शैडोइंग अभ्यास: Bryan Cranston on "Breaking Bad" - वीडियो के साथ अंग्रेजी बोलना सीखें
अभ्यास मोड चुनें
हर मोड पूरी स्क्रीन का अभ्यास कक्ष खोलता है।
439 वाक्य
यदि वाक्य बहुत छोटे या लंबे हों, तो समायोजित करने के लिए Edit पर क्लिक करें।
1
On a clear day, how it will astound you.
2
Mr. White!
3
Hey!
4
Hold it!
5
Hold it steady!
6
Now!
7
Peace and good brotherhood
8
Crystal blue persuasion
9
Yeah The methylamine keeps flowing no matter what
10
Crystal blue persuasion
11
Ah -ah -ah -ah
12
Hey, happy birthday!
13
Crystal Blue persuasion
14
Crystal Blue persuasion
15
Crystal Blue persuasion
16
Crystal Blue persuasion
17
Crystal Blue persuasion
18
How do you leave a role like
19
Walter White behind?
20
Kicking and screaming.
21
It's been the role of my career.
22
So to see it come to an end is satisfying in one sense that I think Vince Gilligan, the creator of the show,
23
didn't have to dilute any of the storylines by going too long.
24
You never want to see a show get the reaction like, Breaking Bad, is that still on the air?
25
Yeah.
26
You want people to say, I missed that show.
27
And we did six seasons, 62 episodes all together.
28
And I think they're concentrated and tightly woven and brilliantly written.
29
When you sit down at that final episode, how'd that feel?
30
There's a part of you that doesn't want to read it because there's a finality to it.
31
You know, once you read that last one, you realize, oh, there's not going to be any more episodes to be written.
32
And there's a bit of sadness to that.
33
In 34 years that I've been doing this, coming together as an acting troupe and as a crew,
34
working intimately together and passionately on a story,
35
and then voluntarily trying to let go of that grip that you've become so fond of,
36
and both the execution of the show and also the people
37
and you have to just kind of let go and allow yourself to back off and seek other opportunities.
38
And as accustomed to that practice as I am, it still affects you emotionally, and it should.
39
It should.
40
And so there'll be a lot of tears shed.
41
Do you have to leave roles like
42
Walt behind for a while for fear of somebody saying, oh, he's just reprising
43
Walter White from Breaking Bad?
44
I try not to be redundant on any of the characters I do.
45
It's difficult.
46
I did a show called Malcolm in the Middle for seven years.
47
And when that was ending, I was offered two television shows that were very similar.
48
They said, well, he's a goofy, fun -loving dad.
49
And I said, I just did that for seven years.
50
And so, no thank you.
51
And it wasn't a temptation for me because I've never been in it for fame and recognition or money.
52
My juice is the thrill and the empowerment
53
that I get out of making people laugh or making people angry or scaring people or whatever the case may be.
54
that's where I get my excitement from it.
55
So it was easy for me to turn that down,
56
and then all of a sudden coming across my plate is this odd show called Breaking Bad.
57
And Vince Gilligan had said that it couldn't sound worse if you put it on paper and pitched it to someone,
58
but it really came together for him.
59
And one of the things that is interesting is
60
that he knew you from this episode of The X -Files
61
that you did where you played this character with this monster arc in one episode.
62
Talk to me a little bit about that experience and how that led presumptively into working with Vince again.
63
Well, I think that in order to have a successful career.. in this business, in the entertainment business, whether you're writing,
64
directing, acting, or producing, or whatever the case may be.
65
There are components that are necessary for that to come about.
66
One is talent.
67
You really do.
68
You have to work hard and get educated and learn your craft and learn your business.
69
Aside from that is personal development, patience, and perseverance.
70
But there's also a component that is necessary that's kind of the wild card, and that's luck.
71
You have to have a healthy dose of luck to become successful.
72
That's just the way it is.
73
You can't prepare for it, but you can be ready for it if it does come to you.
