观点认为，教育项目必须感到认真对待——如果你在离开工作场所的学习经验时感觉良好，那么这就一定不会是一个有价值的项目。然而，11多年来，我一直参与外部顾问的工作：开发和领导的入职、领导力发展、战略思维、指导、和沟通项目，使用人工智能作为关键方法。
I made the leap to work internally rather than externally for several reasons. Most of my jobs entailed working with a client or team only once or for a short amount of time, making it impossible to support them over the long term or address the full climate. As an external consultant, it always seemed so mysterious the way companies organized their learning and development functions, and I wanted to know the secret. (Answer is, there is no secret!) Ultimately, I’d always believed it was possible to positively transform a full organization using the tools of AI if there were a will to do so, and the job at Tiffany & Co. would give me a chance to test out that idea.
出于几个原因，我决定在内部工作，而不是外部工作。我的大多数工作都需要和客户或团队一起工作一次或者很短的时间，这样就不可能长期支持他们或者解决整个环境问题。作为一个外部顾问，公司组织学习和发展的方式总是很神秘，我想知道其中的秘密。(答案是，没有秘密!)最终，我一直相信，如果有意愿，利用人工智能的工具，积极改造一个完整的组织是可能的，而蒂芙尼公司的工作，将给我一个机会来验证这个想法。
The Theory of Organizational Climate versus Organizational Culture
Our OE team had to deconstruct and reconstruct MDP, learning what elements of the program were still relevant to Tiffany and should be kept, and which were now obsolete. It was agreed that the primary logistics would stay the same: three-day off-site program, the target demographic was first- and second-level managers from all areas of Tiffany (including retail, corporate, operations, and supply chain), twenty-four participants per session, offered six times a year.
我们的OE团队必须解构和重建MDP，了解该项目中的哪些元素仍然与蒂芙尼相关，应该被保留，哪些现在已经过时了。双方同意，主要物流将保持不变：为期三天的场外项目，目标人口是来自蒂凡尼所有领域（包括零售、企业、运营和供应链）的第一和二级经理，每个会议有24名参与者，每年提供6次。
As we dug into the redesign, the theory of Organizational Climate as opposed to Organizational Culture became the backbone of the revised program. We liked the simplicity of defining “climate” as “what it feels like to work in a place” (Davis et al. 2010). An organization shares one culture—traditions, values, history—and multiple climates, each the result of individual team leaders. Culture is typically inferred and difficult to change. Climate, however, is easily observable, can be readily changed, and a positive climate directly correlates with productivity and innovation. Climate can be analyzed through several different conditions such as the degree to which employees feel emotional safety in their relationships, how much they understand the organization’s goals and how their job responsibilities help meet those goals, and to what extent they interact with spontaneity and ease.
随着我们深入重新设计，组织气候理论与组织文化理论成为修订计划的支柱。我们喜欢简单地将“气候”定义为“在一个地方工作的感觉”（戴维斯等人。2010)。一个组织共享一种文化、传统、价值观、历史和多种气候，每一种都是每个团队领导的结果。文化通常是被推断出来的，而且很难改变。然而，气候很容易观察到，也很容易改变，而积极的气候与生产力和创新直接相关。气候可以通过几种不同的条件来分析，比如员工在人际关系中的情感安全程度，他们多少了解组织的目标，他们的工作职责如何帮助实现这些目标，以及他们在多大程度上与自发性和轻松互动。
To teach the theory of Organizational Climate, I knew that my job as an instructional designer and facilitator was to create an optimal classroom climate for our participants, and make explicit the behaviors that led to that climate. In that way, these leaders can return to their workplaces and intentionally use those behaviors to create optimal climates for their teams. In MDP, I would need to model those same behaviors and help participants practice them. This would be especially necessary for those whose leadership journeys may never have included the experience of working in an optimal climate.
