Shadowing-Übung: 【三日免費】(10/24) The Music of the Night 夜之樂章 - Englisch Sprechen Lernen mit Video
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Advanced Studio Classroom is on the air.
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The magic of live theater, today on Advanced.
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Hello, listeners.
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Welcome to Advanced Studio Classroom.
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My name is Peter, and you are joining us on day two of our arts article for the month of October, The Music of the Night,
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The Enduring Appeal of the Fandom of the Opera.
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Today, August 24, 2026, we are going through the second day of the article.
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We'll read through it, talk about the ideas in it, talk about the vocabulary in it,
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more importantly, give you a chance to practice your English and listen to some English being spoken.
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And by we, I do mean myself and my co -panelist returning for a second day of this article.
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Please welcome back Heather.
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Heather Hi, everyone.
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Happy to be here again for the second day.
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David Good to have you back, Heather.
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And we're particularly glad to have
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Heather here with us because Heather, as we learned yesterday, is not a fan of the Phantom of the Opera
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and so I think that's good because I think it helps keep things in perspective here.
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We get a variety of viewpoints.
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But Heather, speaking of yesterday, is there anything in the article that we've read so far that you wanted to mention?
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And let me just briefly catch up listeners who may not have joined us yesterday.
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It's basically about the author of the article is a fan of Phantom of the Opera.
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She was in love with it when she was a teenager
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And then she kind of became a little distant from it over the years as it became perhaps overplayed
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and her tastes began to change a little bit.
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But recently she found her way back to it.
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And she is writing now about the Phantom of the Opera in this,
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its 40th anniversary since the original production, since the Broadway debut you.
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But yeah, Heather, what in the article yesterday
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or in our discussion stood out to you or that you'd like to talk more about?
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So something I really identified with the author is,
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you know, when you're younger loving something and kind of almost being a little bit obsessive with it, and then just one day you're just like,
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ugh, like, and it feels cringy.
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It feels like almost visceral where you just can't imagine listening to something again or watching something again.
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And I think, and we briefly touched on it yesterday, I think that's so common for young people, or I guess people of any age,
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you really like something and then, you know, you grow out of it or you just find it not interesting anymore.
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And I really identified with the idea that she then came back to it, which I think is also very common depending on like your interest
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it makes it cut a lot of things to come full circle
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so I was really like reflecting on that
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and it made me think about a musical I actually really did like
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when I was middle school when I was in middle school
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or high school are you familiar with rent oh yes rent
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I was obsessed with the musical rent in early 2000s they had a movie
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that came out for that too and
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And I don't think my parents would have allowed me to actually watch it if they knew the content of it.
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Not that it's overly bad, but probably not appropriate for the age that I was at the time.
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Sure.
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But I really loved it, and I went and saw a stage production of it in New York, also on a school trip.
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And I was really obsessed with it.
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I'm like, oh, it was my personality for probably entirely way too long.
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And I wanted to move to New York and I wanted to go be an artist and all these things,
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all these lofty dreams that I didn't really think about like the consequence of or,
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you know, anything of like the logistics of how that would happen.
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But I was really inspired by it.
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And then, you know, time goes by, you get exposed to different things.
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And I just remember just being like, ugh, like I don't want to listen to this.
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And I actually did find myself recently getting back into it
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because there was a stage production of it in South Korea when I was visiting and I was like, oh, I really want to go.
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But it was in Korean.
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So I remember I listened to the Korean version of it and I really found a different appreciation for it.
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I think that something that is so great about anything really is when it can be adapted for different audiences.
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And so like, I never thought that this story could really resonate with people in South Korea, but apparently it did enough to be,
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you know, adapted for a Korean audience.
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And I don't think that there is an equivalent in Taiwan or any other Chinese speaking place, but you know, if there ever was,
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I would feel really compelled to go see that just because it's kind of like a full circle thing of, this is something that I really,
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I loved when I was younger and I identified with it in ways.
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And yeah, so I just really resonated with the author's thoughts on that.
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And I wonder, do you have anything like that?
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Sure, sure.
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I'll just mention it briefly, but another composition by Andrew Lloyd Webber, the man who wrote
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The Phantom of the Opera Musical.
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Perhaps some of our listeners have heard of it, Jesus Christ Superstar, which he wrote.
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Heather is very - I'm joking over here.
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I'm like, I know that one.
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Yes, yes, yes.
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No, that was a favorite musical of mine, a soundtrack recording.
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I never actually saw the show, but I had the album and I listened to it passionately in my teenage years.
