If the enterprise is a story, what is its backstory? Where does the enterprise come from? What are its deep drivers and experiences that form the foundation for its choices in the present?
This came up last night whilst watching a BBC interview [BBC iPlayer: UK only, until 20 May 2010] with the British character-actor Timothy Spall [Wikipedia, IMDb], talking about his work with the social-realist film-director Mike Leigh [Wikipedia, IMDb]. Leigh’s method for developing a script has some strong resemblances to running a business, in that, as the Wikipedia entry, describes, it’s a mixture of careful preparation for real-time improvisation:
Leigh uses lengthy improvisations developed over a period of weeks to build characters and storylines for his films. He starts with some sketch ideas of how he thinks things might develop, but does not reveal all his intentions with the cast who discover their fate and act out their responses as their destinies are gradually revealed. Initial preparation is in private with the director and then the actors are introduced to each other in the order that their characters would have met in their lives. Intimate moments are explored that will not even be referred to in the final film to build insight and understanding of history, character and inner motivation.
The critical scenes in the eventual story are performed and recorded in full-costumed, real-time improvisations where the actors encounter for the first time new characters, events or information which may dramatically affect their characters’ lives. Final filming is more traditional as definite sense of story, action and dialogue is then in place. The director reminds the cast of material from the improvisations that he hopes to capture on film.
Some of that does sound very close to what happens perhaps too often in business: “does not reveal all his intentions with the cast who discover their fate and act out their responses as their destinies are gradually revealed”. But the real point here, as Spall described in the interview, is that there’s a vast amount of work on backstory – the history behind the character. Leigh often recommends that an actor should pick almost anyone as the base for the character – Spall said that he based one of his key characters on a person he’d once met in real life for little more than half a minute – and then explore every possible facet of who that character might be, what makes them tick. As the actors do this, images come up, seemingly from nowhere, that form a ‘true history’ for each of the characters. The result is something much more ‘real’ than a predefined script.
So, following the same improvisational logic, the same would seem to apply to the collective ‘character’ that is each organisation and enterprise. The surface culture, the ‘espoused culture’ is visible to all, and probably much-paraded via PR and the like: yet what is the deeper culture, the backstory, that drives the real choices, especially under stress? That’s where things get interesting for enterprise-architects – especially if we’re concerned with the structure of the enterprise as a whole, rather than solely the enterprise-IT.
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