74
I was very lucky to get that role on X -Files, simply because I was physically in the city where it was casting,
75
and I was out of the city for three weeks prior, and I very could have easily not been in town
76
and they just go on and someone else would have got the role and who knows where I would have been.
77
I certainly, odds are very high that I wouldn't have gotten
78
Breaking Bad had I not met Vince Gilligan before.
79
So it's one of those things where you have to just do your work, do the best you can,
80
and hope for the lucky breaks here and there.
81
As you worked with Vince to create the character of Walter White over the first couple of seasons, I mean, did you kind of,
82
did you know that you had it locked in at some point, or were there those days where you're thinking to yourself,
83
I nailed it, and you look over and they're like, no, no, you didn't.
84
Well, I don't think they would go, no, no. Yeah, right.
85
Even if they felt that, it was like, what do we do?
86
That's the joy of well -written material.
87
It moves you immediately.
88
When I read the pilot script of Breaking Bad,
89
it conjures up thoughts and ideas and inspiration within an actor that moves you along involuntarily.
90
I wake up from a dream and go, oh, you know, it would be great is if he had this
91
and he weighed this much and his hair was kind of, and I'm writing notes the whole time.
92
And then I pitch Vince on these ideas and he's going, oh, that's a great idea.
93
And so you start keying off each other, and pretty soon you're developing together the look of the character,
94
the tone of the character, the pace. And I wanted
95
Walter to feel like the weight of the world, so his posture was kind of round -shouldered,
96
and his head was kind of bowed for the weight of this tension and depression that he was carrying with him.
97
Is he more upright now?
98
He is more upright.
99
And that's conscious.
100
When he took on this persona of Heisenberg where he is this desperate desperado,
101
his shoulders are back, his posture is much greater,
102
because he felt more comfortable and more in control and powerful.
103
And I think I just wanted to have that manifest in his stateliness this.
104
Looks like you're about a thousand gallons light here, Mike.
105
Where's the juice?
106
Methylamine isn't coming.
107
Why is that?
108
Who the hell are you?
109
I'm the man who's keeping it.
110
It must be tremendously both challenging and fun for you to be able to play a character with this kind of arc.
111
I mean, there were almost slapstick moments in your, in your tighty -whities in the pilot,
112
and then, you know, to these really dark episodes at the beginning of this, of this last season.
113
It's the role of my career, playing Walter White, and I will forever be grateful to Vince Gilligan for being my champion to get this role.
114
There was some interest, concerns,
115
I should say, about the goofy dad from Malcolm in the Middle transferring now and becoming
116
Walter White, this mastermind chemist who creates this awful drug and puts it out in society.
117
And who would want to watch this?
118
It's crazy.
119
And yet, if you see
120
Breaking Bad, you realize that it's not about glorification of drug use or drug manufacturing.
121
No one would, in their right mind, would want to trade places with Walter White.
122
He is a troubled, troubled, despicable man now, and caught up in his own ego and hubris,
123
and that's what happens.
124
It's a story, it's a cautionary tale about poor decision -making and what could happen.
125
The methylamine keeps flowing no matter what.
126
We are not ramping down.
127
We're just getting started.
128
Nothing stops this train.
129
Nothing.
130
When you go to those really dark places, and this is a question you've had before,
131
I'm sure, but are you just kind of making that up?
132
Are you tapping into personal stuff?
133
Do you want to keep a line between those two, that it's not just your life is on display?
134
No,
135
I mean, I think the success of an actor is being willing to go into those dark places and display them publicly.
136
We have to have that kind of courage and vulnerability to do that.
137
In high school, all the way through school, I remember trying to stay the same as everyone else.
138
I didn't want to stand out.
139
Oh, we're wearing that, and this is what everybody else is wearing.
140
I kind of want to, I don't want to be isolated or ostracized, certainly.
141
I don't want to be embarrassed or have someone point the finger at you.
142
Look at that guy, you know.
143
Oh no. What happens is that we think that if you are vulnerable and sensitive and open,
144
that you'll be ridiculed.
