Description
One 7-9 page final paper is analyzing one of the negotiation simulations you engaged in during the semester, using the analytical tools.
A short review (no more than roughly a page) of the important events that took place, and then the bulk of the paper focusing on analyzing the negotiation utilizing the concepts and frameworks of the course. I recommend that you try to address some of the following questions in the assignment, and that you interview your negotiating partner(s) prior to writing the paper:
– What were the resistance points, target points, and BATNAs of you and your partner(s)? After discussing it with your partner afterward, can you discern what the ZOPA was?
– How did each side try to frame the dispute, and what was the frame that ultimately shaped the way the final result was reached? Why did it happen this way?
– What role did personality, culture, and/or gender play in the negotiation?
– What strategies and tactics did you and your partner choose, and why?
– What role did preparation play?
– What could you and/or your partner(s) have done to improve the final outcome?
– Review the main topics of the course outline below, and look for other relevant analytical
issues to examine.
Note you are ANALYZING a single negotiation simulation in which you participated over the
course of the semester, using the tools to get a deeper understanding of what happened in that negotiation. Remember that the essence of analysis is to answer the “why”questions: Why did a particular tactic work in this case? Why was your partner able to set the frame more effectively than you? Etc. Analysis is always a reasoned discussion based on evidence – _so don’t forget the evidence! Part of that evidence most certainly will include the perspectives of your negotiating partner(s), so make sure you talk it over with them.
Materials
Richard Shell, Bargaining for Advantage (New York: Penguin)
Roger Fisher, William Ury, and Bruce Patton, Getting to Yes (New York: Penguin)
Rebecca W. Gaudiosi, Jimena Leiva Roesch, Wu Ye-Min, Negotiating at the United
Nations: A Practitioner‘s Guide (2019), available online
Unformatted Attachment Preview
Negotiating the Casting Decision: Artistic Vision and Budget Constraints of Jelle Swanson
Introduction:
This paper explores a negotiation scenario between myself, as the casting director for a theater
production of “Tommy: The Musical,” and my fellow classmate representing Jelle Swanson. In
this negotiation, we grapple with the complex task of casting Jelle in the role of Tommy,
considering his extensive experience in the role and my concerns about casting an older
performer in a traditionally youthful part. We examine our respective opening positions,
interests, BATNAs (Best Alternative to a Negotiated Agreement), strategies employed, and
external criteria influencing our positions during the negotiation.
Opening Positions:
My Opening Position:
At the commencement of the negotiation, I began by expressing my sincere appreciation for
Jelle’s exceptional talent and his significant contributions to Astra venue over the years. I
acknowledged the significance of Jelle’s extensive experience with the role of Tommy and his
invaluable involvement in the production. My primary interest was the success of the “Tommy”
production, underlining that casting decisions aimed at delivering a high-quality show that would
resonate with the audience. I alluded to budget limitations without disclosing the exact budget
amount and stressed the importance of aligning casting choices with the expectations of our
regular patrons.
Anticipated Opening Position of Jelle:
Anticipating Jelle’s opening position was tricky and off; I expected him to acknowledge my
potential concerns about casting an older performer in a traditionally youthful role. He did
recognize the budget constraints and production expectations that I had alluded to earlier. But his
tactics were more tricky than negotiations.
Interests:
My Interests:
My central interest in this negotiation was the success of the “Tommy” production. My objective
was to cast the role of Tommy in a manner that would guarantee a high-quality show capable of
captivating the audience. Additionally, I emphasized the importance of adhering to the allocated
budget for the production. Meeting the expectations of our regular patrons and ensuring that
casting choices aligned with their anticipations were also paramount interests.
Anticipated Interests of Jelle:
Jelle’s interests in this negotiation were expected to include the opportunity to showcase his
talent and experience in a significant role. He was more interested in negotiating a compensation
package that recognized the uniqueness of his situation. Jelle also wanted to ensure that myself
and the production respected his artistic vision and the values he could bring to the role of
Tommy.
My BATNA:
My BATNA in this negotiation was to reiterate that I had alternative casting options available if
an agreement could not be reached with Jelle Swanson. These alternatives would involve
considering other actors who might fit the role and budget constraints more closely.
Anticipated BATNA of Jelle:
Jelle’s BATNA, it was expected that if an agreement could not be reached, he might choose to
continue performing in small local clubs and occasionally participating in musical productions.
Alternatively, he could explore other opportunities in the music or theater industry.
Negotiation Strategies:
My Strategy:
My negotiation strategy was to commence the meeting by adopting a listening-first approach,
allowing Jelle to express his perspective and enthusiasm for the role. This approach aimed to
create a positive atmosphere while showing empathy and appreciation for his interest. I
acknowledged Jelle’s strengths and the unique value he could bring to the production, given his
extensive experience with the role of Tommy.
However, I did express my concerns about casting an older performer in a role traditionally
played by a younger singer, emphasizing my desire to ensure that the production would still
resonate with the audience. Transparency was essential, and I openly discussed the budget
constraints, stressing the need for any compensation offered to align with the production’s
financial limits.
