Audiences of Broadway’s graphic portrayal of ‘1984’ faint and vomit - The Washington Post

Audiences of Broadway’s graphic portrayal of ‘1984’ faint and vomit

By Travis M. Andrews June 26

A night at the theater generally involves dressing to the nines, perhaps dinner beforehand at a nearby restaurant and finally the play. Fainting, vomiting, screaming and fighting are not typically part of the experience.

Yet that’s exactly what audience members experienced at the new staging of George Orwell’s “1984,” which opened Thursday at Broadway’s Hudson Theatre after previews in London.

The play, co-written and co-directed by Robert Icke and Duncan Macmillan, stars Tom Sturridge as Winston Smith and Olivia Wilde as his illegal love interest Julia. Like the 1949 book on which it is based, the play presents a dystopian future run by Big Brother in which a shadowy government uses propaganda, brainwashing, fake news and torture to control its subjects.

[‘1984’: Bloody and bloodless]

While many adaptations of the book downplayed some of its more graphic aspects, in particular its torture scenes, this staging does nothing of the sort.

In the story, Smith is detained by Big Brother and taken to Room 101, where he is heavily tortured until his anti-Big Brother spirit finally breaks.

During the Room 101 scenes in the play, the “main set is destroyed and transforms into a sterile white box, blasted with searing light,” wrote the Hollywood Reporter’s David Rooney. His torturers yell out ominous words like “fingertips” or “teeth.” Then strobe lights flash maddeningly while the piercing, punishing sounds of a jackhammer fill the room.

“Blood is spattered and spit out; at least one beating about the face,”wrote Vulture’s Christopher Bonanos, who called these scenes, “visceral, ghastly, and hair-raisingly vivid.”

In the play, as the character Smith bleeds heavily and is later electrocuted, he stares into the eyes of individual audience members and yells that they’re “complicit.”

During these scenes in London, several audience members fainted and others vomited. Police were called to break up a fight after one staging. At others, audience members yelled at the actors, begging them to stop.

One audience member reportedly fainted at the Broadway debut Thursday.

That isn’t to say audiences haven’t been cautioned.

The play comes with the following warning and age restriction: “This production contains flashing lights, strobe effects, loud noises, gunshots, smoking, and graphic depictions of violence and torture. It is not suitable for children under 14.” Security guards, meanwhile, are posted around the Hudson Theater to monitor audience reactions.

The New York Times theater critic Ben Brantley wrote that the stage was “lighted to chill” and the production included “nerve-shredding sound effects.”

“Though I usually don’t provide trigger warnings in my reviews, I feel obliged to do so here,” Brantley wrote. “The interrogations that Winston undergoes in the play’s second half are graphic enough to verge on torture porn.”

Rooney mirrored these thoughts, also employing the term “torture porn” to describe the play, which he called a “grim, sphincter-clenching sit.”

“We’re not trying to be willfully assaultive or exploitatively shock people, but there’s nothing here or in the disturbing novel that isn’t happening right now, somewhere around the world: People are being detained without trial, tortured and executed,” Macmillan told the Hollywood Reporter. “We can sanitize that and make people feel comforted, or we can simply present it without commentary and allow it to speak for itself.”

“You can stay and watch or you can leave — that’s a perfectly fine reaction to watching someone be tortured,” Icke added. “But if this show is the most upsetting part of anyone’s day, they’re not reading the news headlines. Things are much worse than a piece of theater getting under your skin a little bit.”

Wilde agreed, adding that “this experience is unique, bold and immersive. It allows you to empathize in a visceral way, and that means making the audience physically and emotionally uncomfortable.”

The stars, meanwhile, haven’t fared much better than their audiences. Though it’s unclear how, Wilde and Sturridge both reportedly broke bones on set — the tailbone for Wilde and the nose for Sturridge. Wilde also dislocated her rib and split her lip during previews, according to the Hollywood Reporter.

“I broke his nose, but it was in retaliation because he broke my coccyx,” Wilde saidon the Today Show.

And this was in previews. The directors, though, refused to change a thing for its Broadway debut.

The play’s timing proved impeccable, opening to the world just months after Orwell’s politically charged novel became the best-selling book on in the wake of Donald Trump’s election as president. Many pointed to parallels between the novel’s plot and the current political climate.

The play was first staged in internationally in 2013, but until the election, talk of it reaching Broadway was just that: talk.

“I think the feeling was, we have to do it now,” Macmillan told the New York Times. “If we don’t, we’ll miss our chance.”