145
And, but as adults, when we mature, what we realize is that if you have the audacity to display those human,
146
honest emotions, that the opposite is what happens.
147
People embrace someone who is in trouble, someone who is vulnerable, someone who is frightened.
148
They have a tendency to come forward and put their emotional arms around you.
149
So once actors learn that,
150
it's like, oh, oh, the finger pointing is only by the uneducated and the immature the ones who truly count,
151
who ones who enjoy literature and well -crafted storytelling are anything but that.
152
They're open and welcoming to that type of personality.
153
I've read interviews with Aaron Paul where he just seems mystified at the fact that people still love
154
Walt, despite, like, all these unbelievably awful things that he does.
155
Is that sort of part of it?
156
Well, my job is to be honest when I depict
157
Walter White and not to judge him,
158
but to justify his actions so that I can honestly play him when I step into his shoes.
159
It's difficult because the sensibility of Brian looking at that is abhorrent behavior,
160
and And yet, you realize that we as human beings are fully capable of a wide spectrum of emotions.
161
I believe that if we chose the sweetest,
162
meekest person, that person, given the right set of circumstances, can become dangerous.
163
Any human being is potentially a dangerous person if the right buttons are pushed,
164
if the conditions of that person's life are in such despair, it is humanly possible.
165
Only you never told me that kid would wind up in the hospital.
166
You know, take that thing and get the hell out of here.
167
You and me, we're done.
168
What are you...
169
Come on.
170
Hey.
171
Hey.
172
We're done when I say we're done.
173
I believe that we are all living in a, in truthful, a gray area.
174
It's not black and white like television shows of the past used to show us.
175
It's all about the gray, shades of gray.
176
I believe it's possible for a man, Walter White, to go out and to kill a rival of his and yet wash his hands,
177
go home, and gently and lovingly pick up his baby daughter and caress her and love her as a father.
178
We are capable of that, of those wide swings as human beings.
179
It's frightening in a way.
180
Is there some measure of the show's success in that that we're not asked to judge
181
Walt or really any of the characters?
182
It doesn't seem like Vince has put that forward and he's dwelt in that gray area that you were talking about.
183
Yeah, and all the characters have...
184
have touched upon some of that gray area.
185
In fact, it's odd.
186
When we put the hook in viewers early on in Breaking Bad, where we presented this man who was depressed from missed opportunities in his life,
187
I think people can relate to that.
188
You know, I missed the boat or I didn't do what I wanted to do
189
when I was a kid and now I'm doing some job that I'm not really passionate about.
190
But you make the best of it.
191
You put your, you know, your best foot forward and you move forward.
192
And that's what
193
Walter White was doing.
194
And even though depressed, he was, he took his responsibilities seriously.
195
He has a special needs son who has, needs physical therapy that is not covered by medical insurance.
196
So he requires
197
Walter White to have a second job at a car wash, for instance.
198
It also, you know, it highlights perhaps the need in this country for valued, basic health care.
199
It also illustrates the talking points about how everyone respects and reveres the role of a teacher in our lives,
200
but yet they're not always paid the same amount of actual money as they are in respect.
201
Right.
202
So there's social, political issues that have come out from the series, and I think valuable.
203
You've directed a few episodes.
204
You've directed for Malcolm in the Middle, too, right?
205
What do you like about directing for TV, and do you want to move past that or add to that by doing filmmaking?
206
I did a film that I wrote back 12 years or so ago, and I had a great time doing it.
207
A tremendous amount of work.
208
Much more work than my acting jobs have been.
209
Because as an actor, and you're trained to do this, you're self -centered, and you should be.
210
What does my character want?
211
What does my character, who's in my character's way?
212
How does my character get these things?
213
You know, what does my character feel about something?
214
And actors find themselves in trouble if they take that self -centered nature that is good and works well for their craft,
215
if they take that out into their personal life.
216
What do I want?
217
Who's in my way?
218
How do I?
