comm 6100 course project

Running head: COMM 6100 COURSE PROJECT 1

Comm 6100 Course Project

James Jenkins

Walden University

COMM 6100 COURSE PROJECT 2

Comm 6100 Course Project

Theatre XYZ is a largely volunteer-based community theatre

that has a small paid staff to oversee the day-to-day operations

and the implementation of various elements necessary in mounting

the many productions that the theatre produces. The paid staff

consists of the Artistic Director, the Production Manager, the

Box Office Manager, the Office Manager, and the Technical

Director. It has become apparent that the volunteers’ morale has

been low, resulting in volunteers not showing up for tasks that

they had signed up to perform, time slots for other tasks not

being filled, and low turnout for group tasks such as putting

together mailings or cleaning out the storage warehouse. The

board of directors has taken note of this and appointed a panel

of board members to address the issue of low morale and also to

increase the number of volunteers at the theatre.

In accessing the problems at the theatre, the panel will

have to address a number of questions. What are the causes of

the decline in the volunteer base? What impact will a new influx

of volunteers have on the paid staff? Since the theatre places a

“high incentive value” (Infante, Rancer, & Avtgis, 2010, p. 255)


on the volunteers, what will the theatre need to change to

enhance this relationship? What must happen within the overall

environment at the theatre to retain volunteers over a long

period of time? How can the panel entice and motivate other

members of the community to volunteer their time at the theatre?

What changes must the paid staff make in order to achieve the

panel’s goals, and how will these changes affect them?

The panel first must look at the management style of the

theatre. Theatre personnel consist of the board of Supervisors

(the managers), the paid staff (the supervisors), and the

volunteers. Currently both the managers and supervisors have

been using an authoritarian style of leadership which has lowered

the level of job satisfaction in both the supervisors and the

volunteers (Infante et al., 2010). The management of the theatre

has also been based on the bureaucracy management theory, which

has resulted in the managers having the power to force the

supervisors to do what they are instructed to do, and the

supervisors have the authority to compel the volunteers to obey

the directives (Infante et al., 2010). This has resulted in the

depersonalization of both the supervisors and the volunteers as


they believe that they have no voice in any aspect of the

operations of the theatre. Since there is no system in place for

upward communication within the hierarchy, there are no

opportunities for the sharing of promising innovative thoughts

and ideas. It is clearly apparent that there needs to be a

change in the management style that the theatre operates under.

There are a lot of theories of management that should be

utilized in the theatre’s organization for it to be successful.

The first one that will be dealt with is the model II theory of

management. In this theory, the managers and supervisors will

take action on information that is valid regardless of its

origins, the managers and supervisors consult all the people

competent to make decisions and then acts on the decision, and

the managers and supervisors are committed to and are active in

the implementation of the decisions, but willing to make

adjustments to the course of action if the need arises (Infante

et al., 2010). In using this theory, both the supervisors and

the volunteers learn the process of the assigned tasks and the

same time develop an understanding of the reasons behind carrying

out the tasks. This theory also “allows for employee feedback


and employee identification with the task, the manager, and the

organization” (Infante et al., 2010, p. 310).

The second theory that should be applied is the theory of

independent-mindedness (TIM). If the volunteers are to feel like

they are included in the system, it is important that they have

the impression that their input is valued. Gorden and Infante

theorized “that employees prefer supervisors who afford

subordinates freedom of expression and affirm subordinates’ self-

concepts, and that such treatment entices subordinates to be more

productive, satisfied, and committed to the organization”

(Kassing, 1998, p. 10). The managers and supervisors should

employ the argumentativeness trait in order to encourage

“organizational dissent, greater job satisfaction, and solution-

oriented conflict resolution strategies” (Infante et al., 2010,

p. 314) among the volunteers and supervisors. The managers and

supervisors should also be ethical leaders. “Ethical leaders

emphasize employee input, act with the best interest of others in

mind, exercise consideration, and allow employees to voice their

concerns” (Neubert, Wu, & Roberts, 2013, p. 276). By utilizing

this theory the volunteers and supervisors will feel that they


can disagree with the board on issues that have a direct concern

to them, and be welcome in voicing their concerns and alternate

ideas.

The third theory of management that should be applicable to

this theatre is the transformational leadership theory. Managers

and supervisors should employ this theory as it “focuses on the

concept of positive attribution for achieving performance beyond

expectations in its followers” (Beck-Tauber, 2012, p. 6). The

supervisors and volunteers need to feel that their ideas and

efforts have value in order to remain productive, and this theory

allows for them to become self directed, self actualized, and

self-reinforcing, resulting in them taking on greater

responsibilities within the system and in turn leading to higher

level of self worth (Beck-Tauber, 2012).

