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>>Teresa Amabile: Thank you so much. I'm really delighted to be here. And please don't feel

丁寧に「〜したい」を表すwould like + n/ would like to + v

shy. Come on down in front. I'd love to have people sitting down close. I get a lot of

energy from being able to talk to you in this way. I'm really excited to be here and to

be able to share with you some, what I think, are some fairly surprising results from our

The basic research question is a pretty simple one. What makes people happy, motivated, productive,

and creative at work? Now obviously, this is a pretty important question because presumably,

we all want to be happy and motivated at work. And our organizations want us to be creative

But the answer to this question really isn't very simple at all. For one thing, do these

even go together? Think about the prototypical starving artist. Do happiness and creativity

work in the same direction or might they work in opposition? Another question about this.

Should managers care how happy people are at work? And also, what influences any of

these? Take creativity for example. People have been wondering about creativity at least

since the time of Plato. I, myself, have been studying creativity since I was about five

Really. True. At least, that's the first time I remember hearing the word "creativity."

I was in kindergarten and I overheard my kindergarten teacher tell my mother, "I think Teresa shows

a lot of potential for artistic creativity and I hope that's something she really develops

I was ecstatic when I heard this. I don't think I really knew what creativity meant,

but it sounded good. I was glad I had it. And I was looking forward to a lifetime as

a creative artist. Well, unfortunately, that kindergarten year was the high point of artistic

I really have never done anything with art after that, and I've often thought about why.

What is it that happened to that promised artistic creativity? As I look back on it,

I think it might have had something to do with the kind of day by day experiences that

So, kindergarten was in a very progressive, open-school kind of situation where we had

a lot of free play time and a lot of access to these wonderful art materials all day.

The following year, my parents enrolled me in a very strict, traditional, parochial school.

There it is. St. Joe's Elementary in North Tonawanda, New York. Doesn't that look like

So, at St. Joe's, art, rather than being something that we did all the time every day, art became

a subject that we had once a week. And every week, we got the same, pretty bizarre activity

given to us. We were each given a small reprint of one the great masterworks in painting and

So, this is something that we got in Second Grade--da Vinci's Adoration of the Magi. And

we were told to copy this with absolutely no skill training and with material that looked

This was obviously an exercise in frustration. And what's more, we were really strictly graded

on these monstrosities we produced. Mine were true monstrosities. I couldn't even figure

out how to get all those horses and Saints on the page, let alone make them look like

And there was only one time in all those years in school that I heard the word "creative."

I decided to do something interpretive on this particular day. I was doing something

abstract during art. And I heard the nun walking up the aisle. And then, I noticed that she

stopped by my desk and she was looking down at me.

And then I heard her say, "I think maybe we're being a little too creative."

I was mortified when she said this. I was embarrassed. I was angry. I looked at her

as being a cruel person. I saw myself as being ridiculous. And I certainly lost all of my

motivation at that point for doing anything with art. It was like the last straw in my

Now, in an adult at work, I would call that kind of reaction "poor inner work life." Let

me show you what I mean by inner work life. It's the combination of perceptions, emotions,

and motivations that people experience at they're reacting to and trying to make sense

of the events going on in their work day.

So, inner work life consists of perceptions. That is, your thoughts, impressions, your

judgments about the place where you work, your co-workers, your bosses, the work that

you're doing--even yourself as an employee. So, those are your perceptions. It's also

your motivations, your emotions and your emotional reactions to what's happening with what's

And also, you're general mood on a given day. And it's your motivation for doing the work.

And we found that the most important motivation for creativity is what we call "intrinsic

motivation." And that's your passion for doing what you're doing, your drive to do it because

you find it interesting, exciting, because you're personally challenged by it.

So this complex of psychological experiences are inner work life. Inner work life is called

"inner" because it's mostly hidden. Let me give you an example of this. Have you ever

been in a business meeting with higher status people? When one of those people says something

so outrageous that you're momentarily stunned--I see some heads nodding--I think many of us

So, did you say what you were thinking? If you're like me and most people, you didn't.

Do you let it show on your face? If you're like me, you did something like this.

When, in fact, you wanted to react by saying, "What? What did you just say?" So, it's really

hidden away. Co-workers are often not aware on inner work life and bosses certainly aren't

aware of it, especially if the reaction is negative. But does it matter?

Does it really matter what people's innermost thoughts, feelings, are at work? In short,

you bet it does. It matters a lot. In fact, inner work life is a central construct in

our research. It matters a great deal for the work that people do and it matters for

I'm going to illustrate the importance of inner work life by telling you two contrasting

stories of two companies from our research. I think of these companies in Dickensonian

terms. The best of time and the worst of times.

Because the worst company, in terms of employee engagement and actual success, was like the

evil twin of the best company in our research, because these two companies were oddly similar

before we started our research. They were both very well-known companies.

I can't tell you the real names, by the way. I'm gonna use disguise names because we have

some pretty confidential information on them. Very well-known companies, very profitable

and known as the innovative leaders in their industries. I'm gonna start with the worst.

And it's a company that we call "Karpenter Corporation." It's one of the best-known consumer

products brands in the world. Imagine that you're standing with your co-workers in the

parking lot of the building where you work. And you're watching silently as the contents

of that building are being auctioned off--your computers, CADs, work stations, your desks,

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Teresa Amabile: "The Progress Principle" | Talks at Google

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