Pratique du Shadowing: Details of Customer Purchase Listening Test - Apprendre l'anglais à l'oral avec la vidéo
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274 phrases
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1
A number of different recordings will be taken and you will have to answer questions based 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 sections.
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At the end of the test, you will be given 10 minutes to transfer your answers to the answer sheet.
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Now turn to section 1.
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Section 1 You will hear part of a conversation between an art auctioneer and their client.
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First, you have some time to look at questions 1 to 7.
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You will see that there is an example that has been done for you.
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On this occasion only, the conversation relating to this will be played first.
11
Good afternoon, madam.
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Ah, yes, I see you successfully bid for lot 2374.
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Good afternoon.
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Yes, that's correct.
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The lot number of the auctioned article is 2374.
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So, you write 2374 in the space provided.
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You should answer the questions as you listen, because you will not hear the recording a second time.
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Listen carefully and answer questions 1 to 7.
19
Good afternoon, madam.
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Ah, yes, I see you successfully bid for lot 2374.
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Good afternoon.
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Yes, that's correct.
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I hope you are satisfied with your purchase.
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If I may say so myself, I think you got a real bargain.
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What you paid is not much above the original reserve price of £300.
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I love PJ Browning's work, and to be honest, I was prepared to pay a lot more.
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I'd decided beforehand that £500 would be my limit,
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so getting it £150 cheaper than I was prepared to pay for it was a wonderful surprise.
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I have to say that 17th century paintings of rural English scenes like this one are rather underrated.
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The art world seems to want abstract paintings by modern artists more
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Geometric designs seem to be the trend today
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Not my taste at all I have a more conservative taste when it comes to art
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The painting will blend in with my antique furniture at home
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Well, I hope you have a big wall to put it on Luckily, I'm very fortunate to live in a rather large country house
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What are the exact measurements of the painting, by the way?
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The width is 1 .5 metres, and the height is 1 metre.
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Without the frame, that is.
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If you include the gilt -covered frame, which is quite large to balance the size of the painting,
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you can add on another 0 .5 metres for the width, and the same again for the height, obviously.
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That shouldn't prove too much of a problem.
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I'm just happy I managed to win the bid for this wonderful painting.
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Before listening to the rest of the conversation, you have some time to look at questions 8 to 10.
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Now listen and answer questions 8 to 10.
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So, madam, I would just like to take down some details from you.
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OK, go ahead.
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I recognise your face as you've attended several of our auctions before, but I can't put a name to your face.
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Could you remind me of your name, please?
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Oh yes, it's Mrs. Bradwell Thompson.
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It's a double -barrelled surname, so you need a hyphen in between the two surnames, you see.
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So that's spelt B -R -A -D -W -E -L -L followed by a hyphen,
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then T -H -O -M -S.
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Well, the first part's right, but you spell Thompson with a P in between the M and the S of the surname.
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OK.
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And your address, please?
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Yes.
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It's Charlton Manor.
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That's spelt C -H -A -R -L -T -O -N.
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And I live in Kingston Village.
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Oh, and of course you'll need the postcode too.
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It's KN2656T.
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Sorry, did you say KM2656T?
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No, it's KN, not an M, then 2656T.
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Well, thank you, Mrs Bradwell -Thompson.
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I think that's just about everything.
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Oh, and I need to know when you would like the painting delivered.
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We deliver on Tuesdays and Fridays, the week following an auction.
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Well, I'm having a long weekend break in the Cotswolds, a charming area of England, you know, so this coming Friday would be impossible.
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How about next Tuesday?
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No problem at all, madam.
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So that'll be the 23rd of March.
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Superb, thank you.
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Not at all, madam.
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It was a pleasure doing business with you.
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Now turn to Section 2.
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Section 2.
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You will hear the curator of an art museum talking to
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a group of visitors who are visiting the museum for the first time.
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First, you will have time to look at questions 11 to 15.
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Now listen carefully and answer questions 11 to 15.
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A very good afternoon to you all, ladies and gentlemen.
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I'm glad you've chosen to visit the prestigious Triton Museum of Art today, and I'll look forward to sharing you around.
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But first I would just like you to refer to the maps of the museum
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that you picked up on your way in.
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Now, where you picked up your maps is just to the left, as you enter the building outside the museum store.
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By the way, the store is a great place to pick up some souvenirs before you leave.
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Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.
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It's just over there on the other side of the entrance to the museum store.
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Okay, so this nice spacious area we're now standing in is the Rotunda.
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It contains some of the museum's most striking sculptures.
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From here you gain access to all the museum.
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Leading off from the Rotunda are the Warburton Gallery and our other large gallery that houses a permanent art collection.
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We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.
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We'll make our way afterwards to the other gallery I mentioned, as it's right next door.