为了教授组织气候的理论，我知道我作为一名教学设计师和主持人的工作是为参与者创造一个最佳的课堂气候，并明确导致这种气候的行为。这样，这些领导者就可以回到他们的工作场所，故意利用这些行为为他们的团队创造最佳的环境。在MDP中，我需要模拟同样的行为，并帮助参与者练习它们。对于那些的领导生涯可能从来没有包括在最佳气候下工作的经验的人来说，这将特别必要。
Key messages within the program:
1.Great climates do not exist by chance; they are intentionally created.
2.There are many things you as a manager can do to create a great climate for your team.
3. Climate directly correlates with productivity and innovation. To improve your team’s productivity, improve your climate.
程序中的关键消息：
1。伟大的气候并不是偶然存在的；它们是故意创造的。
2.作为一名经理，你可以做很多事情来为你的团队创造一个伟大的环境。
3.气候与生产力和创新直接相关。要提高团队的生产效率，请改善您的工作环境。
Creating a High-Performing Climate in a Classroom--在课堂上创造一个高性能的环境
By design, the first hour of MDP opens like many corporate training programs. When these twenty-four first- and second-level leaders from different areas of Tiffany & Co. enter the conference center training room, the climate is generally friendly, polite, somewhat excited, and a bit tense. They see toys like building blocks and pipe cleaners on the tables and music is playing. Some of them know each other, most do not. They are about to spend three days together, in a program facilitated by me, a colleague most of them have not met. I stand at the front of the room with a PowerPoint deck. We introduce ourselves, engage in full-group and small-group discussions to help clarify their expectations for the program, and watch a short video of senior Tiffany leaders sharing their views of leadership. This opening definitely starts the process of creating a psychologically safe climate, but the real transformation happens after they return from their first break.
根据设计，MDP的第一个小时就像许多企业培训项目一样开放。当这两个来自蒂芙尼公司不同地区的24名一级和二级领导进入会议中心的培训室时，气候通常很友好，有礼貌，有点兴奋，有点紧张。他们看到桌子上有像积木和管道清洁器这样的玩具，音乐也在播放。他们中的一些人彼此认识，但大多数人却不知道。他们要在一起呆三天，在我帮助的一个项目中，他们中的大多数同事都没有见面。我站在房间的前面，有一个PowerPoint甲板。我们介绍自己，参与全小组和小组讨论，以帮助澄清他们对该项目的期望，并观看蒂芙尼高级领导人分享他们的领导观点的简短视频。这个开放肯定开始了创造一个心理安全的气候的过程，但真正的转变发生在他们从第一次休息回来之后。
I welcome them back and say something like, “Since the goal of this program is for you to actually behave differently when you get back to your workplace, not just gain an awareness of different management theories, let’s start by practicing some new behaviors.”
我欢迎他们回来，并说：“因为这个项目的目标是让你回到工作场所时真正表现不同，而不仅仅是了解不同的管理理论，让我们从实践一些新行为开始。”
The first activity is called Quick Draw, created by Keith Johnstone (1999) and originally called The Eyes. I learned Quick Draw years ago from Alain Rostain, one of the founders of the Applied Improvisation Network. I often use it at the start of a program because it is a very safe way for participants to begin the shift from judging themselves and their surroundings to being open and curious about them. Participants are still seated (safe) and they are working in pairs (safe).
第一个活动被称为快速绘制，由基思·约翰斯通·（1999）创造，最初被称为眼睛。几年前，我从应用改进网络的创始人之一阿兰·罗斯坦那里学会了快速绘画。我经常在项目开始时使用它，因为它是参与者的一种非常安全的方式，可以开始从判断自己和周围环境转变为开放和好奇.关于他们。参与者仍坐着（安全），并成对工作（安全）。
I ask a volunteer to join me at the flip chart at the front of the room to help me demonstrate the activity.3 I make a point of thanking the volunteer when she comes up—we do a lot of thanking in our programs because it is one of the easiest ways to positively impact a climate. I draw two dots on the flip chart, side by side, then explain that Janice, the volunteer, and I are going to draw a face together using these two dots as a starting point for the eyes. We will then take turns adding features to the face—she will add one feature, then I will add the next. We will follow two rules: (1) as soon as one of us hesitates, the drawing is done, no matter how complete or incomplete it is. When her pen comes off the page, mine must go down, and vice versa; and (2) we will proceed without talking.
