Shutdown work drama and save the soul of your culture

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There is little evil in the fight for destroying the soul of culture more than in a workplace drama. This evil demon slips through the entire organization, leaving traces of overwhelmed, frustrated, and resentful people. Rapidly, the process collapses, the task is not completed, and everyone is exhausted. Team fun, pop, and trust are replaced by focusing on stealing the turmoil that consumes the team’s lifeline. Many managers who live with Workplace Pinoy Tambayan can easily get confused and lose confidence in their passion. Their vision becomes cloudy and they begin to give up the cause.

Dealing with workplace dramas is one of the most rewarding parts of being a leader. It has the potential to absorb your life and eradicate your motivation. Managers often wonder, “Why did you choose this career?” “I don’t know. What’s the problem with everyone? Why can’t they just work? It’s like interacting with children.”

Occasionally people need to blow off the steam. They flock around the water cooler, listening to certain bosses and colleagues. In most cases, it’s a momentary harmless joke. Water cooler talk provides an outlet or release that allows healthy aeration at the measured dose. But when a team is upset, stuck, upset, unhappy, or otherwise dysfunctional across boundaries, it can be distressing. Criminals can withhold information, manipulate situations, steal ideas, or act helplessly, allowing others to come to help and give additional help. Individuals are portrayed as fools or villains, and suddenly everything is exhausted and a big deal. Everything is raised to a critical rate. And your boss looks at you and wonders why you can’t “put your team in control”.

Workplace dramas must be eradicated just before the malignant tumor spreads. Unimpeded, Workplace TV drama reduces productivity and negatively impacts accuracy and quality. It analyzes team unity and becomes the focus of their work activities and priorities. Those who are directly involved in the drama “look away from the ball” and make costly mistakes. This waste is based on bad behavior and prevents everyone from doing great things. It reduces everything you are trying to build. Unless you are ready and ready to fight the drama at work, it will draw you into it and look down on your position as a leader. As always, everyone knows the score and they are waiting. I’m waiting to see what you’re trying to do about it.

Let’s start by understanding the basics of work drama. Believe it or not, the drama is a predictable plot with a predefined role. The movement of the “game” is always the same. In 1968, Stephen Carpman developed the Drama Triangle as a psychological and social model of human interaction in transactional analysis. Carpman’s Triangle speculates on three habitual role-plays adopted by drama seekers.

-Victim-A person who is treated or accepts the role of being vulnerable

Victim Moto-“I’m not blamed” Victim Needs-Love

-Persecutor-A person who puts pressure on, coerces, or persecutes a victim

Prosecutor’s Moto-“I’m Right” Prosecutor’s Need-Power

-Rescuer-The person who intervenes. On the surface, I want to help the situation and the vulnerable

Rescuer Moto-“I’m Good” Rescuer Needs-Acceptance

Victims appear depressed, afraid, in need, low self-esteem, and looking for help and answers from others. The victim’s nemesis, the persecutor, points his finger to find mistakes, has an outburst of anger, lack of compassion, perfection of clams, and judges others. Rescuers then show that while trying to become the protagonist, they control trends, give unwanted advice, overextend, and tackle the problems of others.

Carpman describes a game of “con” and “hook” that turns off the “switch” and finally sets the “payoff”. The movement continues as the drama progresses. In this drama triangle, players play an unstable and emotionally competitive “mind game”, creating misery and discomfort with each other. The secret purpose of each “player” is to feel that their silent (and often unconscious) psychological hopes and needs have been justified without having to admit the broader dysfunction or harm done throughout the situation. Is to fill with.

An important part of Carpman’s observation is that players frequently switch roles as the game progresses. The drama begins with the protagonist in one of three major roles: rescuer, persecutor, and victim, with the other major player (adversary) playing in one of the other roles. As the drama game progresses, the two players move while switching the role of the triangle. For example, the victim turns on the rescuer, or the rescuer switches to persecution.

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