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我是如何让我的员工像企业主(老板)一样思考的?---外刊时文阅读附翻译

(2010-11-22 18:51:49)
标签:

俄亥俄州

剧院

表演

账册

董事会

杂谈

分类: 外刊时文泛读附翻译

摘自NY TIMES

 :重点词用红色标记,超纲词下划线表示

 大家练单词,练语法,练外刊阅读

因为我们的真题都是取自NY TIMES等外刊。

 坚持阅读,加油必胜!转载请注明出处!

 

May 24, 2010, 3:12 pm

How Do I Get My Employees to Think Like Owners?

我是如何让我的员工像企业主(老板)一样思考的?

By JACK STACK

 

One of the things you often hear business owners say is, “If only I could get my employees to think like owner…

一件你经常从企业家们口里听到事是:“ 要是我能让我的雇员像企业主(老板)一样思考就好了

 

Obviously, one way to do it is to actually make them owners, for example, with an employee stock ownership plan. But that’s not always practical — and I also don’t think it’s essential. It’s been my experience that anyone can begin to feel and act like an owner whether they have equity or not. In fact, people can feel and act like owners even if they work for a company that isn’t trying to make a profit.

 

很显然,这样做的一个办法就是真正地使雇员成为企业主(老板),例如,员工入股计划。但是这并不是每次都可行的----且我并不认为这是必要的。我的经验告诉我:无论员工是否拥有(公司)股票,任何员工都能觉得自己是企业主(老板)并像企业主(老板)一样行动。事实上,即使人们受雇的公司并没有在努力赢利,人们也能觉得像企业主(老板)并像企业主(老板)一样行动。

 

Several years ago, my wife, Betsy, served on the board of a theater in Springfield, Ohio, something she got involved in because one of our daughters was interested in pursuing a career in the arts. The theater, which is about 100 years old, attracted something like 200 volunteers who helped support the dozen or so folks who worked there full-time. At the time, the theater had a new director from New York who had brought cutting edge plays with him that were different than anything the theater had presented in the past.

 

几年前,我的妻子Betsy供职于俄亥俄州Springfield一所剧院的董事会。她加入此事是由于我们的一个女儿对追求艺术事业感兴趣。该剧院拥有约100年历史,吸引了大概200位志愿者来帮忙支援在剧院全职工作的大约12位员工。在那段时间,剧院来了位来自纽约的新导演,他带来了最新的剧本,这个剧本与剧院过去呈现的任何表演都不同。

 

From the start of her involvement, Betsy said that the board meetings were filled with conversations about the plays, the costumes, and the set designs. The board discussed every aspect about the theater except the budgets and the financials, which usually got mentioned in passing at the end of every meeting. That’s why she kept asking me to look at the theater’s books. Then, one December, she begged me to attend one of the board meetings with her. I agreed, but said I was going only as an observer.

 

短语:mention in passing顺带提及

 

从我妻子参与开始,她(Betsy)便说董事会满是关于剧本,服装和舞台布景的讨论。董事会讨论了关于这个戏剧的方方面面唯独不谈预算和财务状况。这些问题通常应在每次会议结束时顺便提及。出于这个原因她一直让我帮忙看下这个剧院的账册。于是,在某一个十二月,她恳求我和她一起参加一次董事会。我同意了,但是我说我只是作为一个旁观者去参加。

 

I remember that as everyone took their seats in these rickety folding chairs, the conversation turned to various aspects of the latest productions. Then, as they concluded the discussion of the seasonal program for the next year, someone mentioned that they didn’t have enough money to make payroll for the full-time employees that month. Even though the situation had reached a crisis stage, they were still reluctant to talk about money, budgets, financials and payrolls. I remember thinking, “How can they not make payroll? It’s two weeks until Christmas?” I sat there, gripping the edge of my seat, my knuckles turning white, waiting for someone, anyone, to say something. Nobody did.  

 

我记得每个人都就坐于摇摇晃晃的折叠椅,讨论涉及到最新戏剧作品的各种方面。接着,当他们总结明年季节性(演出)节目的讨论时,有人提到他们这个月没有足够的钱支付全职员工的工资。尽管情况都已到危机关头,他们仍然不愿意讨论钱,预算,财政情况和工资。我还记得我当时的想法:“他们怎么能不发工资?还有两个星期就圣诞节了”我坐在那里,抓着椅子的边缘,指关节都变白了,我等着有什么人,任何人起来说点什么。没有任何人。

 

So I stood up and asked, “How can we not make payroll?” Rather than wait for an answer, I wrote out a check to cover it and then took my wife and the theater’s books home with me. We stayed up the whole night with the books spread out on the kitchen table trying to figure out what had been going wrong and looking for a path to make this thing successful.