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Oh, the smaller room behind the Warburton Gallery that you see on your maps is just a storage space for the museum,
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and access is blocked off to the public by railing across the entrance to that area.
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So now, where were we?
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Ah yes, after we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,
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we'll make our way back across the rotunda and visit the Cowell Room.
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It's right at the far end of the museum, on the opposite side of the rotunda to the Warburton and Permanent Collection Galleries.
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It's one of the museum highlights and contains some high quality contemporary art exhibits.
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Oh, I'm so sorry.
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I forgot to point out the ladies and gents' toilets earlier.
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They're just before you get to the cowl room and are adjacent to the museum's store.
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Don't go into the room opposite the toilets.
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That's our staff room area and kitchen.
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Right, so that's all you need to know for the moment.
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Let's begin the tour.
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Before you hear the rest of the discussion, you have some time to look at questions 16 to 20.
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Now listen and answer questions 16 to 20.
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Well, I hope you all found the tour interesting.
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If any of you would like to become a patron of the museum, you can request information from the museum store.
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Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.
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You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.
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You can choose to become a gold, silver or bronze patron of the museum.
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Gold patrons are also permitted free entry for one accompanying guest.
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However, all patrons can receive year -round benefits that are not enjoyed by non -patrons.
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Having said all that, I would now like to announce some very special news.
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Next year will be our centenary celebrations.
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It's hard to believe it, but the museum was founded over a hundred years ago.
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Accordingly, we will be seeing in the new year in style with a special masked ball.
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This has been organised in response to a special request from some of our patrons.
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Plans have yet to be finalised for this one -off event, but a themed masked ball has been suggested,
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the idea being that guests come in the guise of famous artists, past or present.
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One exciting event that has been confirmed is the Summer Garden Party.
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We are anticipating a lot of interest for this one, so it's best to book well in advance.
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Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.
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Amongst the many treats we have in store for you is a live orchestra playing in the museum's gardens
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which are to the back of the main building.
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It is weather permitting of course.
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Again, we are dependent on good weather in order for the barbecue to take place.
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Alternatively, a sit -down meal will be provided in the Cowl Room.
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Everything from the entertainment to the food is included in the ticket price so there are no hidden extras.
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Now, having given you a round -up of the highlights of next year's social events, let's go on to the artistic highlights of next month.
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Coming up shortly is Ewan Bailey's newest installation
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Light and Sound Waves.
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Always thought -provoking, his His previous installations have been very well received.
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We will also have Hamish Barnes here for the first time as artist in residence.
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He will be encouraging visitors to adopt a more hands -on approach to art.
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Finally, last but not least, we will be exhibiting the work of Sean Long, who will be making his artistic debut.
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His work will be on show in the Warburton Gallery over the summer period.
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We are anticipating a large attendance at his exhibition.
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Well, that's all from me.
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I look forward to seeing you at one or maybe all of our events.
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It's certainly going to be an action -packed year for the museum, both culturally and socially.
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That's the end of section two.
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You have half a minute to check your answers.
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Now turn to section 3.
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Section 3 you
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You will hear part of a televised question and answer session between a celebrated art critic and three members of the public,
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following a talk on outsider art.
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First, you have some time to look at questions 21 to 25.
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Now listen carefully and answer questions 21 to 25.
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I think I've said enough, so now it's the turn of the audience.
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Would anyone like to start the ball rolling and comment on anything I said earlier in my talk?
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Ah, that young gentleman over there.
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Hi, my name's
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Jake and I've got a question for you.
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You referred to outsider art as being the work of self -taught rather than trained or professional artists.
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Does that mean anyone can produce art then?
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Well, what we define as art will always remain subjective.
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But given that we can agree more or less on a common perception of what is actually art, then yes, anyone in theory can produce art.
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The challenge though is to produce good art.
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Excuse me, may I ask a question please?
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Yes, of course.
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Would you like to introduce yourself to the audience?
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Sure, my name's Lucy.
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So, Lucy, what would you like to ask?
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Don't you think that untrained artists lack the necessary technique to produce good art?
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I felt that some of the paintings by outsider artists that you showed us earlier were to be honest rather crude.
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I think you're confusing technique with art here.
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A great technique doesn't guarantee great art, you know.
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But I think impressive art can still be produced by gifted artists lacking in what are accepted as basic art skills.
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Okay, can I have another question from a member of the audience, please?
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Hi, I've got a question.
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My name's Dave, by the way.
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I just wanted to ask how many outsider artists were or are recognised in their lifetime?
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Relatively few.
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The exceptions are the ones who create particularly monumental or significant works of art.
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Like Neckshan's Sculpture Garden in India, or Ferdinand Cheval's fantastic building, The Palace Ideal.
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Both, as you know, were created purely from recycled materials.
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Yeah, they were pretty amazing.
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I remember them from the slides you showed earlier.