我请一个志愿者和我一起参加房间前面的翻转图表，以帮助我演示这个活动。3，我想在志愿者出现时感谢她——我们在项目中非常感谢，因为这是积极影响气候的最简单的方法之一。我在翻转图上并排画了两个点，然后解释说，志愿者珍妮丝和我将用这两个点作为眼睛的起点把一张脸画在一起。然后我们将轮流向面部添加特征——她将添加一个特征，然后我将添加下一个特征。我们将遵循两个规则：（1）一旦我们中的一个犹豫，图纸已经完成，无论它是多么完整或不完整。当她的笔从页面上下来时，我的必须放下，反之亦然；（2）我们不说话就继续。
Usually the first volunteer is an eager drawing partner, so typically I am the first one to “hesitate” and interrupt the drawing. I make it explicit, “It’s obvious that Janice and I could have continued to add more details to this drawing. I interrupted the drawing by hesitating so we can demonstrate the next part of the activity.” Then we proceed to give the face a name in the same fashion, I add one letter and she adds the next. No matter how unpronounceable our name, I do my best to proudly read it aloud to the room (Figure 7.1).
通常第一个志愿者是一个渴望的绘画伙伴，所以通常我是第一个“犹豫”并打断绘画的人。我明确表示，“很明显，珍妮丝和我本可以继续为这幅画添加更多的细节。我犹豫地打断了画，这样我们就可以展示这场活动的下一部分。然后我们用同样的方式给脸起名字，我加了一个字母，她加了下一个字母。无论我们的名字多么难以发音，我都尽量自豪地向房间大声朗读（图7.1）。
After the demonstration, they all play Quick Draw at their tables in pairs, creating two drawings per pair. Immediately the room is full of laughter and other emotional sounds of surprise, confusion, and delight. Their body positions soften, with the pairs leaning in toward each other. You begin to see people’s personalities come through their drawings—some are tight and detailed, others loose and flowing. Some participants may make sarcastic remarks to express their discomfort, but most of the participants don’t speak and are visibly enjoying themselves, shoulders beginning to loosen, their smiles less forced. As they complete their drawings, I invite them to walk around the room to see the different pictures their colleagues have created.
演示结束后，他们都在成对的桌子上播放快速绘制，每对创建两个图形。房间里立刻充满了笑声和其他充满惊讶、困惑和快乐的情感声音。它们的身体位置软化，它们相互倾斜。你开始看到人们的个性来自于他们的绘画——有些紧凑而细致，有些则松散而流畅。有些参与者可能会说一些讽刺的话来表达他们的不适，但大多数参与者不说话，显然很享受自己，肩膀开始放松，他们的微笑不那么被强迫了。当他们完成图纸时，我邀请他们在房间里四处走动，看看他们的同事们创作的不同照片。
What differentiates Quick Draw from a regular icebreaker is what comes next: I propose a series of open-ended questions to prompt them to consciously make meaning from their experience.4
快速绘制与普通破冰船的区别是接下来的问题：我提出一系列开放式问题，促使他们有意识地从自己的经验中创造意义。4
How would your drawing have been different if I had asked you to draw it yourself rather than with a partner? Less creative, more controlled, I could predict the outcome, I would feel pressure to make it look good. Who was in charge of the picture? No one—it was shared. How did it feel to not be able to control the final outcome? Fun! Usually in life we want to feel in control, but you just said that this was fun because you were not in control. Why?
如果我让你自己画，而不是和伴侣一起画，你的画会有什么不同呢？没有创造力，没有控制，我可以预测结果，我会感到压力，让它看起来很好。是谁负责这张照片的？没有人被分享。不能控制最终的结果有什么感觉？很有趣！通常在生活中，我们想要感觉到控制，但你只是说这很有趣，因为你没有控制。为什么呢？
For some Tiffany leaders, this may be the first time they have become aware of their willingness or resistance to share control. They begin to see that their preference to control their surroundings may result in missed opportunities to learn from their teams and produce stronger solutions.