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And then I grew a little distant from it.
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I actually came to faith as a Christian and I became aware of the inaccuracies in it,
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how it didn't accurately represent the faith of the person of Jesus Christ truthfully or not completely truthfully, I should say.
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I always loved the music though.
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And just last summer, in fact, a touring production of it came to Taipei and my wife
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and I went to see it because she knew I liked it.
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And I began to regain my appreciation for it because I see now that the inaccuracies it has in terms of theology,
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in terms of the person of Jesus Christ can be used to start a conversation
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about Jesus Christ with people who don't know much about it.
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That in a way, this is a good sort of foot in the door, we sometimes say, a way to get something started,
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you know, often a serious conversation of some sort by you
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and maybe someone else seeing this show and appreciating it on a musical level,
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but then having an opportunity to talk about the deeper issues and the people in it.
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And so I am now coming back to,
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I'm sort of no longer holding it at arm's length as I did for several decades since my teenage years,
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now that I've sort of come to re -appreciate it again, see it in a new light.
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But we will go into our reading now and perhaps help our listeners to see
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Phantom of the Opera in a new light.
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Certainly for the sake of the author here, that's what she's telling us about.
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So let's go into our first reading for today.
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We'll do two of them and we'll begin the first one now.
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After Masquerade, my visit to the Palais Garnier gave real -life context to the fantasy of the musical.
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The tour of this 150 -year -old Paris landmark begins on the ground floor,
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in dim corridors that once served as VIP entrances.
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It feels claustrophobic and almost subterranean, easy to imagine the low arches once lit only by lanterns.
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As you ascend the grand staircase, the opera house reveals itself in full.
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There is marble and gold everywhere, balconies jutting out so patrons could see and be seen,
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neat rows of doors to exclusive box seats.
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The plush red velvet auditorium feels impossibly ornate, crowned by the glittering chandelier.
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Grand doesn't begin to cover it.
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Okay, so our author begins by mentioning Masquerade, this other show that she saw in New York.
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She began the article by telling us how she visited the Palais Garnier Opera House in Paris,
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which, like we said, is the original setting for the Phantom of the Opera, for the story.
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And then more recently, she went to New York City to see some theater, and she saw this show called Masquerade.
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Masquerade is a French word that means to fake or to pretend.
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As you might guess, that's where the word mask comes from.
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We put on a mask, we're pretending or faking something.
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But often in a, not necessarily a negative way, it can be used negatively,
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but often it can be used more in a mysterious kind of intriguing way, you know, a masquerade of some sort.
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What's really going on behind those masks?
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And in this case, the word is used as a name for this show, which is an interpretation of Phantom of the Opera, the musical.
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It's sort of a updating in a way or a modern view of Phantom of the Opera.
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It takes place in a former art supply store, not even a theater, just an art supply store.
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And the audience members are led from room to room.
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It's meant to create
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this immersive experience to sort of bring the audience into the world of the story rather than them watching
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it from a distance as we do in a normal theater.
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So anyway, day two here, our first paragraph, the author writes, after Masquerade, after seeing that show,
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my visit to the Palais Garnier gave real -life context to the fantasy of the musical, making the connection between, you know,
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real life and the fiction of the musical.
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The tour of this 150 -year -old Paris landmark, the Palais Garnier, begins on the ground floor in dim corridors,
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hallways, dim corridors that once served as VIP entrances.
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VIP meaning very important person.
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VIP entrances.
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How does it feel according to that next line, Heather?
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It feels claustrophobic and almost subterranean.
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Easy to imagine the low arches once lit only by lanterns.
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So the word claustrophobic, there's a word, there's a root in there phobic, which is stems from phobia,
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which is like a fear or a discomfort from something.
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So if someone is claustrophobic, they have a fear or an uncomfortable feeling about being in closed spaces.
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Right, being in a small space.
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If you ever get a little uncomfortable when too many people get in the elevator in a building,
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or maybe when the MRT is a little too packed, sometimes you might, you might not, but you might start to feel a little claustrophobic,
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a fear of being trapped in a small space.
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And almost subterranean, it says, subterranean, big long word, just means beneath the earth.
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Terra, Latin for earth, so subterranean, beneath the earth, that's where the MRT is.
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It is subterranean.
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It is below the surface level.
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Obviously, it's still in the earth, in a sense.
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It's still on the earth, but it is below the surface level, subterranean.
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And so that's what it was like to visit, to walk through the underground floor and corridors of the Palais Garnier Theater.
