تدريب Shadowing: The Beatles - Roundup Interview (1964) [REUPLOAD] - تعلم التحدث بالإنجليزية مع YouTube

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Let's meet the Beatles.
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154 جمل
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Let's meet the Beatles.
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I've got Paul and John.
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John.
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And Paul's talking to George and Ringo.
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Well, I said in my intro, and you were listening to it, that there have been a lot of changes since this time last year.
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Well, we've seen them, you know, we've seen you making films and doing all sorts of marvellous things, but what have the changes meant to you?
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Nothing, really.
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I think the main changes are in people's attitudes to you.
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How?
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I don't know.
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But it's people who change rather than you.
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You know, we feel exactly the same, really.
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Got a new suit, though.
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But you've made a film since then.
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Mm-hmm.
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And you've just finished it.
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Yeah.
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Why did you make a film?
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Well, it's the logical step, isn't it?
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And I believe it's quite lucrative.
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Anyway, someone asked us.
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Yeah, we're asked to do it.
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And we said, yeah.
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And Alan Owen wrote it and we changed it and we're all...
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It's called A Hard Day's Night.
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At your local cinema now.
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Not now.
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Not now.
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Soon.
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Did you prefer this time last year or do you really like the big time?
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I like whatever's happening at the moment.
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Yeah, there's good in both of the stages.
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You know, it was great then.
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It's lovely now.
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Despite whether people are rude or not.
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Oh, I think that.
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What do you think about people who maybe, you know, didn't like you then or said something nice to you or just didn't bother about you then, but are terribly nice to you now?
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We didn't bother about them then.
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We don't bother about them now.
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Do you know something?
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What?
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I believe it.
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Yeah, it's true.
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What difference is there since last June up to now?
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What sort of things have happened to you since then?
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The main difference is that we've got more money and less time to ourselves.
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You know, everything's speeded up and we're just running around like mad.
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And which of the two would you prefer to have?
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More money and less time?
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Well...
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More money and less time.
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I think.
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If you ever manage to get away from the crowds, what sort of things do you like to do?
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Sleep, see films, go to nightclubs, drive my car and that's it.
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Play records, watch TV, just ordinary things.
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What sort of records do you like listening to?
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Listening to all my records are sort of American ones.
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People who you probably haven't heard of.
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Arthur Askey, Bert Whedon.
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Do you find any difficulty in keeping up your public image?
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No.
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What image?
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It's our image is just us.
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You know, as we were.
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We didn't try and make an image.
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It just happened, and so we don't have to keep it up.
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We just remain ourselves.
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Don't we, Ringo?
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Well, we do.
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The other two are worried about it.
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You write very good songs.
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Don't you?
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Thank you.
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do you write songs?
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Well, you know, we just depend, sometimes we write them on old pianos and anything that's lying around, you know, old tramps.
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It doesn't do the piano any good, does it?
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No, it's murder getting them to the recording studio.
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I've got a song, George, on a great big piano.
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But guitars and things, you know, normally we sit down and try and bash one out or anything.
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But then again, there's no formula,
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because he can come up with one one day completely finished we still say we both wrote it though
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when did you start writing songs i was about two i think i wrote past me the bread mother
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no no it's more like when you're about about 13 or 14 when i got a guitar writing them seriously what's the one you wrote down that's me boom
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Well funny songs then.
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Mine was I lost my little girl.
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Did you know each other when you were 13?
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Yeah, that's when we met.
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Really?
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Yeah.
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Tell us about the meeting.
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I was playing at a garden fight in the village where I lived on.
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Playing for what?
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Playing with a group, you know, a skipper group.
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And he came along and we met.
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I knew one of his mates, you know, Ivan, who was a mutual mate.
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Hey!
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mutual mate of ours and he introduced us and things.
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In those days has your...
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Go on.
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In those days has your attitude to fans changed since then?
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No, no, there's just more of them to watch.
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But they all scream when they're listening to you.
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Yeah, but we love that.
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Do you really?
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Yeah, really.
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Because in Edinburgh, you know, I mean, you know, Glasgow tonight.
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Yesterday, last week.
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and I said that, you know, I don't know, I've lost track of time.
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Anyway, the atmosphere in the theatre, it's really, it's marvellous, you know, it must come.
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I will do, I'll try to come.
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Good.
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John, about your book, how did you go about writing this book?
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Well, sort of pen and paper and that.
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In words, too.
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I just sort of wrote it, you know, the hobby.
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Is this a stage that you went through, writing in this sort of gorbled language that you've got out of now, have you?
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No, because a lot of people can't go.
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I was rather more polite or more rude, you know, one extreme to the other.
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To the other, where's he gone?
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Clapses.
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What's the most interesting person that you've ever met?
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I should say, who's the most interesting person you've ever met?
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John Lennon.
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George?
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Um, Harry Seacombe, I think.
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I like him.
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Is that the kind of person that you like?
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Yeah.
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Have you ever been frightened of your fans?
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A time when they've really frightened you?
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Paul's frightened me a few times.
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Only times when getting in and out of places, when there's thousands of them all together, but when you usually only meet about the most six or seven, you know, if you were sort of running along the road,
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and then there's not enough of them then is it to sort of make you fly?
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You don't mind that too much?
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Do you never feel lonely sitting at the back?
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No, no, no, that's where I am, you see.
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The drummer should always be at the back.
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The drummer should be heard and not seen.
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Ringo, how do you feel about sitting playing on stage and being showered with things like jelly babies, boots, girls, things like that?
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Well, I'm lucky being at the back, you know, the other three have it worse than I do.
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Sometimes it's a bit of a drag.
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It's not much fun, actually.
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You know, off your stove.
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Yeah, because if...
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Actually, we've had things hit us in the eye.
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And if you're listening, don't throw them in your eye.
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It's dangerous, you know.
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Bad!
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Hello, boys.
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How are you doing?
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Hello, chaps.
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How are you doing?
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You can get up now.
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I pronounce you man and wait.
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السياق والخلفية