“1984” isn’t the first play to recently become part of the national conversation thanks to its shocking content.

Earlier this month, a New York production of “Julius Caesar,” starring Trump look-alike Gregg Henry in the titular role, sparked national debate. In the play, Caesar is assassinated by his fellow statesmen. Given this Caesar’s likeness to the president of the United States, many found the production in poor taste.

Several sponsors, including Delta and Bank of America pulled their funding for the play. Nevertheless, it was arguably the most discussed play since “Hamilton.”

HBR article on the importance of liberal arts

"Liberal Arts in the Data Age

College students who major in the humanities always get asked a certain question. They’re asked it so often—and by so many people—that it should come printed on their diplomas. That question, posed by friends, career counselors, and family, is “What are you planning to do with your degree?” But it might as well be “What are the humanities good for?”

According to three new books, the answer is “Quite a lot.” From Silicon Valley to the Pentagon, people are beginning to realize that to effectively tackle today’s biggest social and technological challenges, we need to think critically about their human context—something humanities graduates happen to be well trained to do. Call it the revenge of the film, history, and philosophy nerds.

In The Fuzzy and the Techie, venture capitalist Scott Hartley takes aim at the “false dichotomy” between the humanities and computer science. Some tech industry leaders have proclaimed that studying anything besides the STEM fields is a mistake if you want a job in the digital economy. Here’s a typical dictum, from Sun Microsystems cofounder Vinod Khosla: “Little of the material taught in Liberal Arts programs today is relevant to the future.”

Hartley believes that this STEM-only mindset is all wrong. The main problem is that it encourages students to approach their education vocationally—to think just in terms of the jobs they’re preparing for. But the barriers to entry for technical roles are dropping. Many tasks that once required specialized training can now be done with simple tools and the internet. For example, a novice programmer can get a project off the ground with chunks of code from GitHub and help from Stack Overflow.

If we want to prepare students to solve large-scale human problems, Hartley argues, we must push them to widen, not narrow, their education and interests. He ticks off a long list of successful tech leaders who hold degrees in the humanities. To mention just a few CEOs: Stewart Butterfield, Slack, philosophy; Jack Ma, Alibaba, English; Susan Wojcicki, YouTube, history and literature; Brian Chesky, Airbnb, fine arts. Of course, we need technical experts, Hartley says, but we also need people who grasp the whys and hows of human behavior.

What matters now is not the skills you have but how you think. Can you ask the right questions? Do you know what problem you’re trying to solve in the first place? Hartley argues for a true “liberal arts” education—one that includes both hard sciences and “softer” subjects. A well-rounded learning experience, he says, opens people up to new opportunities and helps them develop products that respond to real human needs.

The human context is also the focus of Cents and Sensibility, by Gary Saul Morson and Morton Schapiro, professors of the humanities and economics, respectively, at Northwestern University. They argue that when economic models fall short, they do so for want of human understanding. Economics tends to ignore three things: culture’s effect on decision making, the usefulness of stories in explaining people’s actions, and ethical considerations. People don’t exist in a vacuum, and treating them as if they do is both reductive and potentially harmful.

Morson and Schapiro’s solution is literature. They suggest that economists could gain wisdom from reading great novelists, who have a deeper insight into people than social scientists do. Whereas economists tend to treat people as abstractions, novelists dig into the specifics. To illustrate the point, Morson and Schapiro ask, When has a scientist’s model or case study drawn a person as vividly as Tolstoy drew Anna Karenina?

Novels can also help us develop empathy. Stories, after all, steep us in characters’ lives, forcing us to see the world as other people do. (Morson and Schapiro add that although many fields of study tell their practitioners to empathize, only literature offers practice in doing it.)

Sensemaking, by strategy consultant Christian Madsbjerg, picks up the thread from Morson and Schapiro and carries it back to Hartley. Madsbjerg argues that unless companies take pains to understand the human beings represented in their data sets, they risk losing touch with the markets they’re serving. He says the deep cultural knowledge businesses need comes not from numbers-driven market research but from a humanities-driven study of texts, languages, and people.

Madsbjerg cites Lincoln, Ford’s luxury brand, which just a few years ago lagged so far behind BMW and Mercedes that the company nearly killed it off. Executives knew that becoming competitive again would mean selling more cars outside the United States, especially in China, the next big luxury market. So they began to carefully examine how customers around the world experience, not just drive, cars. Over the course of a year, Lincoln representatives talked to customers about their daily lives and what “luxury” meant to them. They discovered that in many countries transportation isn’t drivers’ top priority: Cars are instead seen as social spaces or places to entertain business clients. Though well engineered, Lincolns needed to be reconceived to address the customers’ human context. Subsequent design efforts have paid off: In 2016 sales in China tripled.