The last theory of management that should be considered for

this organization is the theory Z of management. Theory Z of

management is based on 4 components which are: “(a) trust

between superior and subordinate in that all interactions between

workers and management are conducted in an open and honest

fashion; (b) management should have implicit personal knowledge


of each employee and use this knowledge to match people who are

compatible with one another; this compatibility should be based

on personality and job specialty to maximize efficiency; (c)

productivity is based on a certain standard of performance that

is expected of all employees at all levels of the organization;

and (d) a level of intimacy that reflects the belief in caring,

support, and selflessness through quality relationships among all

members of the organization” (Infante et al., 2010, p. 307). In

utilizing theory Z, volunteers are encouraged to make group

decisions, volunteers will be willing to continue volunteering,

volunteers will develop better relationships with other

volunteers, and the volunteers will have a better understanding

of how the entire organization works. This will also stimulate

better teamwork among the volunteers. Ouchi stated that

“teamwork and group work necessarily imply collective outputs,

thus obscuring the attribution of the value added among the

separate individuals who compose a work team. Over a period of

years, however, it will become evident which members of a team

contribute the greatest value, and which contribute the least.


If the team members know that all of them will be there in the

long run, an equitable outcome is assured” (Ouchi, 1981, p. 42).

In addressing the volunteers’ morale problem and building

the volunteer base there are several theories that should be

applied to the volunteers. The first one that should be

considered is the theory of planned behavior (TPB). Using this

theory, focus can be placed on the volunteers’ attitude towards

the giving of their time to the theatre, their ideas about what

is expected of them, and how much control they will have over the

task that they will be performing (Infante et al., 2010). This

theory “proposes that perceived expectations of others, the

experiences and behaviors associated with actually volunteering,

and organizational variables (e.g. prestige of the service

organization) lead to the development of a volunteer role

identity, and role identity is the immediate cause of sustained

volunteering versus the intention to leave” (Marta, Manzi, Pozzi,

& Vignoles, 2014, p. 200). Using this theory can be applied to

both current and future volunteers.

A theory that should be employed when recruiting additional

volunteers is the social judgment theory. “The decision to


become an active volunteer is determined by the perceived

potential of volunteering to serve six specific functions: (a)

values function, which is characterized by altruistic concern for

other people; (b) understanding function, which reflects gaining

new skills and knowledge through volunteering experience; (c)

social function, which reflects motivations concerning

relationships and normative influence of others; (d) career

function, which is concerned with career-related benefits that

may be obtained from volunteering; (e) protective function, which

is concerned with shielding the ego from negative emotions and

experiences; and (f) enhancement function, which involves a

motivational process concerning the growth and development of the

self” (Jiranek, Kals, Humm, Strubel, & Wehner, 2013, p. 522).

This theory could apply especially well to new teenage volunteers

as it would promote receiving valuable experience for those who

have a theatrical career in mind.

The panel should also look at Cialdini’s 6 principles of

compliance; reciprocity, commitment and consistency, social

proof, liking, authority, and scarcity all play an important part

in recruiting and retaining volunteers (Infante et al., 2010).


What will we need to give to the volunteers in return for their

time? How can we make them work consistently as a group? How

can we motivate existing volunteers to entice others to give of

their time to the theatre? What is the relationship of the

volunteers to the supervisors? How unique and special can we

make the volunteer positions? In addressing the 6 persuasive

heuristics, the theatre will have a better understanding of how

to raise the morale of the volunteers.

The acquired needs theory, which deals with an individual’s

need for achievement, needs for power, and needs for affiliation

(Infante et al., 2010), should also be employed by the panel.

The theatre’s primary function is the production of a theatrical

show, so the need for achievement is reached with a good

production. The need for power is satisfied when a volunteer

takes on a special project for the theatre that is well received

by the audience. And the need for affiliation is fulfilled by

the social interaction with the supervisors and other volunteers.

In enacting changes within the theatre in order to retain

and recruit new volunteers, there are a lot of ideas that should

be implemented within the theatre’s operations. First, I would


create a survey for the volunteers that would ask what is and

what is not working for them at the theatre, and also request

suggestions for changes that would be beneficial to both the

theatre as well as the volunteers. This survey should be

anonymous so as to prevent self-censorship that is associated

with groupthink (Infante et al., 2010). After the surveys have

been completed, both the managers and supervisors should examine

them so that they are aware of how the volunteers feel about the

operations of the theatre, and possibly also about the individual

supervisors who they have direct contact with. This is similar

to college professors reading their students’ evaluations after

the course to see where there might be a need for improvement in

their teaching abilities.

The managers should schedule regular meetings with both the

supervisors and the volunteers to discuss current activities

within the theatre and any changes that might be needed in the

overall operations of the organization. The supervisors would be

utilizing organizational sensemaking in these meetings.

“Sensemaking occurs in organizations where members confront

events, issues and actions that are somehow surprising or


confusing” (Maitlis, 2005, p. 21). By having regularly schedule

meetings and holding them in a more formal setting the

supervisors will have more control of the sensemaking of both the

supervisors and the volunteers, and therefore be able to

favorably affect the members’ opinion of the changes that the

supervisors wish to enact.