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And then this wonderful second paragraph here in our section, just full with vocabulary.
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Start with the first sentence.
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As you ascend the grand staircase, ascend, what does it mean to ascend?
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Well, it's in that same sentence as staircase.
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So ascend, as you may guess, means to go up to as you ascend the grand staircase.
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As you begin to go up from the subterranean levels up to higher into the opera house, as you ascend the grand staircase,
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the opera house reveals itself in full.
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There is marble and gold everywhere.
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Balconies.
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There are balconies.
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What are they doing, Heather?
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The balconies are jutting out so patrons can see and be seen.
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So like jutting out is basically to stick out, right?
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Right.
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Yeah.
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To stick out.
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Yeah.
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So we can see them.
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Yeah.
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If you are sitting in those balconies, like it says, so patrons could see,
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could see the show and be seen because theater typically is a fashionable place to visit.
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And so, you know, human beings being, you know, the kind of people we are, we like to let other people see that we're here and,
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you know, what we're wearing perhaps, and, you know, to kind of show off a little bit in that way.
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So the balconies jump out, they stick out rather than being sort of tucked away into the wall.
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They stick out so that the patrons can both see the show and be seen by the other patrons.
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And then it goes on to say, there are neat rows of doors to exclusive box seats, meaning doors that lead to exclusive box seats.
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The plush red velvet auditorium feels impossibly ornate, crowned by the glittering chandelier.
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Ah, Heather, you want to take that sentence apart for us?
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Okay, I'll try.
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So in this first part, the plush red velvet auditorium.
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So when we think of the word plush, it is kind of like a type of fabric that's very soft to the touch.
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In this sense, it'd be very luxurious.
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You also might hear this when thinking of stuffed animals.
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So not the same.
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But we also refer to stuffed animals as plushes.
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So anything that is kind of like it has like almost like it's a fabric and it's kind of fuzzy.
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So red velvet is usually very like plush, very fuzzy to the touch.
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Similar to a stuffed animal, but I'm hoping nicer.
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Yes, exactly.
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And then it says it feels impossibly ornate.
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So to say something is ornate, meaning it means that it has a lot of decoration.
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It feels...
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almost decadent.
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Yes, almost too much.
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Yeah, too much.
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I almost want to say gaudy, which is kind of just over the top decadent, beautiful, but almost too much.
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And then it says, crowned by a glittering chandelier.
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So a chandelier is a type of light fixture that has a lot of, what is it?
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Little individual lights on it.
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Yeah, individual lights.
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Originally, they would have been actual candles lit by flame.
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The typical structure of a chandelier is a big circle of some sort with ringed with little lights,
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little candles or electrical lights later on.
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And then maybe a second smaller circle above that first big circle.
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And then maybe a third even smaller circle above that circle.
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Kind of like if they made a lamp out of a wedding cake is what a chandelier, you can think of a chandelier.
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And it could also have like crystals.
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That's what I was thinking.
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The crystals is what brings it up.
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It brings it, it makes it feel like a very fancy sort of just, it's a very fancy light fixture basically.
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And then it summarizes this whole idea by saying grand doesn't begin to cover it.
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Meaning it is so luxurious and beautiful that it's beyond grand.
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Right, right.
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Yeah, exactly.
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Grand, it's more than just grand doesn't cover it.
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Grand doesn't even begin to cover it.
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You know, it's like maybe when you hear that blah, blah, doesn't begin to blah, blah.
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It's an emphatic way of saying that blah, blah, doesn't do blah, blah.
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Yeah.
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And that just one other where they're glittering word you'll often hear with chandelier because all those lights on the chandelier,
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small lights, you know, not just one big shining light, but all these little small lights together with the crystal,
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the little bits of crystal all through the chandelier create a glittering effect where there's all these little points of light, like the sky at night,
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you know, like the universe, like the stars at night, glittering and just holding you captive with amazement that it's beauty.
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And for those of you who know the show, The Phantom of the Opera, you know the role that the chandelier plays in the story.
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So we'll say no more about that.
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But that is perhaps one reason to check out a production of The Phantom of the Opera.
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But for the time being, though, here at Advanced Studio Classroom,
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we are going to go into our second reading for our second day of the article here, The Power of the Phantom.
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Let's do our second reading now.
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The Power of the Phantom The Phantom of the Opera, which turns 40 in 2026, has had extraordinary reach.
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More than 160 million people have seen it in over 200 cities worldwide,
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making it one of the most widely experienced live performances in history.
