Pratique du Shadowing: Halsey: 'Without Me' Interview | Apple Music - Apprendre l'anglais à l'oral avec la vidéo
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Well, you've been on the road now supporting your amazing second album,
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but it's been a long tour.
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You know, I don't mind it though.
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It's cool.
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I'm gonna go my birthday is at the end of the month.
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Great.
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So I'm gonna go after the tour.
Donc je vais y aller après la tournée.
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I'm gonna go spend some time like in Italy.
Je vais aller passer du temps en Italie.
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Yeah.
Ouais.
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Alone for a while, but it's such a weird time for me because like
Seul pendant un moment, mais c'est une période tellement étrange pour moi parce que, genre...
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my 20 I'm turning 24
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and I was 19 when I wrote Badlands and it's like I blinked and And it just feels so insane.
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And, you know, it's really interesting to this record because it's going to come right after my 24th birthday.
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This is such a weird thing for me.
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It's so complicated because there's so much to unpack here.
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But the first thing is that,
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like, it's the most raw thing I've ever made and not just because of the content,
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because I make concept albums.
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So I have these comic book universes where I'm playing a fantasy character.
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And each song is protected by the next.
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It all makes sense.
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Yeah, there's like a five part video series and I'm not really myself,
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I'm playing someone else.
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And now this song is not attached to an album.
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It's a standalone record.
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And that's the interesting thing about music is I was supposed to be taking a break
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and then I wrote this song and it's like,
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music doesn't care about your schedule.
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It's like, if the timing's right,
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you need to- Set it free.
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Yeah, you need to put it out.
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And so here I have this record where it's like,
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it's just me, you know,
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no wig, no colorful hair, no character.
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And it's about my life and about my relationship
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that the world has watched so closely and so vehemently in the past year and a half.
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My fans are really going to be like, whoa.
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You know, all the video content,
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everything behind the song is like me.
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It's just me.
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It's like me in a white t-shirt with normal hair,
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just singing to the camera.
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No character, no cinematography, no gunfight,
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car explosion, stuff like I usually do.
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Is this the first song you've ever written as Ashley and not as Horsey?
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I think that's the point.
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Yeah, I think that's what I'm kind of getting at.
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It's not protected by some character or some subplot or some,
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you know what I mean?
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It's like, this is really me talking about my life and letting people.
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I've always...
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It kind of gave me an existential crisis as an artist a little bit, because I've like...
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For so long I've prided myself on being an artist who's authentic and writes about her life and stuff.
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And then when I made this,
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I felt just how bad it hurt.
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So you wondered whether or not you'd even gone there before?
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Yeah!
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And it made me question myself as an artist and be like,
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as an artist and be like,
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have you even been accessing this part of you?
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Here's the good news.
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Every artist I've ever interviewed in my life who's gone there has asked that question of themselves.
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You know, I mean, if you'd gone there right at the very start,
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who knows where you'd be now?
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I mean, you've got to warm up.
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You've got to live a life.
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You were 19 when you started.
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I know.
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You're 24, you're still incredibly young,
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and you've lived a life.
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I mean, you know, debut album, hard work, check.
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Second album, ambitious, concert record, check.
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You know, hustle for your success,
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put in the graph, check public relationship.
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Big check.
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Yeah.
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You know, big check.
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I mean, these are all things you've achieved,
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and so it makes sense that you're going to go ahead and you're going to write this song now,
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because what would you have said before?
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How would you have even gotten this out of your system?
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No, we would have cared.
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That's the most important thing,
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is that now they care.
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And they want to know what's behind the curtain.
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Nah, you are different, man.
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And I've said this so many times.
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No one, I mean, here's a compliment for you.
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I'm irrespective of the writing.
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No one, when it comes to stepping on the microphone to do a take on any song in any situation,
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and I've talked to Benny about this.
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I've talked to PND about this.
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I've talked to anyone who's actually had the guts to step in the room with you.
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When you step in there and take your first statement of your verse,
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it's over for anybody else in the room.