What these three books converge on is the idea that choosing a field of study is less important than finding ways to expand our thinking, an idea echoed by yet another set of new releases: A Practical Education, by business professor Randall Stross, and You Can Do Anything, by journalist George Anders. STEM students can care about human beings, just as English majors (including this one, who started college studying computer science) can investigate things scientifically. We should be careful not to let interdisciplinary jockeying make us cling to what we know best. Everything looks like a nail when you have a hammer, as the saying goes. Similarly, at how great a disadvantage might we put ourselves—and the world—if we force our minds to approach all problems the same way?"

A version of this article appeared in the July–August 2017 issue (pp.144–145) of Harvard Business Review.

JM Olejarz is an assistant editor at Harvard Business Review.



Dementerenden vergeten hun pijntjes bij de Tovertafel

Dementerenden vergeten hun pijntjes bij de Tovertafel

Interactief lichtspel moet apathie bij alzheimerpatiënten doorbreken

Dementerenden die uit zichzelf niet bewegen tóch laten bewegen - een industrieel ontwerpster vond daar samen met ouderen een speelse manier voor. Mevrouw Roorda (87) leeft op: 'Kom maar eens bij mij, popje.'

Door: Margreet Vermeulen 20 april 2017, 02:00


'Kijk nou eens!' Verbaasd kijkt mevrouw Spreeuwers (87) naar mevrouw Aukes (84). Die draait rondjes met haar wijsvinger over het lichtblauwe viooltje dat op het tafelblad wordt geprojecteerd en dat alsmaar groter en groter wordt. Spreeuwers kijkt bewonderend van de bloem naar mevrouw Aukes. 'Je vingers zijn ook helemaal blauw. Dat is toch wel wat, zeg.'

Het bewegende bloementafereel laat de bewoners van Ús Hiem (ons erf) in Sint Nicolaasga een tikkeltje verbluft achter, zo mooi vinden ze het telkens weer. Het personeel van Ús Hiem, onderdeel van woonzorgcentrum Doniahiem, kijkt vertederd toe hoe de demente bewoners tot leven komen, plezier hebben, even hun pijntjes vergeten en soms zelfs contact met elkaar maken.

Hoe doorbreek je de apathie bij mensen die ernstig dementeren? 'Hersenprofessor' Erik Scherder, bekend van De Wereld Draait Door, vroeg het in 2009 aan industrieel ontwerper Hester Anderiesen Le Riche van de TU Delft. En die ontwikkelde de Tovertafel: een lichtspel voor mensen met ernstige dementie.

Apathisch in een stoel zitten is slecht voor het welzijn. Gewrichten worden stijf, mensen raken verveeld en depressief of geagiteerd en de hersenen gaan sneller achteruit dan nodig is. Anderiesen Le Riche promoveert maandag op de Tovertafel waar ze inmiddels een bedrijf met dertig werknemers omheen heeft gebouwd.


Een nieuwe telefoon ontwerpen voor yuppen, dat vindt Le Riche niet zo interessant. Waar ze als fervent windsurfer wel van droomt is om mensen die niet zo makkelijk naar buiten kunnen te laten voelen hoe het is om over het water te stuiteren op een surfboard en van de wind te genieten. Dat is voor mensen met dementie natuurlijk een brug te ver. 'Het is al heel wat als ze door de Tovertafel een geluksmoment beleven of contact maken met medebewoners. Dat laatste is lastig, want ze voelen allemaal dat ze niet thuis zijn, maar weten niet waar ze wel zijn. Dat is een barrière om contact te maken.'

Op de tafel dansen zeepbellen. Grote en kleine. Als je ze aanraakt, spatten ze uit elkaar - blub - met een sponzig geluidje. 'Net alsof iemand windjes laat', grapt mevrouw Aukes. Iedereen lacht. De vier dames prikken, slaan, duwen en trommelen tot de zeepbellen het begeven.

Uiteindelijk zijn de ouderen de ontwerpers, niet ik

Hester Anderiesen Le Riche, promovendus

Mevrouw Roorda (87) staart gebiologeerd naar een afgedwaald belletje dat op haar af komt zweven. 'Kom eens bij mij popje', zegt ze. 'Kom maar, niet bang zijn. Je bent toch mijn poppie.' Ze is de pop in haar poppenwagen, strak naast haar stoel geparkeerd, even vergeten.