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But what impresses people most is not so much the sheer scale of these buildings and sculptures as the work involved.
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These artists built their work single -handedly over many years, and, more to the point, in total secret, as they lacked planning permission.
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That adds to the romance of the whole undertaking, don't you think?
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Well, their work certainly impressed me.
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Yes, outsider art certainly produces work that is one of a kind.
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Before you hear the rest of the discussion, you have some time to look at questions 26 to 30.
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Now listen and answer questions 26 to 30.
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So, now I would like to post some questions to the audience.
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First, I would like to ask someone from the audience which, out of all the outsider artwork I showed you previously,
192
is the most impressive and why?
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Excuse me, may I?
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Oh, yes, hello again, Jake.
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So tell me, which artwork was your favourite?
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Well, funnily enough, the painting's by Adolphe Wolfie.
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I know the perspective is crazy and all over the place, but the work is so detailed.
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Well, look at the great artists like Picasso and Matisse.
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Perspective, or lack of it, was never an issue with them.
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Oddly, whilst I appreciate that style in outsider art, I can't say the same for modern art.
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I guess it's because I don't approach the two art forms with the same set of expectations.
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Interesting.
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You mean you expect more of artists with obvious skill and a professional training, like Picasso and Matisse?
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I guess so.
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You know, I expect modern artists to use conventions like perspective at least.
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And another thing, I can't really understand why modern artists are often so highly acclaimed by critics, whilst outsider artists are virtually ignored.
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That's probably because they are generally not as skilful, I suppose.
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I take your point.
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I imagine that with the exception of outsider artists, you tend to like work by more traditional artists.
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I suppose.
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Like everyone, I can appreciate
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Renaissance art, as exemplified by da Vinci and Michelangelo.
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Amazing technique and all that, and I also understand the popularity of Impressionist artists too.
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One other question.
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What's your opinion of modern sculpture?
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Do you have the same opinion of modern sculpture as you do of modern painting?
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I think all sculptors have to be pretty skilled to work with materials like metal and stone, so I admire them in a way.
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But many modern sculptures, particularly public artworks, are often given praise I feel they don't deserve.
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Hmm.
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You seem to have quite definite views about art.
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Well, it was most interesting hearing your views.
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That's the end of section three.
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You have half a minute to check your answers.
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Now turn to section 4.
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Section 4.
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You'll hear part of an art lecture.
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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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I have just shown you all some slides of a very varied set of paintings.
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I noticed, as I was showing the slides, a few giggles in the audience and a few looks of dismay.
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I guess entitling my lecture Unconventional Art Geniuses was a bit misleading painting.
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When most of you were looking at the frankly basic colour use and rather primitive painting techniques, you probably were more than a little surprised.
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Well, I have a shock for you all.
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What I'm about to tell you next will help you understand the title of my lecture.
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All the slides I showed you previously are of artworks made by, wait for it, animals.
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Yes, I heard a few gasps in the audience when I said that.
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Whilst the artwork would be definitely primitive by human standards, when you consider that the artworks were executed by animals, then, well, they are frankly staggering.
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Nor were the artworks purely the work of our closest relatives, the apes.
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No, they were produced by animal artists drawn from a diverse pool of species, ranging from elephants to gorillas, birds and even sloths.
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In fact, in recognition of this,
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Last year, London's Grant Museum of Zoology staged what organisers thought was the first interspecies show of paintings by animals.
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In the show, art was shown from an orangutan, a gorilla and an elephant.
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Whilst the gorilla and the orangutan produced works that bore a resemblance to the paintings of modern artists de Kooning and Klein,
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the elephant's work took a more figurative approach in the rendering of a flowerpot.
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Now, before you all go thinking this is a revolutionary discovery, I would like to put the record straight.
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The contribution that animals can make to the art world was highlighted as far back as the 1950s.
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In this decade, Desmond Morris, celebrated social anthropologist and author of bestsellers such as Body Watching and The Naked Ape,
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introduced Congo, the painting chimp, to the British public in a TV appearance.
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Back then, animal art makers were regarded as little more than a novelty.
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Today, however, animal artists are not viewed so much as novelties,
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but as sophisticated creators with skills and senses that they use to execute artworks in ways humans never can.
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As a result of animals being taken more seriously as creators of art, it has become commonplace today for zoos to provide materials to captive animals.
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The hope is that by giving animals the means to create art, they will be kept physically and mentally stimulated.
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Obviously you can't give a lizard a paintbrush and expect it to draw.
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What the zookeepers do though is to give animals species appropriate art materials and tools.
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For example, sloth bears, who feed by blowing away dirt from the forest floor to feed on termites,
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have been given a straw -like apparatus to blow paint onto a canvas.
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What is one of the most interesting discoveries to come out of all this though,
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is the finding that animals voluntarily and instinctively participate in the creation of art.