219
But as a director, you have to take on the mantle of all of the concerns of a production,
220
not the least of which is each individual actor's points of view, their temperaments, how they approach a character, what motivates them.
221
So I might say to you as an actor, come on, Matt, let's go.
222
Let's pick it up.
223
You're a little lazy this morning.
224
Let's go.
225
And you might go, he's right.
226
I got to go.
227
You know, it might be that rah -rah coach point of view.
228
With someone else, I might say, are you OK?
229
How are you feeling today?
230
You know, I think we can go further with.
231
I might be softer.
232
I might be more calm.
233
I always try to plant an idea that is suggestive so that instead of me telling the actor, I need you to be angrier,
234
I want to get to the point of this guy just came on to your wife big time.
235
How does that make you feel?
236
And let you go.
237
That would really upset.
238
Well, okay, bring it out.
239
Let it go.
240
And it's like, whoa, whoa, okay. And it's fun.
241
It's fun to do that.
242
I also have been known to manipulate people because if I need an actor to show remorse,
243
let's say, and they're not, they're fine about things.
244
And it's like, oh, I'm just not I'm not I'm not giving the right direction for this actor to get it.
245
I will then resort to manipulation.
246
I'll go up to the actor and I go, Matt, the way you showed tremendous remorse was just fantastic.
247
Keep that.
248
That's working really well.
249
And go off.
250
And then I'd plant the seed in you like, oh, yeah, oh, good.
251
I was glad.
252
Yeah, I kind of felt that too.
253
And then you may not know it, but in that next take, you will have some remorse just in there.
254
Are there stories that you like to tell when you're directing?
255
Are you attracted to a particular, you know, real strong characters or, or, um, I, I think, you know, again, I just,
256
I rely heavily on the writing.
257
It's all about that.
258
I know for a fact that if something is well -written, whether it's a play or a television series or a movie,
259
if something is well -written, it has the potential to being and becoming a good production.
260
If something is not well written, it has no chance to be a good production.
261
No chance.
262
You might have explosions and things and pretty girls and all these things going on, but, you know, buzzes and whistles going off,
263
but it's not going to be good.
264
So, and what's good, as we spoke of before?
265
It just has to please my sensibilities.
266
It has to be in that high water mark.
267
And for instance, Argo or Breaking Bad, the writing is so good that it hits that level.
268
It's hard to find consistent writing at
269
that level where the characters are well developed and the story is just terrific and compelling.
270
But if you find it, it's a joy.
271
So I don't want and I don't need any more work in my life.
272
I don't need to work for a living.
273
I've been very fortunate in this business.
274
So I don't make financial considerations when I'm deciding on what to do.
275
and that has guided me well.
276
So I directed a Modern Family episode, and I'm going to go back and do another one because it's so well -written, and it's fun.
277
It's fun to do, and they're good actors, and it's just a nice place to be.
278
It's a nice environment.
279
I did an episode of The Office last year, their final year in production, and just terrific people and good cast,
280
And I want to be around that.
281
I want to be around people in the arts who appreciate the gift that they've been given.
282
I don't have, the older I get, the less tolerance I have for moaning and complaining.
283
And I realize, you realize that you could actually be working for a living?
284
Right.
285
Be thankful that we are in this position.
286
That high standard, do you think that that's why we see, you know, so many shows like
287
Breaking Bad or something like
288
The Wire that have this five,
289
six season run, and that's really as far as the people who are running the show feel like they can push it.
290
Personally, I felt that
291
Breaking Bad could probably go another season of 13 episodes and see where it takes Walt.
292
But Vince Gilligan didn't think so, and that's far more important than my opinion on it.
293
And I didn't want, and I'm glad that Vince is ending it where he wants to end it,
294
because now I don't feel that it's been watered down.
295
It hasn't been diluted.
296
We haven't been redundant in the stories.
297
And we're ending it at the right time, and I think that's a good thing um it's
298
and the great thing about a film should be as long as it needs to be to tell
299
that story thoroughly and so too is a television series
300
or a play or a book you know
301
and that's the the writer's constant worry and we agonize
302
and i'm i'm a writer as well is how much is too much and how much is not enough.