 

于是我站起来并问:“我们怎么能不发工资呢?”我没有等待答复,而是写了一张支票支付工资,接着就拿着剧院的账册和我妻子回家了。我们一整夜没睡,账册散放在厨房餐桌上,我们努力想弄明白是哪里出了问题并寻找解决问题的方法(成功的途径)。

 

The theater had a capacity of 600 — but was only drawing an average crowd of 250 per performance. Clearly, the theater wasn’t putting on plays people wanted to come and see. While addressing that critical number was crucial to getting things back on track, we also needed to tackle a bigger issue: getting everyone involved in the theater to think and act like an owner. It wasn’t enough that the employees were working hard on their individual tasks; we needed to get them thinking about the big picture — what it was going to take to make the theater financially viable. And their incentive was clear: unless big changes were made, the theater, and their jobs, would be lost.

 

这个剧院可以容纳600---但是平均每场表演只吸引了250人的观众。很明显,剧院上映的表演不是人们想来看的表演。我们一方面强调让情况好转的关键是临界值,但同时我们还需要处理一个更大的问题:让每个人都参与到剧院来并像企业主(剧院老板)一样思考和行动。光靠雇员在自己的工作任务上努力工作还不够;我们需要让他们思考全局-----需要怎么做才能让剧院的财政正常运转。他们的动力很明显:除非出现巨大的转机,这个剧院和他们的工作将不复存在。

 

We decided to create an incentive program for the employees based on attendance at the performances. We charged them with finding new ways to get people into the seats, which would help improve the theater’s cash flow. One result was that we started performing plays that involved kids, which drew in parents and grandparents and even neighbors. Once the employees started to see results, they stuck with it and continued to come up with more good ideas. After about four months, the theater was generating enough cash flow to cover not only payroll but also some needed maintenance on the theater.

 

短语:charge sb with不是“指控”的意思,这里意思比较偏,是to instruct or command “指令,命令”的意思

 

我们决定按照剧院的上座率为员工制定一个激励计划。我们让他们负责寻找使人们来剧院的新方法,这有助于提高剧院的现金流。有一个方法(结果)是我们开始上演涉及小孩的戏剧,这引来了家长,(外)祖父母们乃至邻居。员工们一旦看到成效,他们就会坚持去做并不断产生更多的好主意。大约4个月后,剧院获得了足够的现金流,不仅可以支付工资还可以进行一些必要的剧院维修。

 

Here’s another great example: One day, Beth Doman, the theater director (she had replaced the one from New York), called me to discuss an idea. The theater had spent about $20,000 to make costumes for a production of “Beauty and the Beast.” But Beth told me that she had gone online and found that something like 20 other theaters across the country were also planning a production of the show.

 

另一个不错的例子:一天,剧院导演Beth Doman(她取代了来自纽约的那个导演)打电话给我讨论一个想法。剧院花费了20000美元制作“美女与野兽”这个表演作品的服装。但是Beth告诉我她在网上发现全国有差不多20家剧院也在计划演出这个作品。

 

Beth’s idea was to rent her costumes to other theaters, something she figured could be worth $7,500 a show. Even if she just rented the costumes four times a year, she could bring in $30,000 annually. After our conversation, she put the plan into action — and raised about $60,000 in just six months. Now, any time she performs a play, she thinks about how to produce revenue outside of the play itself. “There’s often a problem with the mindset in non-profits that don’t have to make money,” Beth told me. “I’ve learned to look at this like a business, where you don’t just zero out your books at the end of the year. We always need to be creative in finding ways to fund ourselves so we can control our own destiny.”

 

Beth的想法是把她的服装租给其他的剧院,她计算这样一个表演下来可获得7500美元。即使一年她只租借4次,每年也可赢利30000美元。我们谈话后,她就把计划付诸行动----6个月就筹得资金60000。现在,任何时候她有表演,她都会思考如何从表演外制造收入。“通常是思维模式的问题,认为是非盈利(机构)不需要赚钱,”Beth告诉我说。“我学会了把表演当作生意来看待,对一项生意来说(where)你不能只是在年终让账册持平。在寻求筹集资金的方法时,我们永远都需要创新,这样我们才能控制我们自己的命运。”

 

Beth was still an artist at heart, but once she got the idea of ownership, she began to think differently. And it had nothing to do with profits or actual ownership.

在本质上,Beth仍是一名艺术家。但是一旦她有了所有权概念后,她就开始有了不同的想法。而这一切与利润和事实上的所有权都无关。

 

Jack Stack is founder and chief executive of SRC Holdings in Springfield, Mo. SRC is a collection of 37 businesses and 1,200 employees that make, among other things, race-car engines and home furnishings.

 

短语:among other things:除了别的之外

 

Jack StackSRC控股公司的创立者和董事长。SRC位于Springfield,由33家公司和1200名员工组成,除了生产其他产品外,还生产赛车引擎和家具陈设。



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