Throughout the negotiation, I remained open to negotiating compensation terms within the
budgetary constraints and considered potential adjustments to other elements of the production to
accommodate Jelle’s participation. My overarching goal was to work collaboratively with Jelle to
find a solution that benefited both parties and the production. I explored whether compromises or
creative solutions could address concerns on both sides, including marketing strategies to
enhance the production’s appeal.
His Strategy:
Jelle’s negotiation strategy was expected to emphasize his extensive experience with the role of
Tommy and his familiarity with the Astra venue. He would likely highlight how his participation
could generate interest and draw a crowd, potentially benefiting the production financially. Jelle
was finally open to discussing compensation terms that acknowledged the unique circumstances
of his situation.
External Criteria:
External Criteria I Offered:
During the negotiation, I did bring up budgetary constraints and production expectations as
external criteria to support my positions. This involved explaining the need for the production to
operate within the allocated resources and meet certain financial goals.
External Criteria He Offered, and Points I Raise in Contrast:
Jelle did acknowledge these concerns while emphasizing the potential benefits of casting him. In
response, I could point out the need for a balance between artistic considerations and financial
constraints. I did also stress that our regular patrons have certain expectations, and their
satisfaction is a critical factor in the success of the production.
Analysis and Discussion:
Resistance Points, Target Points, and BATNAs:
In this negotiation, my resistance points were rooted in my concerns about casting an older
performer and the need to adhere to budget constraints. My target point was to secure an
agreement that allowed Jelle to be part of the production while addressing these concerns. My
BATNA was to explore alternative casting options if an agreement could not be reached with
Jelle.
On the other hand, Jelle’s resistance points were likely focused on compensation that recognized
his uniqueness and the importance of respecting his artistic vision. His target point was to secure
a compensation package and role that honored his talent and experience. Jelle’s BATNA included
pursuing other performance opportunities in local clubs or the broader music and theater
industry.
Jelle Swanson strategy planning
Role: Organizer
Name:
My opening
position
I will start by expressing My
appreciation for Jelle’s talent
and his contributions to Astra
venue over the years.
Acknowledge Jelle’s extensive
experience with the role of
Tommy and the significance of
his involvement in the
production.
My interests
Their anticipated
opening position
Anticipate that I may
initially be concerned
about casting an older
performer in a role
typically played by a
younger singer. They
might also have budget
constraints and
production expectations.
Their anticipated
interests
the opportunity to
showcase Jelle’s talent
and experience in a
significant role.
Emphasize that my primary
interest is the success of the
Tommy production. Highlight
that casting decisions are made
with the goal of delivering a
high-quality show that appeals
to the audience.
negotiate a compensation
package, to benefit him
considering the
uniqueness of the
situation.
Mention that I have budget
limitations I’m working with for
this production without given
the amount. Explain that
decisions need to be in line with
the allocated resources.
My BATNA
Stress the importance of
meeting the expectations of the
audience. Mention that the
casting choices should align
with what the regular patrons
anticipate.
Reiterate that I have alternative
casting options available if an
agreement cannot be reached
with Jelle Swanson.
Ensure that the
production respects the
artistic vision and values
Jelle can bring to the role.
Their anticipated
BATNA
continue performing in
small local clubs and
occasional musical
productions.
explore other
opportunities in the music
or theater industry.
My strategy
Begin the meeting by listening
to Jelle’s perspective and
enthusiasm for the role. Show
empathy and appreciation for
his interest.
Their strategy
emphasize Jelle’s
extensive experience
with the role and
familiarity with the Astra
venue.
Acknowledge Jelle’s strengths
and the value he can bring to
the production. Mention any
unique qualities or insights he
can offer due to his extensive
experience with the role.
highlight how Jelle’s
participation could
generate interest and
draw a crowd, potentially
benefiting the production
financially.
Express my concerns about
casting an older performer in a
role typically played by a
younger singer. Explain that I
want to ensure the production
still resonates with the
audience.
Be open to discussing
compensation terms that
acknowledge the unique
circumstances.
Be transparent about the
budget constraints for the
production. Mention that any
compensation offered should
align with the production’s
financial limits.
Be open to negotiating
compensation terms within the
budgetary constraints. Consider
whether there are ways to
adjust other elements of the
production to accommodate
Jelle’s participation.
Emphasize my desire to work
collaboratively with Jelle to find
a solution that benefits both
parties and the production.
Explore whether there are
compromises or creative
solutions that can address
concerns on both sides.
Discuss how casting Jelle
Swanson in the title role might
be marketed to enhance the
production’s appeal to a
broader audience.
Propose various scenarios or
compromises that could lead to
an agreement, such as adjusting
the compensation structure or
marketing strategy.
External
criteria I might
offer to
support my
positions
I may bring up budgetary
constraints and production
expectations.
External criteria
they might offer,
and points I
might raise in
contrast
Jelle may acknowledge
these concerns while
emphasizing the potential
benefits of casting him.
Purchase answer to see full
attachment