303
We agonize not only over the whole telling of the story, but also each individual paragraph or moment.
304
How much description am I, because you don't want to bore the reader and go, I got it, I got it, move on.
305
And you don't want to confuse them either.
306
Like, wait a minute, what?
307
I don't, I don't, I have to go back and I didn't catch something.
308
It's always walking that edge, which is the challenge.
309
So you move on from Walter, you move on from Albuquerque, at least for the time being.
310
But you stayed and you got involved and you bought a house.
311
What happens to all that stuff?
312
Oh, I'll keep my house.
313
I enjoy this area.
314
I enjoy the culture of New Mexico.
315
I enjoy the food.
316
When I leave here, I start jonesing for the chiles.
317
I'm like, oh.
318
And you go around and you have some Mexican food or something and it's like, do you have any green or red chiles?
319
You know what I mean?
320
Hot sauce?
321
No, not, not.
322
Well, okay, you bring me the hot sauce, but it's like, hmm, it's missing something.
323
What is it missing?
324
I know exactly what it's missing.
325
You know, the pozole, the sopapillas at the end of the meal with a little honey on it.
326
I love that.
327
And I love the wide open spaces.
328
I was born and raised in Los Angeles.
329
I'm grown up in this business.
330
I lived in New York City for five years.
331
So I'm used to city life.
332
And coming out here, it's very rural to me.
333
And I welcome that.
334
I welcome the open spaces, being able to ride my bike down the Basque, the Rio Grande.
335
And it's been fun.
336
And then when visitors come, I tell you, come and see if you can spend seven days.
337
Seven days and they're going.
338
seven days what i go please you'll need more
339
but just come for seven days and i'll give them a route
340
if i'm working i'll say okay go through rio doso go down to roswell see the fun stuff of roswell
341
then go down to carlsbad you got to see the caverns
342
there zip on up to alamogordo go to the white sands you got to see
343
that and then come on up there's a lot of wetlands all the way up see
344
that if it's the right year you can see all the birds migrating um and that's just the southern loop.
345
Right?
346
And then I said, you know, of course you want to go up the Taos Pueblo is a really cool place.
347
Get some authentic Indian flatbread and it's just great.
348
The art in New Mexico and, you know, even modern art in Canyon and Santa Fe.
349
It's fun for us.
350
There are a lot of actors who don't have that experience, you know, who come here for Transformers, something like that.
351
And it's a lot studio stuff, and then they're out and they're like, oh, what a dustbin that place was.
352
But it takes some time to explore it.
353
Did it take you a couple years to get into it?
354
I think the benefit for me to discover
355
New Mexico, and Albuquerque in particular, was the fact that we were going to be here for a while.
356
We were able to set down and calm ourselves and grow some roots.
357
When you're doing a movie, you come in for two months, and you're still working 14 hours.
358
And there are many, many, many, in fact, most days for me, I work 14 hours.
359
I come home and I have a piece of chicken
360
and I get my script out and I read the lines or I take a bath and it's very exciting.
361
And I get to bed by 9 .30 and then I'm up at 5 .30.
362
So it's, you know, that's for the most part, that's my life.
363
But when I have a day off, I can go for a bike ride,
364
do some exploring, go for a drive up to Madrid or further or go the other way, you know, to Harris or whatever, any place.
365
And I like to discover new places.
366
And I do now because I try to put on my hood and kind of keep a low profile.
367
It affects your personality somewhat, I'm sure.
368
So you said the house stays, but you've also, you've gotten involved.
369
You've done charity events out at Isotopes Park, working with YDI.
370
What catches your interest and why?
371
I think when I was a little boy, I remembered hearing a phrase whenever we went camping.
372
And my family went camping often, primarily because we didn't have a lot of money.
373
So that was our outing, that was our vacation a lot.
374
And the phrase was, you know, leave your campsite better than you found it.