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It's the kind of show people return to again and again, often at very different moments in their lives.
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The Phantom national tour offers another new look.
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When the show arrived at the Orpheum Theater in Minneapolis last November, it came refreshed and redesigned but glitzy as ever,
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with the chandelier swinging above and the orchestra swelling below.
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I brought my seven -year -old son, newly taken with the show's spookiness, and my 77 -year -old father,
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and saw how this one show stretched seamlessly across generations.
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The boat appeared again, this time framed by the Orpheum's vast stage rather than a candlelit basement.
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I giggled.
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Once more, I began to tear up.
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Midway through the performance, the audience was treated to a peek behind the mask of live theater.
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Right at the climax, just after the Phantom's most villainous act, Christine and the Phantom descended once more to the underground lake.
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Their gondola sailed offstage, and then everything stopped.
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The music cut.
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The lights came up.
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There was an announcement about technical difficulties.
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For one quiet moment, we weren't sure whether the Phantom was up to something even more sinister than usually.
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Okay, so as we've mentioned throughout these two days, the Phantom of the Opera turns 40 in 2026.
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And it goes on to say here that more than 160 million people have seen it in over 200 cities worldwide,
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making it one of the most widely experienced live.
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performances in history, not just of musical theater, but any live performance.
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Phantom of the Opera is at the, it's on the short list, as we say, it's one of like top 10.
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And the, another theme here that the author has already mentioned in the article, it's the kind of show people return to again and again,
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often at very different moments in their lives.
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Something Heather and I were talking about at the beginning of our show today.
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But the author goes on to say that the Phantom National Tour, now she's back in the States now.
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She's finished with the Palais Garnier in Paris, and she's back home in Minneapolis, it appears, in Minnesota.
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And she is talking about the national tour of the Phantom,
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which is done with shows that are popular on Broadway in New York or sometimes abroad.
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They will tour cities around the world.
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And she says, when the show arrived at the Orpheum Theater in Minneapolis last November,
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how does she describe it there, Heather?
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It came refreshed and redesigned, but glitzy as ever.
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And the word glitzy, it means exciting and attractive because of being connected or synonymous with rich,
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famous, or fashionable people.
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So if something has glitz and glamour, I think is a phrase that people say, it is something that is considered very rich and fashionable.
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Right.
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Rich, fashionable, glamorous.
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The opening night of a big
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Hollywood movie would often be described as glitzy
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or maybe the inauguration of a president would sometimes be described as a glitzy affair, perhaps.
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And so the Phantom of the Opera, the national tour is refreshed and redesigned.
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Now, that's not to say that it is no longer taking place in an opera house, not that level of redesign.
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But they just mean that they're not still using the same candles and costumes from 1986.
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It has been refreshed and redesigned, but it's still telling the same basic story.
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And that is a glitzy story to begin with because it's set in the Palace Garnier, remember?
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And we had that immense paragraph in our first section today describing that.
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That all, you know, those are all words that you would use to describe something glitzy, plush, ornate, glittering chandelier.
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So the author goes on to say that she brought her seven -year -old son, who was newly taken with the show's spookiness.
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What is spookiness, Heather?
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So if something is spooky, it means it's kind of creepy or mysterious and scary.
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Yeah.
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So the aspect of like the phantom and his mask, it's kind of creepy.
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It's kind of mysterious.
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It kind of makes you feel a little uncomfortable, maybe a little fearful.
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Yeah, yeah.
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Spooky is a good word.
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It means kind of frightening, but not terrifying, not horrifying.
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It's there's too much mystery still, but there is something there's something spooky about that old house at the end of the street.
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You know, I heard something strange happened there once
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and the other night I was walking past it and I thought I heard a voice, you know, in it.
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So there's something spooky about that.
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And the show is like that, too.
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It's a romantic show.
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It's not really a horror show, really, by any stretch of the imagination, but it is spooky.
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There is, you know, it's the phantom of the opera, not the ordinary man of the opera.
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This is a phantom, so there's some level of spookiness to it.
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And that phrase, newly taken, she describes her seven -year -old son as newly taken with the show's spookiness.
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To be taken with something doesn't mean to just bring something
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from one place to another to be taken in this sense means to be attracted to it, to be captivated by it,
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to, you know, in a sense, to be taken by the thing you're attracted to.
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And he's attracted to the show and its spookiness.
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Newly, because he's presumably just discovered it as a seven -year -old kid, he probably isn't thinking back to the original production in 1986.
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She brought her son and her 77 -year -old father and saw how this one show stretched seamlessly across generations.