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And Benny's like, oh, she's the greatest.
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The first three seconds of any takes she does,
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the tone she has, it's just forget about it.
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It's done.
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I think it's
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because I don't even put my mouth in front of a microphone until I'm absolutely positive about what I want to say.
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How do you even get there?
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Because a lot of people have to warm up to that.
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You know, I'm just like,
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I think a lot of people,
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there's two ways of looking at it is some people are comfortable improv-ing in the room.
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That means one of two things, and they're opposite things.
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It either means that they're so comfortable with whatever they're making or whatever they're saying,
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they don't care if someone hears them mess up.
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Or it means they're so uncomfortable that they need improv in the room to wait for the person to say,
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that's good, that's good.
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Yeah, they're looking for feedback.
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So it's one or the other.
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It's either that they don't need any validation or they so desperately need validation.
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And I'm like a completely different type of writer where I,
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when I first started writing and people weren't familiar with my work
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or was like my workflow or I hadn't found the people I'm comfortable with yet.
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When I first started writing,
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I would sit in the room and like be in my phone and I could feel like producers being like,
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is she even going to do anything?
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And then I'd leave the room to go smoke a cigarette or do whatever and they'd be like,
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is she even going to do anything?
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You're in the wrong game.
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The patience is the whole point.
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30 minutes later, I'd come back in and I'd sing a whole song,
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top to bottom, and they'd be like,
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when did you write that?
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And I'd be like, when you were wondering if I was ever going to do anything.
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And then I'd come back in and they cut it.
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And so I think what it is is,
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I mean, I think I'm a perfectionist in
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that way where I don't get in front of a mic unless I know what I'm going to say.
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I only have like three demos the world's never heard.
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Most artists have like a hundred.
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And that's because I don't even start a song unless I know I'm going to finish it.
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Wow, interesting.
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So like I've only ever made basically the songs that you've heard.
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No vault.
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No, not really.
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No vault.
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Because I know what I want to make before I make it and I kind of reserve.
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I reserve that instead of trying to like Frankenstein stuff.
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Look, my first message is like,
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you know, you are not bound to anything besides yourself.
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I've said that in 2015 when I put out Hurricane,
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I said, you know, don't belong to no city,
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don't belong to no man.
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That's always been my MO,
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is you don't belong to anybody but yourself.
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And then of course, situations like this complicate things when you love someone almost as much as you love yourself, maybe more.
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Yeah.
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Well, that's what's interesting about that line,
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because when I first heard it,
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I felt like you were talking to him as much as to yourself.
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Yeah.
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And in the past, it's like,
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oh, you're talking to yourself,
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like stand up for who you are
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and don't necessarily put your self-esteem in the hands of any situation is not in your control.
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This time it was almost like a gift as well.
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It was like you were saying,
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it's not about you belonging to me or me belonging to you.
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That's what I took from it.
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100%.
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100%.
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And there's like a double entendre in that as well
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because I think the most important message for me with this is like,
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you know you don't belong to anybody but yourself
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and you know you're not bound to anything that doesn't serve you
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but the second message
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that I want to just remind everyone through this process is
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like we're people we're people you know what I mean like you text your best friend
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and you're like I'm done with them I'm never talking to them ever again
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and then your dumb sorry ass is back hanging out with them again next week too
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and if you're doing it so am I everyone's like you know people don't change people don't and that's not true.
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That's not true.
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And I think that it's especially convoluted when your image of yourself or your perception of yourself,
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look, basic sociology is looking glass self.
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We define ourselves based on how the people around us see us.
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That's how we define ourselves.
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So now imagine if the people around you isn't ten people, it's ten million.
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Yeah, and it's through the eyes and lens of social media which is immediate and direct.
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And the news is fit to print.
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The news is fit to print.
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So now you have this like warped
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idea of who you are because of 10 million strangers who are trying to tell you who they think you are.
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And it's like that completely...
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It's like there's an exception there.
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That's an exception.