375
And I thought that that makes a lot of sense. So we did.
376
And so I take that and, you know, translate that to a little larger picture.
377
And it's like, try to leave someplace better than you found it.
378
If everyone can do that, can you imagine what can be accomplished? as opposed to coming to a place
379
and raping it for what it has to offer me, I want to be able to say, what can I offer you?
380
So we come here and Albuquerque has been a terrific character on Breaking Bad.
381
New Mexico has created a sensibility and a look
382
and a feel to it that has not been overused at all in television series.
383
And now, internationally, they will see Albuquerque and New Mexico.
384
Instead of just playing some other...
385
Instead of another city, another
386
Los Angeles suburb or something.
387
Right.
388
They get to see something that's very specific.
389
And we use the specific names in the street names and the car washes and the things like that.
390
And people have started coming from all over the world to Albuquerque to see some of the places that
391
Breaking Bad has created.
392
And that's a good thing.
393
On top of that, I try to reach out.
394
I've been so fortunate.
395
I've gotten more great luck than I ever thought I deserved.
396
And I think, you know, in retrospect, the irony is that since I didn't have any money when I was a kid,
397
there was no way of developing a sense of entitlement that I deserve anything.
398
No, you have to work for it.
399
You have to work for it.
400
And the idea of becoming a working actor, making a living as an actor, a director, writer, even as I say it,
401
I go, are you kidding me?
402
I get to go play for a living.
403
I get to go and create characters and goof around and use my imagination.
404
I mean that's just
405
That's just amazing.
406
So I need to help out.
407
So the last couple of years at Isotope Stadium, John Traub, who's the general manager of the Isotopes, is a friend and had this idea.
408
And I said, what about this?
409
Yeah, let's raise some money.
410
So we've raised, over the last two years, we've raised $60 ,000, $70 ,000 for local charities.
411
And that was the stipulation.
412
I wanted to keep it local.
413
I didn't want to raise some money and then have it leave the state.
414
Great.
415
So we're doing a lot with returning veterans, which is great.
416
Our show is leaving, and I want this to be able to continue on.
417
So I'm going to talk to Lou Diamond Phillips.
418
Lou, if you're watching, I'm coming after you.
419
I want you to continue with the charity game at Isotope Stadium while you're shooting Longmire here in New Mexico.
420
And then you turn it over to the next guy who steps in.
421
Come on, buddy.
422
Do that for me.
423
The gauntlet has been thrown down.
424
Handing off the baton.
425
And speaking of the isotopes, you're a Dodgers fan?
426
Big Dodgers fan.
427
I knew you were good people.
428
I love the Dodgers.
429
I remember going, when I was five, six years old, going to the L .A.
430
Coliseum before Dodger Stadium was opened in 1962 and seeing baseball.
431
The Brooklyn Dodgers are now the Los Angeles Dodgers.
432
Wow, that's fantastic and seeing these major league baseball players, my eyes just lit up
433
and I wanted to be a baseball player for most of my life until I realized
434
I was missing one major component, talent.
435
And that made me realize, okay, I have to choose a different career.
436
Excellent.
437
Well, you've been really generous with your time.
438
We appreciate it.
439
Thank you.
