Pratique du Shadowing: Cambridge 20 Listening Test 3 with answers - Apprendre l'anglais à l'oral avec la vidéo
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IELTS 20, published by Cambridge University Press and Assessment, 2025.
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This recording is copyright.
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Test 3.
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This is the IELTS Listening Test.
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You will hear a number of different recordings, and you will have to answer questions on what you hear.
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There will be time for you to read the instructions and questions, and you will have a chance to check your work.
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All the recordings will be played once only.
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The test is in four parts.
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At the end of the test, you will be given ten minutes to transfer your answers to an answer sheet.
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Now turn to part one.
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You will hear a woman phoning the owner of a house she is going to rent about companies
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that she could rent furniture from.
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First, you have some time to look at questions 1 to 5.
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Now listen carefully and answer questions 1 to 5.
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Good morning.
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Hi, this is Shelley Meyer.
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I'm renting your house on Archwood Avenue.
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I'm due to move in next week.
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Oh, yes.
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Hello, Ms. Meyer.
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What can I do for you?
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When I viewed the house, I told you I most probably need to rent some furniture, at least until I know whether my temporary work contract is going to be made permanent.
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Yes, of course, I remember.
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And I said I could give you some information about furniture rental companies in the city.
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That's right.
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Well, the biggest company is called Peak Rentals.
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I've recommended them to other people and have always heard positive reports about them.
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Could you give me an idea of their costs?
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Sure.
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I actually have one of their brochures here.
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It says the monthly price per room starts at $105 and goes up to $239.
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That depends on which rooms you need furniture for, of course.
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Sure.
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It's just to get a general idea of how much it's going to cost.
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And you said you had some positive feedback about this company?
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Yes.
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People have mentioned that the furniture from Peak Rentals is more modern than any of the other companies.
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And also, once you place an order, the furniture will be delivered to you in just one or two days.
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That would be really helpful.
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Oh, and the brochure says that there's a special offer at the moment.
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If you rent living room furniture, I believe that's a set of chairs and a TV table, you'll also get a lamp at no extra cost.
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Okay, but you know, that price range you gave is more than I was hoping to pay.
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Then you could try Aaron and Oliver.
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Sorry, what and Oliver?
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Aaron.
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Double A-R-O-N.
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Okay.
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Are they cheaper?
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I'd say they're a mid-price company.
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But if you chose them, you need to be aware that they charge an extra 12% every month in case of damage.
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Oh, I see.
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I'd have to do the math carefully then.
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Right.
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But one helpful thing is that they also do cleaning for customers.
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For the furniture?
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For the house.
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Oh, I see.
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I probably won't need that.
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Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.
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Now listen and answer questions 6 to 10.
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There's another company called Larch Furniture.
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It's quite new, and it has the lowest prices in town.
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That's for both furniture and also electronic equipment.
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Well, that would be good.
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I'm not bringing much with me, and I won't have much time to go shopping after I start my job.
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There are two things you need to know about large furniture.
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First of all, you have to take out insurance on the furniture, and you need to organize that yourself.
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That wouldn't be too hard.
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Also, you can't take out a contract for less than six months, but I figure that might not be a problem for you.
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You're renting the house for 12 months after all, aren't you?
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Yes, okay.
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Well, I'm...
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Sorry to interrupt.
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I just thought of another furniture rental company.
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It's called Space Rentals, and it's located very near to the house.
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Okay.
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I don't have any information about their charges, so it's best to use their app to find out what it would cost you to use them.
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Okay, thanks.
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I'll do that.
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One good thing about that company is that if you don't like the furniture once it's delivered, you can request exchanges.
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As long as you do that within a week of receiving it.
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That sounds really great.
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Okay, well, thanks very much.
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That's so helpful.
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That is the end of part one.
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You now have one minute to check your answers to part one.
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Part 2 You will hear an archaeologist who is part of a community project to excavate an ancient village,
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talking to members of the public who are visiting the site.
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First, you have some time to look at questions 11 to 16.
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Thank you.
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Now listen carefully and answer questions 11 to 16.
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Hello, I'm Hayden.
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I'm one of the archaeologists investigating the site here at Bidcaster.
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This is the third summer for this community project, and most of the people digging here are volunteers.
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I'm a full-time archaeologist for the town council, but I was asked to join the project by NHA,
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a charity which sets up projects like this up and down the country.
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As you can see, we're next to Bidcaster Castle, which is great because the owners let us use their facilities.
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So, how did we get to where we are today?
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Many archaeology projects happen when an ancient object is found, and in our case that object was a gold coin.
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Coins are often found by people using metal detectors to look for things buried in the ground,
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or coins are uncovered when wild animals like rabbits have been digging tunnels.