Le Riche ontwierp de Tovertafel samen met demente ouderen. Ze observeerde, probeerde uit, keek wat werkte en wat niet. 'Uiteindelijk zijn zij de ontwerpers, niet ik.'

Zij zijn ook de naamgevers, want één van de patiënten riep in de ontwerpfase uit: 'Het lijkt wel een tovertafel.' Dat de lichtbeelden door een beamer vanaf het plafond op tafel worden geprojecteerd, realiseren de patiënten zich niet.

Inmiddels zijn er twaalf verschillende spellen voor de Tovertafel waarvan de kern is: er is géén competitie. Niemand kan winnen of verliezen of iets fout doen. En de spelers hoeven geen doel te bereiken. Essentieel is ook: het spel is interactief en reageert op de handbewegingen van de bewoners. Blijven die uit, dan trekt het spel de aandacht met geluidjes of bewegende beelden.

Isabelle Bos, onderzoeker en neuropsycholoog van het Alzheimer Centrum Limburg, Universiteit Maastricht, vindt het mooi hoe wetenschap, technologie en zorg in de Tovertafel gecombineerd worden. Echter: 'Het bewijs dat het spel apathie ook echt vermindert en de kwaliteit van leven verbetert bij mensen met dementie is niet echt sterk', aldus Bos. 'Daarvoor is de steekproef van zeven patiënten te klein.' Promovenda Le Riche heeft een uitgebreider onderzoek op stapel staan.


Het is hartverwarmend als je ziet hoe kinderen en kleinkinderen weer contact maken met hun moeder of oma met wie het gesprek al jarenlang stokt

Hester Anderiesen Le Riche, promovendus

Op tafel rolt een veelkleurige strandbal richting mevrouw De Jong (81), die er nijdig met haar rozeroodgelakte nagels tegenaan tikt. Een bal die van tafel dreigt te rollen, dat maakt het lastig stil te blijven zitten. 'Het lijkt hier wel kermis', zegt De Jong. 'Had mijn man mooi gevonden. Hoe gekker hoe mooier.' De bal roept ook andere herinneringen wakker als de bewoners de bal overspelen. 'Wij woonden vroeger aan het Heegermeer', zegt mevrouw Aukes. 'Bij Heeg.'

Bij de populariteit van het spel (duizend verzorgingshuizen hebben er al een gekocht) speelt waarschijnlijk mee dat de bewoners het zelf kunnen spelen, zonder supervisie van het vaak zwaarbelaste personeel. Ook bezoekers kunnen meedoen. 'Hartverwarmend als je ziet hoe kinderen en kleinkinderen weer contact maken met hun moeder of oma met wie het gesprek al jarenlang stokt', aldus Anderiesen Le Riche.

Het laatste spel eindigt met een lief muziekje. 'Krek een piano', zegt mevrouw Roorda waarderend. Mevrouw De Jong gaat puffend achterover zitten. 'Mooi spel hoor, maar nou heb ik hier pijn.' Ze drukt in haar zij. Ze lijkt vermoeid. 'Nee, ik ben niet moe. Ik heb pijn. Het woord moe komt in mijn woordenboek niet voor.'

De dames Spreeuwers en Aukes pakken hun breiwerkjes op. Mevrouw Roorda staart de gang in. 'Is de post al geweest?', vraagt ze aan verpleegkundige gerontologie-geriatrie Ria Witteveen. 'Verwacht u iets dan?' Mevrouw Roorda fluistert iets in haar oor. 'Dan komt het vast morgen', zegt Witteveen.

Gamen met ninjamuis om van je alcoholverslaving af te komen - Wetenschap - Voor nieuws, achtergronden en columns

Serious Games helpen jongeren van alcoholverslaving af te komen. Onderzoek van psycholoog Wouter Boendermaker aan de UvA.


This War of Mine - empathy invoking video game

"In This War Of Mine you do not play as an elite soldier, rather a group of civilians trying to survive in a besieged city; struggling with lack of food, medicine and constant danger from snipers and hostile scavengers. The game provides an experience of war seen from an entirely new angle."

The Most Curious Thing - Errol Morris


The following essay shows how a photograph aided and abetted a terrible miscarriage of justice. I invite readers to offer their own interpretation of the considerable amount of material contained in the footnotes.

