Pratique du Shadowing: The origin of the '80s aesthetic - Apprendre l'anglais à l'oral avec la vidéo
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75 phrases
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If we were to make a mood board for each decade, it would probably look something like this, right?
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Even if we didn't live through the 50s, 60s, and the 70s, we can pretty much agree on the defining look of the time.
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This is my favorite, the 80s.
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And minus the questionable hairstyles, the 80s set the trend for bright colors, graphic patterns, and geometric shapes.
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Which made me wonder, who created the look of the 80s?
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Is it even possible to point to a specific person or a moment in time?
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Well, in this case, we can.
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I think you'd be hard -pressed to think of any other design phenomenon
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that could be located as specifically to a group of people.
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The Memphis group dominated the design world in the 80s.
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The collective, led by Italian architect Ettore Satzes, came together in 1981.
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They had a huge impact on the postmodern designs of the decade.
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Memphis is probably as influential a design group as there has ever been.
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And they did originate a lot of that visual vocabulary.
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So I give them a lot of credit for the look of the 80s for sure.
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Although the majority were Italians, the group had architects and designers from all around the world.
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Japan, France, Britain, Austria, America.
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And unlike the name, the group wasn't from Tennessee.
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They were actually based in Milan, Italy.
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The name Memphis came from a Bob Dylan song that was playing during a meeting.
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First thing to know about Memphis is
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that it comes out of a long tradition of radical design in Italy in the 1960s.
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Radical design was a movement formed by architects in reaction to the minimal and practical aesthetics of modernism.
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Modernism was put into some kind of box
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and we gave it a lot of rules which I think a lot of people felt trapped within these rules.
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Radical design allowed designers to express distortion and irony, moving far away from functionality of design.
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Satsas was a big proponent of the movement.
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According to The Guardian, he tried to stay away from the modernist way of designing, like a well -educated schoolboy.
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He didn't follow the rules, which made the Memphis group's work unpredictable.
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We wanted to be excited.
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We wanted to be anxious.
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We wanted to be thrilled.
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This is Peter Shire, one of two Americans who were part of the Memphis group.
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We were doing it mechanically because we didn't have the computers.
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They existed.
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We were seeing signs of it.
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And you look at that kind of overlay, look at Memphis, you know, pattern on pattern, with stuff flying out.
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In 1981, the group showed their work for the first time at the Milan Design Fair.
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The entire collection was named after luxury hotels.
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Carlton, the Bel Air chair that Peter Shire did, the Plaza Vanity that Michael Graves did, which is like a joke,
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right, about taking plastic laminates and putting it on cheap composition wood and then naming it after luxury hotels.
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It's all part of this sort of faux chic thing that they were interested in.
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The New York Times wrote that the show appalled some and amused others, but put everyone attending the fair in a state of high excitement.
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Sotsass and one of the other designers were on their way to the opening in a taxi
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and they thought that a terrorist bomb had gone off in downtown Milan.
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They realized gradually that the chaos and crowding was actually because of their own exhibition.
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They got out and walked and it was like mob scene.
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Their work spread quickly through design magazines that were popular at the time and soon enough you saw their influence everywhere.
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I always think it's really important that it happened virtually simultaneously with MTV, which also launched in 1981.
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And if you think about like the logo of MTV with all those colors and patterns and the kind of scratchy graphics,
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clearly relates very closely to some of the graphic design ideas that were coming out of Italy that were, you know, the context in which Memphis emerged.
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But despite the impact that the group had, their furniture never quite made it into people's homes.
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It was very, very unusual to decorate with Memphis at that time.
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There's only one single piece of furniture from Memphis that was ever mass -produced, and that's the first chair.
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I think about 3 ,000 of those are made.
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With a circular disc at the back and two black orbs to rest your arms, the design was unlike any other chair on the market in 1983.
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Which was a brilliant idea and a terrible chair.
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But the trouble is they always fell over backwards.
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Yeah, it's really funny.
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A few years later, Satsas left the group to build his own studio, and the Memphis group held their last show in 1987.
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Whenever people would say to me, what's the sort of ending of the postmodern period, I would say more or less it is around 1987,
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because there's a recession then that kind of takes some of the air out of the art market, and it's like a real turning point.
