By Akindotun Merino
You can’t always get into the head of another person. Even if this were possible, understanding what motivates another person can be so complex that even that person is unaware of her or his motivations. However, to a certain degree, the essence of leadership is getting others to do what you need them to do, as if it were their original motives themselves. While you may not be able to specifically identify another person’s motives, there is a good rule of thumb that was developed by Kenneth Burke called dramatism.
Dramatisim. The great Canadian rock band Rush once sang, “All the world’s indeed a stage, and we are merely players.” To be fair, they borrowed this notion from William Shakespeare who noted that each person is like the star actor in his or her own play. Kenneth Burke developed his theory of dramatism based on this notion. If you understand that people see themselves as the star of their own drama, this can be the first step towards making a good guess as to what motivates them. If you can at the very least think in terms of how other people are motivated, you are better able to develop compassion for them. With compassion, you are better able to understand another person’s needs and how to meet those needs while motivating the person to help meet yours or your company’s needs.
The Pentad. The key aspect of Burke’s dramatism is referred to as the pentad, but if you have ever taken a class in journalism, you may recognize the pentad in another form, the five W’s. The pentad and the five W’s are similar and both allow you to think about who is doing what to whom, and how and why they are doing it. Here is the Pentad and how it relates to the Five W’s.
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Scene. The scene of something is the same thing as the Where and the When of the five W’s. This doesn’t merely refer to the physical place where something may be occurring, but to the overall environment as well. When and where something occurs may explain exactly why the situation is playing out the way it is.
Agent. This refers to the actor or actors in a given situation. This also corresponds to the Who in the five W’s. When you look for motives behind people’s behaviors, who they are can be one source of motives, but their environment and the other factors of the pentad could also be sources for motives. For example, someone who comes to work not dressed properly may be simply rebelling against work policies. In this case, the motive is more about this particular person. Another possible motive however is that this person has been out of work so long that she or he does not have the nice clothes needed to meet the office policy. In this case, the motive is not really about the person or agent but more about the scene or situation, this person having been out of work so long to not have the appropriate clothes.
Act. The act is similar to the What in the five W’s. It is the action that is taking place in a given situation. If you assigned some work to an employee who didn’t finish the work in the time you expected, you could look at motivation in terms of the agent, in this case the employee needs more training or maybe doesn’t work as hard as you would expect. However, another possible “motive” lies in the action itself. Perhaps the task you assigned is a complicated enough task that cannot be accomplished in the time you expect, or this can at least be a major factor.
Agency. The agency aspect of the Pentad does not strictly conform to the Five W’s, however, if you add the question of How, this gets to what agency is referring to. In the previous example, the nature of the work that you assigned to the employee might be difficult, and you may already realize that the employee is a diligent worker who tends to perform well. However, if the employee picked an inefficient way to go about working on the assignment, this could explain why it didn’t meet up with your expectations. This would place the “motive” under agency where the problem is not the act itself, nor the agent or scene, but instead the problem is in how the agent is going about doing the act.
Purpose. The purpose part of the pentad corresponds to the Why of the five W’s. Imagine that in our previous example you gave an assignment to an employee who didn’t complete the assignment in what you considered was a reasonable amount of time. If you have looked at all the other aspects of the pentad to get an idea of why this is so, analyzing the purpose may help. Perhaps your employee didn’t understand why this task was necessary or what it was trying to accomplish.
As you can see, when you use the pentad to analyze situations, it allows you to think about all the different aspects of a situation. An effective leader won’t simply blame the employee for not living up to an expectation. Instead, leaders who are effective can analyze the different aspects of a situation in terms of the pentad to understand the situation better. It may turn out that the employee was perfectly justified in not living up to an expectation, and you have saved both the employee and yourself the hard feelings created from a misplaced lecture.
According to Burke, on some level most people in our society and culture are motivated by guilt. He uses this term loosely to include emotions such as shame, disgust, anxiety, and embarrassment. From this viewpoint, people act to try to avoid guilt emotions or to find redemption, which is what makes those feelings go away. It is this attempt to move from guilt to redemption that puts an individual’s “drama” in dramatism. There are a few factors that contribute in a large way to people’s feelings of guilt and inadequacy:
- The social order or hierarchy. As people interact with each other, we unconsciously and consciously create a sort of pecking order through our language and concepts. This gives individuals a sense of relation to others in terms of being perceived as equals or as superior or inferior to another person or group of people.
- The Negative, in this sense, is an act of rejecting your place in this perceived social order. Burke used the term “rotten with perfection” to describe the situation where people realize that their place in a social hierarchy is to some degree arbitrary. Those who inhabit a superior position may feel guilt or anxiety because our language includes a notion of perfection that is impossible to achieve in actuality. For example, someone who is known for being particularly generous might experience shame or guilt for wanting to put himself or herself first on occasion. The idea of perfect generosity is unattainable, so the person feels guilty, pushing them to seek redemption. Conversely, someone in an inferior social position might realize that he or she is not as lowly as circumstances bear out and this becomes motivation towards redemption.
- Victimage is another factor in this drama where the guilty person lays the blame for her or his circumstances on an external source, another person or societal condition. There are two types of victimage: universal, which blames everyone and everything, and fractional, where a person blames a specific group or individual. In vilifying the other person, the guilty person can assume a heroic role in their drama.
- Redemption is the final stage of this type of drama where the person purges guilt through a kind of death, either symbolic, as in a transformation in character or a confession of one’s sins or misdeeds, or in actuality by truly dying. It is uncommon and disrespectful, for example, to speak ill of the dead. Burke considered the redemption stage a transformation where one transcends the old order of social hierarchies and a new order is created. You can look at Burke’s transition from Guilt to Redemption as following two paths: the first begins with the status quo followed by guilt or anxiety about one’s place in that status quo, followed by identifying a scapegoat, followed by confession and repentance which lead to the transformation of the old order into a new order.
This description of the move from guilt to redemption can be helpful in understanding how people come to actively dislike others. Often at the root of ill-will is a feeling of inadequacy and guilt in an individual.
Another aspect of Burke’s theory of dramatism is called identification. If you have ever heard someone say (or have said yourself), “I can really identify with that person,” you’re getting at the heart of what Burke means by identification. In some ways it is the opposite of victimage. When you identify with someone else, you are able to feel empathy and compassion for them. In identification, something of you rubs off on the other person with whom you identify, and something of that person rubs off on you. In leadership, you can create an “unconscious willingness to be led” in another person by identifying with that person and trying to meet the other person’s needs. When you go out of your way to allow an employee off for a vacation he or she Is excited about, you create in that person a willingness to follow you and make your goals their goals.
Dr. Akindotun Merino is a Professor of Psychology, CEO of Jars Group and Mental Health Commissioner in California. Feel free to share your successes and challenges:
Prof. Akindotun Merino
info@akinmerino.com
YouTube.com/akinmerino
Instagram: @drakinmerino: Twitter: @drakindotun
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