“Well! I’ve often seen a cat without a grin,” thought Alice; “but a grin without a cat! It’s the most curious thing I ever saw in my life!”
– Lewis Carroll, “Alice’s Adventures in Wonderland”

“How can you say she’s a good person?” I am sitting in an editing-room in Cambridge, Mass. arguing with one of my editors. I reply, “Well, exactly what is it that she did that is bad?” We are arguing about Sabrina Harman, one of the notorious “seven bad apples” convicted of abuse in the notorious Abu Ghraib scandal. My editor becomes increasingly irritable. (I have that effect on people.) He looks at me as you would a child. “What did she do that isbad? Are you joking?” And then he brings up the trump card, the photograph with the smile. “How do you get past that? The smile? Just look at it. Come on.”

Continue reading Errol Morris' essay here:

Virtual reality moet empathie voor vluchtelingen vergroten - Hogeschool van Amsterdam

"Een nieuwe interactieve installatie maakt het mogelijk om een reis van een vluchteling in virtual reality te ervaren. De speler zit in een nagebouwde vrachtwagen, met een masker en VR-bril op, waardoor alle zintuigen worden aangesproken: beeld, geluid, tast en reuk. Promovendus Martijn Kors, verbonden aan zowel het HvA-lectoraat Play & Civic Media als de TU Eindhoven, ontwikkelde deze VR-ervaring samen met student Cas Ketel.


Martijn Kors onderzoekt of en hoe games empathie kunnen opwekken, met in dit project speciaal de aandacht voor het perspectief vanuit de vluchteling. Kors is als onderzoeker verbonden aan het HvA-lectoraat Play & Civic Media van lector Ben Schouten. Anderhalf jaar geleden besloot het lectoraat om een samenwerking aan te gaan met Amnesty International (met een pilotproject bij het HvA Medialab), om een jongere doelgroep via games te interesseren voor vraagstukken rondom mensenrechten. De centrale vraag: hoe kunnen we games gebruiken als middel om mensen zich te laten verplaatsen in een ander, en meer te interesseren voor een sociaal vraagstuk?



In de VR-ervaring ‘A breathtaking journey’ neemt de speler plaats in een nagebouwde vrachtwagen, waarna hij onderdeel wordt van een persoonlijk verhaal van een anoniem persoon. Allereerst ziet en hoort de speler via de VR-bril ‘een droomscenario’: een flashback van het land in oorlog dat hij of zij is ontvlucht. De speler begrijpt dat zijn broer is meegenomen, en dat hij eerder een mislukte vluchtpoging heeft ondernomen via zee, waardoor het laatste geld op is. Vervolgens wordt de speler ‘wakker’ achterin een vrachtwagen. Hier begint de ‘immersie’: de speler kan zijn hoofd draaien en rondkijken. Hij voelt de truck rijden en schudden, en ruikt de geur die de mandarijnenkisten rondom hem verspreiden. Bij een grenscontrole gaan de deuren open. De speler moet zijn adem inhouden omdat er met warmtemeters wordt gecontroleerd. Het spel blijft de ademhaling continu meten. Wat daarna gebeurt, hangt af van de keuze die de speler maakt."



De VR- toepassing met geur en tast is relatief nieuw. Heeft meer embodiment ook meer impact op de empathie van de spelers? Dat onderzoekt Kors met zijn team. Omdat het onderzoek nog loopt, kan nu nog niet worden beschreven hoe dit gemeten wordt.

Het doel is om een groter publiek meer te interesseren voor het onderwerp. Maar trekt de installatie niet vooral mensen die zich al goed hier al betrokken bij voelen bij deze problematiek? Kors: ‘De VR-ervaring trekt inderdaad al mensen die bijvoorbeeld een interesse hebben in virtual reality, of die zich al betrokken voelen bij het onderwerp. Maar op evenementen kunnen we wel mensen lokken met uiteenlopende meningen over dit thema. Het werkt in dat geval goed dat de installatie een novelty factor heeft waardoor we een breder publiek nieuwsgierig kunnen maken, ongeacht hun mening over het onderwerp.’"

Lecture at Witte de With Center for Contemporary Art

Read-In Symposium: Killjoy, confronting mainstream identities
Saturday 21 January 2017, 2 - 5 pm
Location: Witte de With Center for Contemporary Art


Nana Adusei-Poku, Wouter Gomperts, Patricia Kaersenhout, Fabienne Zuijdwijk

Since 2013, Witte de With Center for Contemporary Art and the Willem de Kooning Academy collaboratively organize the Read-In Series for the WdKA Critical Studies minor. During this yearly program students are encouraged to sharpen their personal vision on the social relevance of art and culture through confrontation with theories, concepts and analytical methodologies. The Read-In Series consists of four close-reading sessions followed by a closing symposium organized by the students of the minor.