في هذا المقابلة التي أجريت مع فرقة البيتلز عام 1964، يتحدث الأعضاء بول وليام وجون بكلمات تعكس تجربتهم الفريدة في عالم الموسيقى والترفيه. يتناول الحديث التغيرات التي مروا بها منذ العام السابق، وتأثير هذه التغيرات عليهم وعلى معجبيهم. يعتبر هذا الحوار نافذة تعكس التغيرات الاجتماعية والفنية التي شهدتها تلك الفترة، مما يجعله مرجعًا قيمًا لتعلم اللغة الإنجليزية من خلال آليات الحوار العام.

أفضل 5 عبارات للتواصل اليومي

  • كيف كانت التغيرات بالنسبة لكم؟ - هنا يتم استعراض شعور المتحدثين حيال التغيرات في حياتهم.
  • نحب كل ما يحدث في الوقت الحالي. - تعبير عن الرضا عن الوضع الحالي، مما يعزز الإيجابية.
  • لم نعد نهتم بما يقوله الآخرون. - يعكس هذا عدم الاكتراث بالتعليقات السلبية والتمسك بالذات.
  • نفضل الحصول على المزيد من المال ووقت أقل. - يوضح هذا الرغبة في تحقيق النجاح المادي رغم ضغوط الوقت.
  • هذا هو الطبيعي، أليس كذلك؟ - تعبير عن قبول الوضع الحالي كأسلوب حياة.

دليل خطوة بخطوة لتطبيق تقنية التظليل

لتحسين نطقك باللغة الإنجليزية باستخدام تقنية طريقة التظليل في الإنجليزية، إليك خطوات بسيطة يمكنك اتباعها مع هذا الفيديو:

  1. استمع جيدًا: ابدأ بمشاهدة الفيديو دون تفاعل، فقط استمع إلى الحوارات.
  2. تحديد العبارات: اختر بعض العبارات المذكورة سابقًا، مثل "كيف كانت التغيرات بالنسبة لكم؟".
  3. التكرار: قم بتكرار كل عبارة بصوت عالٍ مع تقليد النبرة والإيقاع. يمكنك استخدام تقنيات shadow speech أو shadowspeaks لتطبيق هذا.
  4. الممارسة المستمرة: قم بتكرار العملية يوميًا لضمان تحسين نطقك وثقتك أثناء المحادثات.

من خلال هذه الخطوات، ستتمكن من الاستفادة من محتويات الفيديو وتطبيقها على تحسين قدراتك في الحديث واللغة بشكل عام، مما يسهم في تعزيز مهاراتك عبر shadowing site لتحسين تجربتك اللغوية.

ما هي تقنية التظليل الصوتي؟

التظليل الصوتي (Shadowing) تقنية تعلم لغة مدعومة علمياً، طُورت أصلاً لتدريب المترجمين الفوريين المحترفين. الطريقة بسيطة لكنها قوية: تستمع لصوت إنجليزي أصلي وتكرره فوراً بصوت عالٍ — كظل يتبع المتحدث بتأخير 1-2 ثانية. تُظهر الأبحاث تحسناً كبيراً في دقة النطق والتنغيم والإيقاع وربط الأصوات والاستماع والطلاقة.

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