Michael Patterson – författare

From the publishers of the popular Strength Deployment Inventory, Have a Nice Conflict follows one man''s fight to rescue his sinking career. Sales manager John Doyle would consider his career a success—he''s his company''s top revenue driver, and his take-charge attitude gets the job done. However, when he is passed over for promotion—again—after losing two direct reports, who cite his abrasive style as their reason for leaving, John is forced to reassess how he approaches his relationships. With the help of Mac, an expert in the art of Relationship Awareness Theory, John learns the three stages of conflict, and how he reacts in each.

Once John recognizes his own values and trigger points, as well those of other people, he becomes able to better navigate terse situations, express his points in a way that resonates for other people, and even avoid conflict altogether. Equipped with this new understanding of how other people interpret and react to conflict, John soon finds all the relationships in his life—both at work and at home—improving.

Anyone can profit from the tools in this book to understand and take control over conflict.

From the publishers of the popular Strength Deployment Inventory, Have a Nice Conflict follows one man''s fight to rescue his sinking career. Sales manager John Doyle would consider his career a success—he''s his company''s top revenue driver, and his take-charge attitude gets the job done. However, when he is passed over for promotion—again—after losing two direct reports, who cite his abrasive style as their reason for leaving, John is forced to reassess how he approaches his relationships. With the help of Mac, an expert in the art of Relationship Awareness Theory, John learns the three stages of conflict, and how he reacts in each.

Once John recognizes his own values and trigger points, as well those of other people, he becomes able to better navigate terse situations, express his points in a way that resonates for other people, and even avoid conflict altogether. Equipped with this new understanding of how other people interpret and react to conflict, John soon finds all the relationships in his life—both at work and at home—improving.

Anyone can profit from the tools in this book to understand and take control over conflict.

First published in 1981, this book represents the first work in English to give a comprehensive account of the revolutionary developments in German theatre from the decline of Naturalism through the Expressionist upheaval to the political theatre of Piscator and Brecht. Early productions of Kaiser’s From Morning till Midnight and Toller’s Transfiguration are presented as examples of Expressionism. A thorough analysis of Piscator’s Hoppla, Such is Life! And Brecht’s Man show the similarities and differences in political theatre. In addition, elements of stage-craft are examined — illustrated with tabulated information, an extensive chronology, and photographs and designs of productions.

First published in 1981, this book represents the first work in English to give a comprehensive account of the revolutionary developments in German theatre from the decline of Naturalism through the Expressionist upheaval to the political theatre of Piscator and Brecht. Early productions of Kaiser’s From Morning till Midnight and Toller’s Transfiguration are presented as examples of Expressionism. A thorough analysis of Piscator’s Hoppla, Such is Life! And Brecht’s Man show the similarities and differences in political theatre. In addition, elements of stage-craft are examined — illustrated with tabulated information, an extensive chronology, and photographs and designs of productions.

First published in 1990. The book surveys of the development of German theatre from a market sideshow into an important element of cultural life and political expression. It examines Schiller as ‘theatre poet’ at Mannheim, Goethe’s work as director of the court theatre at Weimar, and then traces the rapid commercial decline that made it difficult for Kleist and impossible for Büchner to see their plays staged in their own lifetime. Four representative texts are analysed: Schiller’s The Robbers, Goethe’s Iphigenia on Tauris, Kleist’s The Prince of Homburg, and Büchner’s Woyzeck. This title will be of interest to students of theatre and German literature.

First published in 1990. The book surveys of the development of German theatre from a market sideshow into an important element of cultural life and political expression. It examines Schiller as ‘theatre poet’ at Mannheim, Goethe’s work as director of the court theatre at Weimar, and then traces the rapid commercial decline that made it difficult for Kleist and impossible for Büchner to see their plays staged in their own lifetime. Four representative texts are analysed: Schiller’s The Robbers, Goethe’s Iphigenia on Tauris, Kleist’s The Prince of Homburg, and Büchner’s Woyzeck. This title will be of interest to students of theatre and German literature.