The panel should start a “Volunteer of the month” program to

reward an individual for their service to the theatre that has

gone above and beyond the theatre’s expectations. This would

consist of a plaque in the lobby with their name and picture on

it, and the award should also come with a monetary reward such as

a gift card to a local restaurant, shopping mall, etc… This

would give the volunteers a sense of honor, recognition and

prestige, which is what Pierre Bourdieu called “Symbolic capital”

(Lockett, Currie, Finn, Martin, & Waring, 2014). The supervisors

should refrain from giving this award out to the same person in a

calendar year to avoid the appearance of favoritism. Instead, it

should have a “Volunteer of the Year” award that would be voted

on by the supervisors, managers and the volunteers. This award


would also consist of a plaque with their name and photo on it,

and a larger monetary gift.

The panel should also look at encouraging the volunteers to

get out of their “comfort zone” and explore different areas of

the theatre to work in. Someone who normally acts as an usher

for performances would benefit from helping construct the scenery

for a production in that they would have a more in-depth

understanding of what the process of mounting a production

entails. In utilizing this idea, this would encourage the

volunteers to make informed decisions together, increase long

term commitments by volunteers, and give the volunteer a higher

status as a stakeholder within the organization as a whole

(Infante et al., 2010).

The panel should also utilize social media extensively to

help lift the morale of the volunteers. Social media “have

enormous potential to revolutionize society for the better,

bringing people together and increasing the possibility of

creating an environment of equality, respect and better social

connectedness” (Wyn, Cuervo, Woodman, & Stokes, 2005, p. 23). As

an example, by creating a private Facebook group dedicated


exclusively to the theatre volunteers, messages can be posted,

ideas suggested, the volunteer of the month can be featured,

candid photos of volunteers in action can be posted, and

important dates can be listed. Twitter messages can be sent out

requesting help on various last minute tasks at the theatre that

may arise. The list of ways of utilizing social media is growing

rapidly, and suggestions from volunteers on how to take advantage

of new forms of social media should be thoroughly investigated.

The panel should also enact other reward programs that are

produced in on a regular basis. Examples of this would be pizza

parties after a show has closed, supervisors taking a volunteer

to lunch once a month, free tickets to any production they work

on, and free use of a costume for Halloween. There are numerous

ways to show the volunteers that the theatre values their

contributions, and the managers should continue to be creative in

the way that they show their appreciation to them.

The panel should first focus on resolving the morale issue

before starting a campaign to increase the theatre’s volunteer

base. Once the morale issue is resolved, the panel can then

start encouraging the active volunteers to be involved in


recruitment efforts through face-to-face interaction within their

own personal social network to entice others to come volunteer at

the theatre. The theatre should also have a periodic “open

house” for prospective volunteers to come and see what the

theatre has to offer and how they might benefit from

volunteering. Active volunteers participating in these open

houses would be vital. I would also suggest that the panel

utilizes the social learning theory when developing a media

campaign to increase its volunteer base. When composing the

media, either social or print, they should show images of current

volunteers engaging in various tasks around the theatre. “When

the models are attractive or similar to the audience member, the

behaviors are positively and visibly reinforced, and the actions

are clearly and intelligibly modeled, the likelihood the behavior

will be imitated by the viewer increases” (Slater, 1999, p. 342).

By displaying images of “everyday” people instead of models,

potential volunteers will be more likely to identify with those

people, and more likely to come and volunteer themselves.

In instituting these changes in the theatre’s organization,

they should not overlook the opportunity to adopt social change


as well. Countless people consider certain jobs within the

theatre as being filled by certain types of people. For example,

the men build the sets and hang the lights, the women do the

costumes and makeup, older volunteers usually usher or work in

the box office, and the teenagers only want to act. One way for

the panel to have a societal change effect on society is through

showing non-stereotypical images of the volunteers working in the

theatre. Examples of this would be teenagers acting as ushers

for performances, women on ladders hanging and focusing lights,

men making costumes, and older volunteers (both male and female)

building the scenery. This would offer the opportunity for

changing attitudes of prospective volunteers about what they can

and cannot do on a personal level.

It is proposed that the panel look into enacting a program

with local schools that require students to have a certain number

of community service hours in order to graduate. This would have

positive results for both the theatre and the students in that

the theatre would have an increased volunteer base, and the

students would get an opportunity to engage in dialogue with

people outside of their normal social circle, thus broadening


their lives. The panel should limit this program to just the

non-acting positions. The panel should also consider creating a

scholarship for teenagers who want to continue on to college

regardless of what they wish to major in. By showing their

support to students who wish to continue their education, the

theatre is advancing the idea that education has importance in

society.

The panel might also consider starting a play reading series

that presents plays that deal with contemporary social issues

that are controversial in nature. After the play reading is

over, there would be a panel discussion chaired by a resident

expert on the issue, the playwright or director to discuss the

topic. While this may not change minds on the topic, it would

stimulate dialogue about it and cause the audience to think more

deeply about the subject.

The theatre should look at how the entire operation works in

order to establish the cause of the low morale in their

volunteers and the above has outlined the many steps that are

needed to bring about positive results within the organization.

If the board of Supervisors accepts the recommendations of the


panel and starts implementing them, the daily operations of the

theatre will be more streamlined, organized, and enjoyable.


References

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