ऐप डाउनलोड करें
धाराप्रवाह बोलने के लिए ज़रूरी सब कुछ
AI उच्चारण स्कोरहर वाक्य का स्कोर
IPA अभ्यासहर ध्वनि में महारत
शब्दावलीअपना शब्द भंडार बनाएँ
शब्द गेमखेलते हुए सीखें
FOR YOU
अनुशंसित वीडियो
B21
68 वाक्य
Walter Is Taking Saul Forcibly With Him But Saul Doesn't Want To Go With Him #shorts #breakingbad
Daily ConversationWorking Adults
B21
801 वाक्य
Ariana Grande Part 1 (Full Episode) | Shut Up Evan Podcast
Daily ConversationWorking Adults
B21
115 वाक्य
Aaron Paul Discovers Bryan Cranston Living in Breaking Bad RV // Omaze
Daily ConversationWorking Adults
B21
156 वाक्य
Last Chapter of the groundbreaking documentary series '7 Up' (UK) 14/Sep/2026
Daily ConversationWorking Adults
B22
23 वाक्य
BoJack's Eulogy At His Mother's Funeral "Becker"
Daily ConversationWorking Adults
B21
166 वाक्य
Steve Carell Plays With Puppies While Answering Fan Questions
Daily ConversationWorking Adults
B21
166 वाक्य
The Cast Remembers | Game of Thrones: Season 8 (HBO)
Daily ConversationWorking Adults
B21
122 वाक्य
'I Am Paul Walker' Documentary Highlights | Paramount Network
Daily ConversationWorking Adults
B22
29 वाक्य
'It stings forever' - Aaron Boone on New York Yankees losing to Dodgers in World Series | MLB on FOX
Daily ConversationWorking Adults
B22
23 वाक्य
Better Call Saul Best Cable Drama Speech | 2022 Hollywood Critics Association TV Awards
Daily ConversationWorking Adults
B23
133 वाक्य
Wentworth Miller on the Success of ‘Prison Break’
Daily ConversationUniversity StudentsWorking Adults
B274 वाक्य
Eddie's Open Mic Night - Desperate Housewives 6x12 Scene
Daily ConversationWorking Adults
इस पाठ की शब्दावली और बोलने के सुझाव
यह स्पीकिंग पाठ वीडियो “Bryan Cranston on "Breaking Bad"” पर आधारित है। इस वीडियो में शैडोइंग के लिए 150 वाक्य और 4571 शब्द हैं। बोला गया हिस्सा 31:40 लंबा है। वक्ता लगभग 144 शब्द प्रति मिनट की स्थिर गति से बोलता है, जो शैडोइंग के लिए आरामदायक है। 84% शब्द अंग्रेज़ी के 3,000 सबसे आम शब्दों में से हैं; बाकी शब्द अभ्यास से पहले देख लेना अच्छा रहेगा। इसके 150 वाक्यों में से 36 प्रश्न हैं, इसलिए यह प्रश्नों के लहजे और छोटे जवाबों के अभ्यास के लिए अच्छा है।
इस वीडियो की मुख्य शब्दावली
वीडियो के 15 सीखने लायक शब्द, उच्चारण और अर्थ के साथ:
| शब्द | उच्चारण | अर्थ |
|---|---|---|
| gray विशेषण | /ɡɹeɪ/ | धूसर |
| charity संज्ञा | /ˈtʃæɹɪti/ | दान |
| finger संज्ञा | /ˈfɪŋɡɚ/ | उंगली, अंगुल |
| pitch संज्ञा | /pɪt͡ʃ/ | मैदान |
| discover क्रिया | /dɪˈskʌvə/ | खोज निकालना, खोज करना |
| juice संज्ञा | /d͡ʒuːs/ | रस, जूस |
| script संज्ञा | /skɹɪpt/ | लिपि, लेखन |
| explore क्रिया | /ɪkˈsploɹ/ | अन्वेषण करना |
| phrase संज्ञा | /ˈfɹeɪ̯z/ | मुहावरा, वाक्यांश |
| vulnerable विशेषण | /ˈvʌln(ə)ɹəbl̩/ | असुरक्षित |