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It seems therefore that animals derive as much pleasure as humans do in applying paint to canvas
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or making a clay or plasticine figure.
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The obvious conclusion to draw from all this is
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that there are more similarities between man and other animals than some of us might care to admit.
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However just to satisfy the sceptics amongst you, there is something I would like to add.
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So far, the primate and elephant art that has been produced often bears an uncanny resemblance to Western art.
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Certain conventions are evident in the animal's art that suggests a degree of human intervention.
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As proof of this, an elephant named Boon Mee was actually guided by a keeper, who steered the animal's trunk to paint brushstrokes on a canvas.
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Nevertheless, we should keep an open mind about animal art,
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as there are just as many examples of artworks that have been completed by animals without human aid.
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That is the end of section 4.
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You now have half a minute to check your answers.
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That is the end of the listening test.
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You now have 10 minutes to transfer your answers to the listening answer sheet. so so
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale s’appuie sur la vidéo « Details of Customer Purchase Listening Test ». Les mots qui reviennent le plus souvent : artist, museum, answer, animal, painting. Cette vidéo contient 274 phrases et 3260 mots à répéter en shadowing. La partie parlée dure 28:24. Le locuteur parle à un rythme régulier d’environ 115 mots par minute, confortable pour le shadowing. 82 % 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
15 mots de la vidéo à retenir, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| artwork nom | /ˈɑɹtˌwɝk/ | œuvre, œuvre d'art |
| outsider nom | /ˌaʊtˈsaɪdəɹ/ | exclu, tiers |
| patron nom | /ˈpeɪ.tɹən/ | mécène |
| sculpture nom | /ˈskʌlpt͡ʃɚ/ | sculpture |
| madam nom | /ˈmædəm/ | madame |
| technique nom | /tɛkˈniːk/ | technique |
| carefully adverbe | /ˈkɛɹf(ə)li/ | soigneusement |
| slide nom | /ˈslaɪ̯d/ | toboggan, glissoire |
| highlight verbe | /ˈhaɪˌlaɪt/ | mettre en valeur, souligner |
| elephant nom | /ˈɛlɪfənt/ | éléphant, éléphante |
| entrance nom | /ˈɛn.tɹəns/ | entrée |
| spell nom | /spɛl/ | charme, maléfice |
| lecture nom | /ˈlɛk.t͡ʃə/ | conférence, cours magistral |
| canvas nom | /ˈkæn.vəs/ | toile |
| metre nom | /ˈmiːtəɹ/ | mètre |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| look forward to verbe | avoir hâte de, attendre avec impatience | |
| pick up verbe | soulever | |
| blow away verbe | souffler | |
| come up verbe | se montrer, sortir du bois | |
| go ahead verbe | /ˌɡoʊ əˈhɛd/ | vas-y, allez-y |
| point out verbe | pointer | |
| sit down verbe | s'asseoir | |
| take down verbe | décrocher |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- Could you remind me of your name, please?
- Excuse me, may I ask a question please?
- Would you like to introduce yourself to the audience?
- That adds to the romance of the whole undertaking, don't you think?
- What's your opinion of modern sculpture?
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 | has been done · you've attended · you've chosen |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | will be taken · will be played · will be given |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | frame, which is · galleries, which will · ones who create |
Prononciation à surveiller
Le locuteur utilise 33 contractions et formes réduites, comme I'm, don't, can't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: width /ˈwɪtθ/, nevertheless /ˌnɛvɚðəˈlɛs/
- Les sons « sh » et « zh »: sheet /ʃit/, exhibition /ɛksɪˈbɪʃən/, exception /əkˈsɛpʃən/, installation /ˌɪn.stəˈleɪ.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/
- Mots longs — placez bien l’accent: successfully /səkˈsɛs.fə.li/, exhibition /ɛksɪˈbɪʃən/, installation /ˌɪn.stəˈleɪ.ʃən/, anticipate /ænˈtɪs.ɪ.peɪt/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: highlight /ˈhaɪˌlaɪt/, beforehand /bɪˈfɔɹhænd/, hyphen /ˈhaɪ̯.f(ə̯)n̩/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: sculpture /ˈskʌlpt͡ʃɚ/, lecture /ˈlɛk.t͡ʃə/, gentleman /ˈd͡ʒɛn.təl.mən/, encourage /ɪnˈkʌɹ.ɪd͡ʒ/, furniture /ˈfɝ.nɪ.t͡ʃɚ/
- /r/ anglais — langue recourbée, sans frotter la gorge: artwork /ˈɑɹtˌwɝk/, outsider /ˌaʊtˈsaɪdəɹ/, patron /ˈpeɪ.tɹən/, carefully /ˈkɛɹf(ə)li/, entrance /ˈɛn.tɹəns/
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 artwork, outsider, patron.
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.