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She describes how the gondola, the boat appeared again.
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And she had the same reaction,
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actually, as she did back in day one when she saw it at the New York City masquerade production of the show.
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She giggled and then she began to tear up, having both those sort of contrary emotions at the same moment at the same time.
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However, midway through the performance, it goes on to say
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The audience was treated to a peak behind the mask of live theater
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What happened, Heather?
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So right at the climax, which is one of our words, meaning the most exciting or important part of the story,
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just after the Phantom's most villainous act, Christine and the Phantom descended once more to the underground lake.
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And really quick, villainous is another one of our words.
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It's basically the root word villain.
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Right.
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So when you think of a villain, you think of someone who is evil or corrupt.
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The bad guy.
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The bad guy.
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The bad guy, yes.
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So they go into the underground lake, and then all their gondola sailed offstage, so they're off view, and then everything stopped.
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Just everything stopped.
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The music cut.
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The lights came up.
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There was an announcement about technical difficulties.
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And believe it or not, I mentioned at the top of our show today that I had seen a production last summer,
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this past summer, of Jesus Christ Superstar right here in Taipei.
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The same thing happened.
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Oh, really?
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Near the end of the show, not right at the climax, but near the climax, suddenly everything stopped.
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The performers froze on stage.
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Clearly, it wasn't a dramatic pause.
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Something that was supposed to happen had not happened.
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The curtain came down.
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There was an announcement about technical difficulties.
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It happens.
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In live theater, it happens sometimes.
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It wasn't explained to us specifically what went wrong, but for about 10 to 15 minutes, they fixed whatever it was,
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and the show was able to continue, and it was a great show.
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And I lift my hat to the performers for, you know, being able to continue after that pause.
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But I love how our article ends here.
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Well, how does she say it, Heather?
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She says, for one quiet moment, we weren't sure whether the phantom was up to something even more sinister than usual.
342
And sinister, really quick, is our last vocabulary word.
343
So it's something that makes you feel that something evil, dangerous or illegal is happening or will happen.
344
And so I thought this was very cheeky as well, where it was kind of paying,
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like, I guess, homage to like what the show is about.
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And like, maybe you can elaborate a little bit.
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Right, right.
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Well, I won't elaborate too much, partly because we're just about out of time, but also because I hate spoilers.
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So for anyone who's seen the show, who hasn't seen the show, I don't want to say too much.
350
But let's just say it's not called the Phantom of the Opera for nothing
351
there is a conflict at the heart of the story
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and it's a conflict that has consequences for the characters i will say no more for now
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but i will encourage you
354
if you haven't seen phantom of the opera check it out uh you know
355
if you can see it live that's ideal maybe see the movie too
356
if you're really really curious it's worth seeing you know um
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it's it's not a bad show it's a pretty good show
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may not be everyone's cup of tea as heather said but i think it's worth seeing if only because it's so popular,
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it's always helpful to know what everyone else is talking about.
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But what we are talking about here at Advanced is that that is all we have time for today.
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We thank you for joining us both these two days to talk about the music of the night,
362
the appeal of Phantom of the Opera and the magic of live theater.
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And we encourage you to join us again here next time when we will have a new topic,
364
a new article to read through and talk about the English in it, give you a chance to grow confident in your English.
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But for today, I'm Peter.
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And I'm Heather.
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Saying farewell.
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Bye -bye.
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Wortschatz und Sprechhinweise zu dieser Lektion
Diese Sprechübung basiert auf dem Video „【三日免費】(10/24) The Music of the Night 夜之樂章“. Diese Wörter kommen am häufigsten vor: phantom, opera, heather. Dieses Video enthält 368 Sätze und 4523 Wörter zum Nachsprechen. Der gesprochene Teil dauert 28:06. Der Sprecher spricht in natürlichem Tempo, etwa 161 Wörter pro Minute, ähnlich wie im Alltagsgespräch. 83 % der Wörter gehören zu den 3.000 häufigsten im Englischen; den Rest solltest du dir vor dem Üben ansehen.