对于一些蒂芙尼的领导人来说，这可能是他们第一次意识到自己分享控制权的意愿或阻力。他们开始看到，他们对控制周围环境的偏好可能会导致失去从团队中学习并产生更强的解决方案的机会。
A NOTE ABOUT EXPERIENTIAL LEARNING
Learning theorists, like David Kolb (1984), make explicit that an activity by itself is not experiential learning if participants don’t have the chance to reflect on their experience (using any method: on paper, in movement, discussing in pairs or in the full group). “Learning is the process whereby knowledge is created through the transformation of experience” (38). When I was a new AI facilitator, it was easier for me to set up and lead activities than it was to lead debriefs, so I tended to rush the debrief. Besides, it appeared that my participants were making clear connections between the activities and their own ability to manage, but invariably they would walk out of a session saying merely, “Thanks, that was fun.” It took me many years to learn to be as skillful leading a debrief as I was in setting up and running an activity, and to trust that my participants’ real meaning-making would come from processing the experience rather than the experience itself.
学习理论家，如大卫·科尔布·（1984），明确表示，如果参与者没有机会反思他们的经验，那么一个活动本身就不是经验式的学习(使用任何方法：在纸上，在运动中，成对或整一组讨论)。“学习是通过经验的转变来创造知识的过程”（38）。当我还是一个新的人工智能主持人时，对我来说，建立和领导活动比领导简报更容易，所以我倾向于匆忙进行汇报。此外，我的参与者似乎在这些活动和自己的管理能力之间建立了明确的联系，但他们总是在离开会议时只说：“谢谢，这很有趣。”“我花了很多年时间才学会像建立和运行活动一样熟练地领导汇报，并相信参与者的真正创造意义将来自处理经验，而不是体验本身。
After our initial conversation about Quick Draw, I point to a flip chart with six Collaboration Principles that will guide us throughout the three days (we changed some of the terminology of the improv tenets to feel more Tiffany specific):
在我们关于快速绘制的最初对话之后，我指向了一个有六个合作原则的翻转图表，它将指导我们整个三天（我们改变了即兴表演原则的一些术语，让自己感到更具体的蒂芙尼）：
1. Commit
2. Make your partner look good
3. Build with what you’re given
4. Treat mistakes as gifts
5. Be curious
6. Be obvious
1.提交文件
2。让你的伴侣看起来很好
3。用你所得到的东西来构建
4。把错误当作礼物来对待
5。请感到好奇。
6。这是很明显的
Where did you observe any of these principles in action? We had to build with whatever the other person drew. What happened if you didn’t like or understand what the other person drew? You just had to keep going and add to it. I drew a neck but my partner thought it was a body and added arms! So, I added hands. Which brings up “treat mistakes as gifts.” Did your partner make a mistake? No! She didn’t know I thought it was a neck. Okay, so imagine you’re back at work and you’ve just made a mistake. What would be different if you could think of that mistake as something to build upon?
你在哪里遵守了这些原则？我们必须用别人画的任何东西来建造。如果你不喜欢或不理解别人画了什么，会发生什么？你只需要继续前进，并加上它。我拉了一个脖子，但我的伴侣认为这是一个身体，并增加了手臂！所以，我又增加了一些手。这就引出了“把错误当作礼物对待”。“你的伴侣犯了错误吗？”否！她不知道我还以为那是个脖子。好吧，想象一下你回去工作，刚刚犯了一个错误。如果你能把这个错误看作是一个基础，会有什么不同呢？
A NOTE ABOUT MODELING IMPROV PRINCIPLES
When I train other trainers to lead this program, what I observe most carefully is their ability to model the principles, not just talk about them. These principles are drilled into improvisers every time we take a class, perform, teach, or direct. This may not be the case for facilitators and teachers without an improv background. This ability is especially necessary when an activity does not go as planned (which also provides some of the best learning for the facilitator and the participants). We are seeking authentic responses, whatever they may be; and the more a facilitator can Yes, And even the most skeptical, frustrated, or sarcastic participant response, the more they and the rest of the participants will learn. Our job is to guide participants through an experience, help them put into words whatever they are feeling, and help them connect that feeling to whatever the current learning objective may be.