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The life of the Memphis group was short -lived — six years, to be exact.
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And even though their designs failed to serve a function in people's homes, they left a colorful mark in history and inspired many designers to come.
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Like this first Apple Watch, which was created in 1995.
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They were given out for free to anyone who bought the Mac system.
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Or this 2011 Dior Couture show, which was an ode to Memphis design.
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Karl Lagerfeld was among the few who collected their pieces and Sotheby's auction out sold David Bowie's Memphis collection last year, which also included Peter's work.
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The designs have a distinctive look that continues to come up time and time again.
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And that's how design works sometimes.
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It often spreads around the world without the designer's names attached.
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So even if you recognize this look as the look of the 80s, most people probably have never heard of Memphis at all.
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I should ask somebody.
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I should ask the man on the street.
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Most people would go, what?
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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 « The origin of the '80s aesthetic ». Les mots qui reviennent le plus souvent : design, Memphis, designers, pattern, chair. Cette vidéo contient 75 phrases et 1033 mots à répéter en shadowing. La partie parlée dure 5:56. Le locuteur parle à un rythme naturel d’environ 174 mots par minute, proche d’une conversation courante. Seuls 81 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| architect nom | /ˈɑɹ.kɪˌtɛkt/ | architecte |
| modernism nom | modernisme | |
| postmodern adjectif | postmoderne | |
| appall verbe | /əˈpɔːl/ | atterrer, horrifier |
| decorate verbe | /ˈdɛkəɹeɪt/ | décorer, orner |
| hairstyle nom | coiffure | |
| laminate verbe | /ˈlæmɪneɪt/ | lamifier, stratifier |
| mechanically adverbe | /məˈkænɪkli/ | mécaniquement |
| modernist adjectif | moderniste | |
| originate verbe | /əˈɹɪd͡ʒɪneɪt/ | venir de |
| proponent nom | /pɹəˈpoʊnənt/ | partisan, avocat |
| schoolboy nom | /ˈskulˌbɔɪ/ | élève, écolier |
| faux adjectif | /foʊ/ | faux |
| distortion nom | /dɪsˈtɔːʃən/ | distorsion |
| geometric adjectif | /ˌd͡ʒiː.əʊˈmɛt.ɹɪk/ | géométrique |
Les verbes à particule que vous entendrez
| Mot | Sens |
|---|---|
| come up verbe | se montrer, sortir du bois |
| get out verbe | sortir |
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | could be located · were actually based · was put |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | did, which is · Watch, which was · anyone who bought |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | has ever been · have never heard |
Prononciation à surveiller
Le locuteur utilise 5 contractions et formes réduites, comme didn't, wasn't, you'd. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: aesthetics /ɛsˈθɛt.ɪks/, thrill /θɹɪl/
- Les sons « sh » et « zh »: distortion /dɪsˈtɔːʃən/, chic /ʃik/, recession /ɹɪˈsɛʃn̩/, influential /ɪnflʊˈɛnʃəl/, anxious /ˈæŋkʃəs/
- Mots longs — placez bien l’accent: mechanically /məˈkænɪkli/, originate /əˈɹɪd͡ʒɪneɪt/, geometric /ˌd͡ʒiː.əʊˈmɛt.ɹɪk/, vocabulary /vəˈkæb.jə.lə.ɹi/, influential /ɪnflʊˈɛnʃəl/
Les sons difficiles pour les francophones :
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: originate /əˈɹɪd͡ʒɪneɪt/, scratchy /ˈskɹæt͡ʃi/, geometric /ˌd͡ʒiː.əʊˈmɛt.ɹɪk/, attach /əˈtæt͡ʃ/, questionable /ˈkwɛst͡ʃənəbl̩/
- /r/ anglais — langue recourbée, sans frotter la gorge: architect /ˈɑɹ.kɪˌtɛkt/, decorate /ˈdɛkəɹeɪt/, originate /əˈɹɪd͡ʒɪneɪt/, proponent /pɹəˈpoʊnənt/, scratchy /ˈskɹæt͡ʃi/
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 architect, modernism, postmodern.
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.