| emotion संज्ञा | /ɪˈməʊ.ʃən/ | भावना, जज़्बा |
| whoa | /woʊ/ | वाह |
| chili संज्ञा | /ˈt͡ʃɪli/ | मिर्च, हरी मिर्च |
| meal संज्ञा | /ˈmiːl/ | भोजन, जेमन |
| bath संज्ञा | /bɑːθ/ | स्नानागार |
वीडियो में आने वाली फ़्रेज़ल वर्ब
| शब्द | अर्थ |
|---|---|
| go out क्रिया | बाहर निकलना, निकलना |
| pick up क्रिया | उठाना |
| sit down क्रिया | बैठना |
इस वीडियो का व्याकरण
वक्ता जिन संरचनाओं का सबसे अधिक प्रयोग करता है, वीडियो के असली शब्दों के साथ:
| संरचना | वीडियो में |
|---|---|
| Present perfect have/has + past participle — बीता हुआ काम जिसका असर अभी भी है | It's been · you've become · I've never been |
| Passive voice be + past participle — ज़ोर इस पर कि क्या होता है, न कि कौन करता है | be written · was offered · be isolated |
| Relative clauses who / which + उपवाक्य — व्यक्ति या वस्तु के बारे में अतिरिक्त जानकारी | someone who is · ones who truly · ones who enjoy |
ध्यान देने योग्य उच्चारण
वक्ता 108 बार संक्षिप्त रूपों का प्रयोग करता है, जैसे I'm, you're, don't। इन्हें वैसे ही छोटा बोलें जैसा आप सुनते हैं।
- “th” की ध्वनियाँ: bath /bɑːθ/, thoroughly /ˈθʌɹ.ə.li/, authentic /ɔˈθɛn.tɪk/, thankful /ˈθæŋkfəl/, thrill /θɹɪl/
- “sh” और “zh” की ध्वनियाँ: emotion /ɪˈməʊ.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, vacation /veɪˈkeɪ.ʃən/, potentially /pəˈtɛnʃ(ə)li/
- लंबे शब्द — बलाघात सही रखें: primarily /ˈpɹaɪ.mə.ɹə.li/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, potentially /pəˈtɛnʃ(ə)li/, execution /ˌɛk.sɪˈkjuː.ʃən/
हिंदी भाषियों के लिए मुश्किल ध्वनियाँ:
- /v/ और /w/ का फ़र्क़ — /v/ में ऊपर के दाँत निचले होंठ को छूते हैं, /w/ में होंठ गोल होते हैं: discover /dɪˈskʌvə/, vulnerable /ˈvʌln(ə)ɹəbl̩/, whoa /woʊ/, sensitive /ˈsɛn.sɪt.ɪv/, wire /ˈwaɪɚ/
- /z/ — इसे “ज” (/dʒ/) न बनाएँ: phrase /ˈfɹeɪ̯z/, resort /ɹɪˈzɔɹt/, physically /ˈfɪz.ɪ.kli/, lazy /ˈleɪ̯zi(ː)/, visitor /ˈvɪzɪtɚ/
- शब्द की शुरुआत में s + व्यंजन — पहले “इ” न जोड़ें: script /skɹɪpt/, swing /ˈswɪŋ/, steady /ˈstɪdi/, spectrum /ˈspɛktɹəm/, scream /skɹiːm/
इस वीडियो से अभ्यास कैसे करें
- पहले बिना बोले पूरा वीडियो एक बार सुनें और जो शब्द नहीं आते उन्हें लिख लें।
- सामान्य गति पर एक-एक वाक्य की शैडोइंग करें और हर वाक्य तब तक दोहराएँ जब तक आपकी लय वक्ता से न मिल जाए।
- अपनी आवाज़ रिकॉर्ड करें और मूल से तुलना करें, ख़ासकर gray, charity, finger जैसे शब्दों पर ध्यान दें।
शैडोइंग तकनीक क्या है?
शैडोइंग (Shadowing) एक विज्ञान-समर्थित भाषा सीखने की तकनीक है जो मूल रूप से पेशेवर दुभाषिया प्रशिक्षण के लिए विकसित की गई थी। विधि सरल लेकिन शक्तिशाली है: आप मूल अंग्रेज़ी ऑडियो सुनते हैं और तुरंत इसे ज़ोर से दोहराते हैं — जैसे वक्ता की छाया 1-2 सेकंड की देरी से। शोध से पता चलता है कि यह उच्चारण सटीकता, स्वर, लय, जुड़ी हुई ध्वनियाँ, सुनने की समझ और बोलने की प्रवाहशीलता में काफ़ी सुधार करता है।