当我训练其他培训师来领导这个项目时，我最仔细地观察到的是他们建模原则的能力，而不仅仅是谈论它们。每次我们上课、表演、教学或指导时，这些原则都被训练到即兴创作者中。没有即兴表演背景的主持人和教师可能不是这样。当一项活动没有按计划进行时，这种能力尤其必要（这也为主持人和参与者提供了一些最好的学习）。我们正在寻求真实的反应，无论它们是什么；一个促进者就越愿意是的，即使是最怀疑、沮丧或讽刺的参与者的反应，他们和其他参与者就会学习得越多。我们的工作是指导参与者通过一段经验，帮助他们将他们的感受写成文字，并帮助他们将这种感觉与当前的学习目标联系起来。
In the second activity, called Snap Pass (Workbook 6.2, Round 2), we stand in a circle, I make eye contact with someone across the circle and snap my fingers in their direction, then that person makes eye contact with someone new and “passes” the snap to this person, and so on. The psychological risk feels greater in Snap Pass than in Quick Draw because now the whole class is watching, but the fear dissipates almost immediately as the participants discover their own games (e.g. two people will snap back and forth to each other, sending nonverbal signals that they want to keep playing), and the whole class laughs, plays, and builds a sense of connection.
在第二个活动称为“捕捉通行证”（工作簿6.2，第2轮）中，我们围成圆圈，与圆圈的人眼神接触，将手指朝他们的方向捕捉，然后那个人与新的人眼神接触，然后将照片“传递”这个人，等等。心理风险比快抽签感觉更大，因为现在整个班都在观看，但当参与者发现自己的游戏时，恐惧几乎会立即消失。两个人会来回交流，发出他们想要的非语言信号，想要继续玩)，整个班都大笑，玩耍，建立一种联系感。
After the activity, a typical debrief may look like this: Which Collaboration Principles did you see? Commit. Specifically, where did you see commitment? Well, we all played. What does the opposite of commitment look like? Maybe they wouldn’t look at you, and act like they don’t want to be there. Do you ever see that at work? Yes! What does it feel like to work with someone like that? Groan. On the other hand, what’s it like to work with someone who’s fully committed, involved, taking the ball and running with it? Great!
活动结束后，典型的摘要可能是这样的：您看到了哪种协作原则？请提交电子邮件。具体来说，你在哪里看到了承诺？我们都玩了。承诺的相反情况是什么样子的？也许他们不会看你，表现得好像他们不想呆在那里一样。你曾经在工作中看到过它吗？是的！和这样的人一起工作是什么感觉？格兰。
A NOTE ABOUT REPEATING GAMES
If you have a multiday program, it can be quite satisfying to repeat activities on consecutive mornings, which we do with Snap Pass. On Day 2 of MDP when we are standing in a circle, without preamble, I pass a snap to someone across the circle and they quickly figure out it’s their turn to make eye contact with someone new and pass the snap along. Repeating the activity builds a sense of camaraderie from the shared experience, as well as a sense of accomplishment when they compare how well they played the third day to the first. The objective at the start of MDP is to help participants connect with each other and be present in the room. On consecutive days, we use it to explore communication and climate. Participants will often comment that they have become more aware of how to “read” the climate of a room; or they become aware of the impact in the workplace of their tendency to be thinking three steps ahead (whom do I pass a snap to) rather than be present and fully attentive to the person in front of them (be open to receiving the snap).