Wichtiger Wortschatz in diesem Video
15 lernenswerte Wörter aus dem Video, mit Aussprache und Bedeutung:
| Wort | Aussprache | Bedeutung |
|---|---|---|
| phantom Substantiv | /ˈfæntəm/ | Phantom |
| opera Substantiv | /ˈɒp.ə.ɹə/ | Oper |
| heather Substantiv | /ˈhɛðɚ/ | Besenheide, Heidekraut |
| theater Substantiv | /ˈθi(ə)tɚ/ | Theater, Schauspielhaus |
| glitter Verb | /ˈɡlɪtəɹ/ | glitzern |
| mask Substantiv | /mæsk/ | Maske |
| balcony Substantiv | /ˈbælkəni/ | Balkon |
| newly Adverb | /ˈnuli/ | neu |
| patron Substantiv | /ˈpeɪ.tɹən/ | Schirmherr, Patron |
| staircase Substantiv | /ˈstɛɹˌkeɪs/ | Stiege, Treppe |
| crystal Substantiv | /ˈkɹɪstəl/ | Kristall |
| underground Adjektiv | /ˌʌn.dəɹˈɡɹaʊnd/ | unterirdisch, Untegrund- |
| corridor Substantiv | /ˈkɒɹɪdɔː/ | Korridor, Gang |
| velvet Substantiv | /ˈvɛlvɪt/ | Samt |
| fashionable Adjektiv | /ˈfæʃənəbl̩/ | modisch, fashionable |
Phrasal Verbs, die du hören wirst
| Wort | Bedeutung |
|---|---|
| stick out Verb | abstehen, herausragen |
| come up Verb | erscheinen |
| check out Verb | überprüfen |
| come down Verb | herunterkommen |
| jump out Verb | vorspringen |
| show off Verb | angeben, aufschneiden |
Sätze zum Wiederholen
Kurze, vollständige Sätze aus dem Video, die du im Alltag wiederverwenden kannst:
- Heather is very - I'm joking over here.
- I'm like, I know that one.
- What's really going on behind those masks?
- Similar to a stuffed animal, but I'm hoping nicer.
- That's what I was thinking.
Grammatik in diesem Video
Die Strukturen, die der Sprecher am häufigsten verwendet, mit den genauen Worten aus dem Video:
| Struktur | Im Video |
|---|---|
| Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist | we've read · have heard · has had |
| Passiv be + Partizip Perfekt – wichtig ist, was geschieht, nicht wer es tut | being spoken · was really inspired · can be adapted |
| Relativsätze who / which + Satz – eine Zusatzinformation über eine Person oder Sache | man who wrote · people who don · show, which is |
Aussprache, auf die du achten solltest
Der Sprecher verwendet 54 Kurzformen und abgeschwächte Formen, zum Beispiel doesn't, I'm, don't. Sprich sie in der kurzen Form, so wie du sie hörst.
- Die „th“-Laute: heather /ˈhɛðɚ/, theater /ˈθi(ə)tɚ/, beneath /bɪˈniːθ/, theology /θiˈɒ.lə.d͡ʒi/, truthfully /ˈtɹuːθ.fəl.i/
- Die Laute „sh“ und „zh“: fashionable /ˈfæʃənəbl̩/, refresh /ɹɪˈfɹɛʃ/, appreciation /əˌpɹiː.ʃiˈeɪ.ʃən/, luxurious /lʌɡˈʒʊəɹi.əs/, fiction /ˈfɪkʃən/
- Lange Wörter – auf die Betonung achten: difficulty /ˈdɪfɪkəlti/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/, mysterious /mɪˈstɪɹi.əs/, vocabulary /vəˈkæb.jə.lə.ɹi/, auditorium /ˌɔ.dɪˌto.ɹi.əm/
Laute, die Deutschsprachigen schwerfallen:
- /w/ — mit runden Lippen, nicht wie das deutsche „w“ (/v/): consequence /ˈkɑn.sɪ.kwəns/, midway /mɪdweɪ/, swing /ˈswɪŋ/, farewell /fɛɹˈwɛl/, hallway /ˈhɔlˌweɪ/
- Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: underground /ˌʌn.dəɹˈɡɹaʊnd/, encourage /ɪnˈkʌɹ.ɪd͡ʒ/, pretend /pɹəˈtɛnd/, phrase /ˈfɹeɪ̯z/, teenage /ˈtiːneɪd͡ʒ/
- /æ/ — offener als „ä“: phantom /ˈfæntəm/, mask /mæsk/, balcony /ˈbælkəni/, fashionable /ˈfæʃənəbl̩/, climax /ˈklaɪ.mæks/
So übst du mit diesem Video
- Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
- Beginne mit 0,75-facher Geschwindigkeit, sprich Satz für Satz nach und wechsle zur normalen Geschwindigkeit, sobald es leichtfällt.
- Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie phantom, opera, heather.
Was ist die Shadowing-Technik?
Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.