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Here, a walker found it on the ground after a rainstorm washed away some of the earth and sand.
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When the story of the gold coin hit the news, Peter Swift, an amateur historian,
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contacted me to say he believed there had been a village on this site, centuries before the castle was built.
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Just by chance, the team found some old maps and documents in our library,
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which showed 500-year-old drawings of ruined buildings on the grassy area between the outer stone walls of the castle and the river.
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We knew then we were onto something.
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Over the three summers the team has been here, we've found the remains of several buildings, and more broken pots than you can count.
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Normally you'd expect to find brooches and other jewellery, but we're still waiting to uncover any such items.
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The people who once lived here were skilled at making tools from animal bones, as you'll see when you visit the exhibition.
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Besides the discovery of the village, we've also found evidence of human activity on the other side of the river.
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No other houses or huts so far, but we can see the borders of an ancient field system.
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At one point we found a long wall and thought it was an ancient palace, but it turned out to be a modern wall.
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This summer's work will end soon, but we'll be back next summer.
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In the meantime, we're putting on a series of guided tours for school groups this autumn.
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Oh, and, um, maybe you saw the TV documentary about our project.
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That suggested the objects we've found are going to the town's museum, but we don't know that for sure yet.
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Before you hear the rest of the talk, you have some time to look at questions seventeen to twenty.
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Now listen and answer questions 17 to 20.
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When you enter the site, please make sure you keep to the paths at all times.
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There are a few other things, the highlights of the site, if you like, that I want to mention.
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Take a look at the map.
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Our present location is marked at the bottom.
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This year, we've identified the foundations of an ancient bridge.
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and it's really exciting today because a team of divers are in the river searching for lost objects.
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To reach the bridge, take the main path ahead of you, go straight on, and keep going till the path bends to the left.
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You'll see a smaller track leading off to the right.
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Follow that to take you to the river, where the divers are.
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You might be interested to see the rubbish pit.
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This is very near the castle walls, in the northwest corner of the site.
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It actually dates to the time of the castle, and not the ancient village.
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We found oyster shells and fish bones, and we assumed they were thrown from the castle kitchen above.
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One area we excavated in the first summer uncovered the site of a meeting hall.
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We knew it was an important building because it had two rows of post holes, deep enough to support a large roof.
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It's the largest structure in the central area of the site, next to the current excavation area.
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Last year we discovered a fish pond in the ancient village.
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Normally these were beside a river.
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The pond here is further away, but it's possible the river has moved slightly.
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Anyway, to get there from here, you turn right at the first information board you come to and follow the path into the trees.
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Before you come out of the trees, you'll see it on your right.
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If you reach the river, you've gone too far.
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So, does anyone have a...
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That is the end of part two.
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You now have 30 seconds to check your answers to part 2.
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Part 3 You will hear two theatre studies students, Maya and Finn, discussing their project on theatre programmes.
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First, you have some time to look at questions 21 to 26.
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Now listen carefully and answer questions 21 to 26.
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So, Finn, I've done as much as I can for our project on theatre programmes.
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How's your research coming along?
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OK, Maya.
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I didn't know theatre programmes are called Playbills in the USA till I started looking into the topic.
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Even though I struggled to find many useful websites, I'm glad we picked this subject.
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No one else on the course is doing the same as us, although it is one of the research areas of the module convener.
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That might actually put some people off.
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I suppose so.
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Anyway, I hadn't realised there are actually companies specialising in creating theatre programmes.
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Yes, they're quite common nowadays.
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Contrary to what many people think, theatres don't hire people to do the programmes.
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In fact, companies buy the rights to publish programmes on the theatre's behalf
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and then make their money selling advertising space within the programme booklet.
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It must be easier for theatres to do it that way.
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Yes.
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I remember reading something about programs in early British theatre.
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It said that the cast was always very important.
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Yeah, audiences were very familiar with leading actors and big names would draw huge crowds.
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But I hadn't realised that if the programme named a famous actor, that's who the public expected to perform.
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And if that didn't happen, people accused the theatre of breaking their agreement with the audience.
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They would demand refunds, and if they didn't get them, there were riots.
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Outrageous!
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That'd never happen now.
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No, people are too polite, even when they're disappointed if the star of the show misses a performance.
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We should definitely include that information about early audiences in our project.
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I also think it's important to mention that lots of ordinary people at that time were illiterate,
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so theatre programmes were of limited value in advertising plays.
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When a company of actors arrived in a town, they'd parade around the streets in their costumes, beating drums and announcing their upcoming performances.
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Interesting.
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I couldn't imagine that happening now either.
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Hmm.
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There's also an interesting comparison to make between 18th and 19th century programmes.
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Wasn't it in the 19th century that theatre programmes started to resemble programmes today?