如果你有一个多日的计划，它可以是相当令人满意的重复活动在连续的早上，我们做的快速通行证。在MDP的第二天，当我们站在一个圆圈，没有序言，我把一个照片给穿过圆圈的人，他们很快发现轮到他们与新的人进行眼神接触，并传递照片。重复活动从分享的体验中建立一种同志情谊，以及当他们比较第三天和第一天的表现时产生一种成就感。MDP开始时的目标是帮助参与者相互联系并出现在房间中。连续几天，我们用它来探索交流和气候。参与者通常会评论说，他们更了解如何“阅读”房间的气候；或者他们意识到工作场所的影响，他们倾向于思考三步（我传递给谁)，而不是在场并充分关注他们面前的人(开放接受拍照）。
The final activity we play in the morning is I Am a Tree (Workbook 7.1), which increases the risk even more because now they are asked to create a series of three-person pictures in the center of the circle, building on each other’s ideas and naming themselves “I am a squirrel” or “I am a leaf.” Some participants readily jump in because they have discovered it’s more fun to play than worry about their inhibitions. Their commitment is contagious and invariably infects even the reticent players. As a facilitator, I try to find a balance between letting the reticent players choose for themselves when, or whether, to join in the action, and when to nudge them with a reminder to “make your partner look good,” and not to leave their partners alone and uncomfortable in the middle of the circle.
我们早上玩的最后一个活动是我是一棵树（工作簿7.1），这更增加了风险，因为现在他们被要求在圆圈的中心创建一系列三人图片，基于彼此的想法，称自己为“我是松鼠”或“我是一片叶子”。一些参与者很容易跳进去，因为他们发现玩起来比担心自己的抑制更有趣。他们的承诺是具有传染性的，甚至总是会影响到沉默的玩家。作为一名主持人，我试图在让沉默的玩家自己选择何时或是否加入行动，以及什么时候提醒他们“让你的伙伴看起来好看”，而不是让他们的伙伴独自呆在圈子中间之间找到平衡。
We end the activity with the entire class forming one final picture together. When everyone returns to the edge of the circle, I’ll often ask them to look around the room and describe the climate now, as compared to when they first walked in. They will say, open, friendly, easy ... Again, we discuss where the six Collaboration Principles were apparent in the activity, how following these principles supported the group’s ability to work together in this way, and how these principles connect to their work lives.
我们在结束活动时，整个班一起形成最后的画面。当每个人都回到圆圈的边缘时，我经常会让他们在房间周围看房间，描述一下他们第一次走进来时的气候。他们会说，开放、友好、简单……再次，我们讨论了六项合作原则在活动中的明显位置，如何遵循这些原则来支持小组以这种方式合作的能力，以及这些原则如何与他们的工作生活相联系起来。
By 10:45 a.m. on Day 1, the climate of the room has palpably changed. They have laughed together, made eye contact with their colleagues, safely taken psychological risks, they’ve acted like squirrels and created drawings together, and, most importantly, they have been introduced to a foundation of new behaviors—the Collaboration Principles. As a facilitator, I have also identified things about the participants, such as who tends to be hesitant, who will jump in, who is noticing others’ emotions in the room, and who is focused mostly on themselves. Armed with these insights, I can better tailor activities or discussions to help them celebrate their individual strengths, see their blind spots, and “play” with new behaviors.
到第一天上午10点45分，房间的气候发生了明显的变化。他们一起笑，与同事眼神接触，安全地冒心理风险，像松鼠一样一起画图画，最重要的是，他们被引入了新行为的基础——合作原则。作为一名主持人，我还确定了关于参与者的事情，比如谁会犹豫，谁会跳进来，谁会注意到房间里其他人的情绪，谁主要关注自己。有了这些见解，我可以更好地定制活动或讨论，以帮助他们庆祝他们的个人优势，看到他们的盲点，并“玩”新的行为。
They sit and write for a few minutes, reflecting on the following:
1. What did you learn about yourself in these activities?
2. What did you learn about collaborative learning climates?
3. How can the collaborative principles be applied to your work climate?
他们坐来写了几分钟，思考了以下几点。
你在这些活动中对自己了解到了什么？
2.你对协作学习环境学到了什么？
3.如何将合作原则应用于你的工作环境中？
To use Keith Johnstone’s terminology, our “circle of probability” (Dudeck 2013: 10) has been created. In this case, they now know that they will be expected to engage fully, and playfully, in their learning rather than coast through the three days passively.
为了使用基思·约翰斯通的术语，我们已经创建了“概率圈”（数字检查中心2013：10）。在这种情况下，他们现在知道，他们将被期望充分地、开玩笑地学习，而不是被动地度过三天。