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My development of my identity and my self-perception and my higher self and self-awareness,
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I kind of get a pass to experiment with it and to mess up and to figure,
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and so does he and so does everyone else you know you're being fed self-reflection from
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so many different So start Uninformed star says I think it's the only thing that I've experienced in the past couple years
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that made me put my phone down
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and say I don't care what they think
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and I've you know me you've known me for a while now and you know I've beaten myself up
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about what people think about me and about what people think about it and
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so in a weird way like this relationship has been the
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one of the most liberating thing that's ever happened to me
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because it made me put my phone down and go I don't care what you think because this makes me happy
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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 « Halsey: 'Without Me' Interview ». Cette vidéo contient 198 phrases et 1824 mots à répéter en shadowing. La partie parlée dure 8:20. Le locuteur parle vite, environ 219 mots par minute : attendez-vous à des liaisons et à des sons réduits. 87 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc facile à suivre.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| improv nom | /ˈɪmpɹɑv/ | impro |
| validation nom | /ˌvæl.əˈdeɪ.ʃən/ | validation |
| microphone nom | /ˈmaɪ.kɹəˌfəʊn/ | microphone |
| vault nom | /vɑlt/ | voûte, voute |
| perception nom | /pɚˈsɛpʃ(ə)n/ | perception |
| cinematography nom | /ˌsɪn.ə.məˈtɒɡ.ɹə.fiː/ | cinématographie |
| complicate verbe | /ˈkɑmplɪkeɪt/ | compliquer |
| convoluted adjectif | /ˌkɑnvəˈlutəd/ | convoluté, circonvolutif |
| existential adjectif | /ˌɛɡzɪˈstɛnʃl̩/ | existentiel |
| liberate verbe | /ˈlɪbəˌɹeɪt/ | libérer |
| perfectionist nom | /pɚˈfɛk.ʃənɪst/ | perfectionniste |
| unpack verbe | /ʌnˈpæk/ | déballer, dépaqueter |
| workflow nom | /ˈwɝkfloʊ/ | workflow |
| warp nom | /ˈwɔːp/ | déformation |
| hustle verbe | /ˈhʌsəl/ | bousculer, s'agiter |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| mess up verbe | gâcher | |
| go ahead verbe | /ˌɡoʊ əˈhɛd/ | vas-y, allez-y |
| warm up verbe | /ˌwɔː(ɹ)m ˈʌp/ | se réchauffer, se chauffer |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- You know, I don't mind it though.
- I think that's the point.
- I mean, you've got to warm up.
- You've got to live a life.
- How do you even get there?
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 | you've been · it's been · I've ever made |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | is protected · is not attached · are not bound |
Prononciation à surveiller
Le locuteur utilise 91 contractions et formes réduites, comme I'm, don't, I've. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: validation /ˌvæl.əˈdeɪ.ʃən/, perception /pɚˈsɛpʃ(ə)n/, existential /ˌɛɡzɪˈstɛnʃl̩/, perfectionist /pɚˈfɛk.ʃənɪst/, ambitious /æmˈbɪʃ.əs/
- Mots longs — placez bien l’accent: validation /ˌvæl.əˈdeɪ.ʃən/, cinematography /ˌsɪn.ə.məˈtɒɡ.ɹə.fiː/, convoluted /ˌkɑnvəˈlutəd/, irrespective /ɪɹɪˈspɛktɪv/, perfectionist /pɚˈfɛk.ʃənɪst/
Les sons difficiles pour les francophones :
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: attach /əˈtæt͡ʃ/, sociology /ˌsoʊsiˈɑləd͡ʒi/
- /r/ anglais — langue recourbée, sans frotter la gorge: improv /ˈɪmpɹɑv/, microphone /ˈmaɪ.kɹəˌfəʊn/, cinematography /ˌsɪn.ə.məˈtɒɡ.ɹə.fiː/, irrespective /ɪɹɪˈspɛktɪv/, liberate /ˈlɪbəˌɹeɪt/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme improv, validation, microphone.
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.