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Yes.
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And unlike programmes from the 18th century, they always used colour.
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And there was a greater variety of designs.
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but personally I think 18th century programmes were superior because they told the theatre goers so many things, including about the actors.
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And about the writer, the plot and sometimes the history of the play.
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That's right.
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What should we say about theatre programmes in the 20th century?
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I reckon the most important thing is the dramatic change they underwent during World War II.
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When the government imposed restrictions on the use of paper.
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Yeah, but that was only in the UK.
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In the USA, programs, or rather playbills, continued to be published in the same format.
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While here in the UK, programs became merely a single sheet of paper folded to create four pages for text.
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What I don't really get is that after the war, they didn't go back to being more than one sheet or change in any way for over 25 years.
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I know there were paper shortages after the war, but only for five or ten years.
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Hmm, strange.
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Before you hear the rest of the discussion, you have some time to look at questions 27 to 30.
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Now listen and answer questions 27 to 30.
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I've got some pictures of programmes we could include on the slides for our presentation.
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I found a couple too, Maya.
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Let's go through and see what we think.
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Um, oh, this is an old one for a play called Rui Blass.
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Never heard of that, but the programme looks very decorative.
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Good enough to put in a frame on the wall.
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The images are just beautiful.
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Finn, what did you find?
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I've got some pages from a programme for Man of La Mancha.
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I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company.
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So we can learn how the production was created and the thoughts and feelings of the cast.
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Good.
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I've got a copy of a programme that's now in a museum.
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It's for The Tragedy of Jane Shaw
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and it's said to be the earliest surviving document to have been printed on Australia's first printing press.
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Fantastic!
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Another programme to talk about is for the Sailors' Festival.
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It comes from the British Library's digitised collection of programmes that was started a few years ago.
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It already comprises over 200,000 programmes, which is amazing!
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Huh, wish I'd known about it while I was doing my research!
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That is the end of part 3.
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You now have 30 seconds to check your answers to part 3.
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Part 4.
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You will hear a design and technology lecturer talking about inclusive design.
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First, you have some time to look at questions 31 to 40.
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Thank you.
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Now listen carefully and answer questions 31 to 40.
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It's only relatively recently that designers have become aware of the need to be inclusive when designing products.
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But what does that mean exactly?
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Well, it simply means designing products that span economic, social and cultural barriers.
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It means making sure products are accessible, so
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that as many different types of people as possible can use
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them without any type of adaptation having to be made to the original design.
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Inclusive design is often linked with universal design, although they are not quite the same thing.
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Universal Design aims to make products that work for everyone and
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that includes considering the needs of people who have cognitive difficulties which can present quite a challenge Today,
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examples of successful inclusive design can be seen all around us In workplaces,
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it is common to see desks which can be adjusted to suit people of different heights or for wheelchair users
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This still isn't always the case, however, and is one reason why office workers often suffer from back or neck problems.
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You'll find another example in the public toilets of countless hotels, airports and offices.
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Taps that you activate by sensor require no pressing or twisting movements.
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These are not only more hygienic, they're also easier for people with dexterity or mobility issues.
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The tech industry has been criticised in the past for focusing too much on young consumers, but this is changing.
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Many products are now designed with the elderly in mind.
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For example, it's well known that vision declines with age and that we also become worse at distinguishing between similar colours,
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in particular shades of blue, which is why software designers rarely create interfaces with this colour.
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Motor skills also decline with age
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and some people have difficulty doing everyday things like picking up a cup or opening a door.
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This can also affect their ability to use a mouse or keyboard.
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So voice access is now a routine way of making commands.
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It's worth looking at the problems non-inclusive designs cause when not enough consideration is given to a range of users
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as it can have a serious impact on people's lives.
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Access is one obvious example because it has such a huge impact on disabled people's independence.
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Not being able to access public transport because buses
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or trains are not wheelchair friendly means many disabled people can't go out unless someone goes with them.
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Safety is another issue.
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Inexplicably, most cars are still crash tested using a dummy based on an average sized male.
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This has safety implications for all women, particularly those who are pregnant,
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as the seatbelts worn by the dummy are not adapted to accommodate them.
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Over the past 100 years, workplaces in the UK have, on the whole, become considerably safer.
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Employers are legally required to provide well-maintained personal protective equipment, or PPE, anything from goggles to full bodysuits,
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to workers who need it, free of charge.
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But most PPE is designed to fit men.
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A recent report found that employers often think that when it comes to female workers,
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all they need to do to comply with this legal requirement is to buy jackets, for example, designed for a small man.
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The problem with this is that women can be tall and still have much smaller shoulders than the average man.