This year, following the central theme of the series, the symposium will focus on “Other Voices”. During four Read-In sessions students explored identity politics, with texts of Simone de Beauvoir and Lucy Lippard as points of departure to become familiar with feminist philosophy on the one hand and (post)colonial awareness on the other. Based on the reading of four challenging texts, written by Judith Butler, Frantz Fanon, Audre Lorde and Sara Ahmed the students of the minor have invited four speakers to contribute to a closing symposium.

Visual artist, cultural activist and womanist Patricia Kaersenhout will contribute with her research on decolonial aesthetics. Professor Wouter Gomperts of the University of Amsterdam will investigate identity from the angle of psychoanalysis. Artist Fabienne Zuijdwijk will share her thinking on empathy related to personal trauma and systems of oppression. And finally Nana Adusei-Poku, Research professor in Cultural Diversity is invited to give a critical overview into Gender, Queer and Critical Race theory.


Upheavals of thought: the intelligence of emotions

Nussbaum on compassion (pdf) 

Nussbaum's definition of compassion p 321:

"Compassion, then, has three cognitive elements: the judgement of size (a serious bad event has befallen someone); the judgement of nondesert (this person did not bring the suffering on himself or herself); and the eudaimonistic judgement (this person, or creature, is a significant element in my scheme of goals and projects, an end whose good is to be promoted.)"

Nussbaum's definition of empathy p 327:

"More often, however, empathy is like the mental preparation of a skilled (Method) actor: it involves a participatory enactment of the situation of the sufferer. This awareness of one's separate life is quite important if empathy is to be closely related to compassion: for if it is to be for another, and not fir the oneself, that one feels compassion, one must be aware of both of the bad lot of the sufferer and of the fact that it is, right now, not one's own."



Art: An Occupation With Promise for Developing Empathy

Author: Suzanne M. Peloquin



Empathy is central to the interactions of occupational therapists who value personal dignity. Persons from various sectors of the behavioral sciences and the medical humanities have proposed that engagement with the arts can develop empathy, an assumption that prompted this inquiry. The observations of artists and art philosophers suggest that the assumption that art may develop empathy is grounded in the kindred natures of the two practices and in the actions that occur when a person engages with a work of art. The assumption that art may develop empathy is grounded in the kinship of the actions common to both practices: response, emotion, and connection. Artists and art philosophers’ observations of human practices have uncovered three rules of art that may dispose one toward empathy: reliance on bodily senses, use of metaphor, and occupation by virtual worlds. Analysis of art’s potential suggests that a person who would derive empathy from art must (a) use the senses to grasp feeling, (b) stretch the imagination to see a new perspective, and (c) invite an occupation that enhances understanding. Persons who hope to develop empathy must pursue an experience that evokes the fellow feeling that inspires it. Art can offer this experience.

Blanton Museum teaching empathy


The technology of the atomic bomb had a significant and tragic impact on history during and following World War II. In this lesson students learn about the atomic bomb and about some of the victims of this technology through close observation and discussion of Ben Shahn's From That Day On. Students develop a sense of empathy towards the survivors of atomic bombings and translate their reactions into poems.

Daniel Pink on the Art of Persuasion

Daniel Pink description of how to persuade someone could be seen in the lightofempathy. 

He refers to Mike Pentalon of Yale University on Motivational Interviewing.

If you want to persuade someone, ask two irrational questions:

1: On a scale of 1-10, one meaning I am not ready at all, ten meaning I am ready. How ready are you, ___(Maria) to ______ (clean your room)?

2: Okay, you say you are a_____ (two). Why didn't you pick a lower number?  

Now, the other person has to explain why he/she isn't a one and begins to articulate his or her own reasons for doing the thing. (Not reasons for not doing it, but reasons why he/she would do it, because person values herself better then the lower number.) 

If answer is a "one": say: "What can we do to make you a two?" - A one is because there is an environmental obstacle in front of them that you can help to take away. 

"Motivator's role is to service people's own reasons for doing something"

Sales guru and persuasion expert Daniel H. Pink explains how you can use motivational interviewing to influence others' thoughts and behaviors. Pink's latest book is To Sell Is Human: The Surprising Truth About Motivating Others ( Don't miss new Big Think videos! Subscribe by clicking here: Transcript - So let me give you a hypothetical.