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Ill-fitting PPE such as high-vis jackets, vests and body armour can put women at risk The report found
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that 95% of women said that their PPE often hampered their work and that this problem was worst in the emergency services,
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particularly the police
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Another problem is related to comfort at work
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A very common scenario in offices in summertime is to see women wrapped in blankets
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or wearing sweaters while the air conditioning is on high.
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Meanwhile, the men are in shorts and t-shirts.
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This is due to differences in metabolic rates for men and women.
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There is a standard setting for air conditioning to be at a temperature of 21 degrees, designed to suit men.
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and in most modern offices it's not possible to turn the air conditioning up or down.
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This means that many offices which mainly employ women are wasting energy by having the air conditioning set too high.
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As you can see from the examples I've just mentioned, there are serious consequences for designs which don't consider the needs of all users.
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That is the end of part four.
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You now have one minute to check your answers to part four.
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Thank you.
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Thank you.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau B2 s’appuie sur la vidéo « Cambridge 20 Listening Test 3 with answers ». Les mots qui reviennent le plus souvent : programme, questions, furniture, theatre, answer. Cette vidéo contient 279 phrases et 3213 mots à répéter en shadowing. La partie parlée dure 29:59. Le locuteur parle lentement, environ 107 mots par minute, ce qui laisse le temps d’imiter chaque son. 84 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| inclusive adjectif | /ɪnˈkluːsɪv/ | inclusif |
| coin nom | /ˈkoɪ̯n/ | pièce de monnaie, jeton |
| archaeologist nom | /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/ | archéologue, archéologiste |
| diver nom | /ˈdaɪ̯və(ɹ)/ | plongeur, plongeuse |
| uncover verbe | /ʌnˈkʌvɚ/ | découvrir |
| disable verbe | /dɪsˈeɪbəl/ | désactiver, empêcher |
| dummy nom | /ˈdʌmi/ | idiot, idiote |
| wheelchair nom | /ˈ(h)wilt͡ʃɛɹ/ | fauteuil roulant, chaise roulante |
| pond nom | /pɑnd/ | étang, mare |
| workplace nom | /ˈwɝkˌpleɪs/ | lieu de travail, travail |
| metabolic adjectif | /mɛtəˈbɒlɪk/ | métabolique |
| comprise verbe | /kəmˈpɹaɪz/ | contenir, comprendre |
| accuse verbe | /əˈkjuz/ | accuser |
| lecturer nom | /ˈlɛkt͡ʃəɹə/ | conférencier, lecteur |
| resemble verbe | /ɹɪˈzɛmbəl/ | ressembler à |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| take out verbe | supprimer, sortir | |
| come along verbe | accompagner, venir | |
| find out verbe | découvrir, savoir | |
| go out verbe | sortir | |
| go through verbe | traverser | |
| pick up verbe | soulever | |
| set up verbe | /ˌsɛt ˈʌp/ | mettre en place, installer |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- I'm due to move in next week.
- What can I do for you?
- Could you give me an idea of their costs?
- How's your research coming along?
- Finn, what did you find?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | I've recommended · have mentioned · has been |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | will be played · will be given · be made |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | Castle, which is · people who once · programmes, which is |
Prononciation à surveiller
Le locuteur utilise 61 contractions et formes réduites, comme I'm, don't, I've. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: northwest /nɔɹθˈwɛst/, mathematics /mæθ(.ə)ˈmæt.ɪks/
- Les sons « sh » et « zh »: implication /ˌɪmpləˈkeɪʃən/, restriction /ɹɪˈstɹɪkʃən/, rubbish /ˈɹʌbɪʃ/, adaptation /ˌæd.æpˈteɪ.ʃən/, publish /ˈpʌblɪʃ/
- Mots longs — placez bien l’accent: archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, implication /ˌɪmpləˈkeɪʃən/, metabolic /mɛtəˈbɒlɪk/, decorative /ˈdɛk.ə.ɹə.tɪv/, historian /hɪˈstɔɹi.ən/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: wheelchair /ˈ(h)wilt͡ʃɛɹ/, historian /hɪˈstɔɹi.ən/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, wheelchair /ˈ(h)wilt͡ʃɛɹ/, lecturer /ˈlɛkt͡ʃəɹə/, jewellery /ˈd͡ʒʊ-/, outrageous /aʊtˈɹeɪ.d͡ʒəs/
- /r/ anglais — langue recourbée, sans frotter la gorge: archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, diver /ˈdaɪ̯və(ɹ)/, wheelchair /ˈ(h)wilt͡ʃɛɹ/, rental /ˈɹɛntəl/, comprise /kəmˈpɹaɪz/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Répétez phrase par phrase à vitesse normale, en reprenant chacune jusqu’à ce que votre rythme corresponde à celui du locuteur.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme inclusive, coin, archaeologist.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.