Pratica di Shadowing: CAE TEST3 PART1 - Impara a parlare inglese con i video
Creazione lezione...
1
Now open your question paper and look at part one.
2
You'll hear three different extracts.
3
For questions one to six, choose the answer A, B or C, which fits best according to what you hear.
4
There are two questions for each extract.
5
Extract one.
6
You hear two colleagues, Eva and Colin, talking about a problem at work.
7
Now look at questions one and two.
8
So the thing is, you aren't getting on with her new boss then, Colin.
9
She's just so different from her predecessor.
10
I mean, John used to get us all involved in the decision-making process.
11
No chance of that with Sandra, you think?
12
No way!
13
OK, I grant you, she's got some good ideas.
14
She moved pretty fast to get us all to agree to individual job descriptions and a proper timetable, none of which we've had before, and we should have had.
15
And she's done her homework on the staff profile, our qualifications and past experience and so on.
16
As you'd expect.
17
Yes, but she doesn't seem aware of the atmosphere here.
18
It's the way we've always done things.
19
I just don't feel I can work with her.
20
I'd say she's just finding her feet in a new job, and she'll soon get the hang of what we're all about.
21
Let's focus on how much she's already achieved.
22
I wouldn't let anybody tell you it's a trivial issue, though.
23
If she doesn't settle in soon, and you still have issues with her, I think you should approach her direct.
24
OK.
25
Thanks, Eva.
26
Now you'll hear the recording again.
27
So the thing is, you aren't getting on with our new boss then, Colin.
28
She's just so different from her predecessor.
29
I mean, John used to get us all involved in the decision-making process.
30
No chance of that with Sandra, you think?
31
No way!
32
OK, I grant you, she's got some good ideas.
33
She moved pretty fast to get us all to agree to individual job descriptions and a proper timetable, none of which we've had before, and we should have had.
34
And she's done her homework on the staff profile, our qualifications and past experience and so on.
35
As you'd expect.
36
Yes, but she doesn't seem aware of the atmosphere here.
37
It's the way we've always done things.
38
I just don't feel I can work with her.
39
I'd say she's just finding her feet in a new job, and she'll soon get the hang of what we're all about.
40
Let's focus on how much she's already achieved.
41
I wouldn't let anybody tell you it's a trivial issue, though.
42
If she doesn't settle in soon, and you still have issues with her, I think you should approach her direct.
43
OK.
44
Thanks, Eva.
45
Extract 2.
46
You hear an interview with an expert who repairs antique vases.
47
Now look at questions 3 and 4.
48
Show me how you do it.
49
I see you've got trays and trays of pieces here.
50
Yes, you have to find the bits that match, so I've put all these tiny pieces into colour groups, red here, blue over there.
51
It's a bit like doing a jigsaw, really, but at least there are no stains to remove.
52
All we have to be aware of is the enamel on the surface, that we have to lift all the dirt and grease off.
53
If you don't, the pieces won't go back together again, it'll fall apart.
54
If the cracks are going to show, they've got to be really clean, otherwise they'll look messy.
55
You want the cracks to show?
56
Some people would say that's terrible for such a valuable vase.
57
Well, yes, they probably would.
58
But something that's broken so extensively is this.
59
If you cover all the cracks up, you're really making a fake.
60
Being broken is something that's happened to it in its lifetime, which should be recorded.
61
And as long as you can restore it so that aesthetically it still works, it shouldn't matter that the cracks show.
62
Now you'll hear the recording again.
63
Show me how you do it.
64
I see you've got trays and trays of pieces here.
65
Yes, you have to find the bits that match, so I've put all these tiny pieces into colour groups, red here, blue over there.
66
It's a bit like doing a jigsaw, really, but at least there are no stains to remove.
67
All we have to be aware of is the enamel on the surface, that we have to lift all the dirt and grease off.
68
If you don't, the pieces won't go back together again, it'll fall apart.
69
If the cracks are going to show, they've got to be really clean, otherwise they'll look messy.
70
You want the cracks to show?
71
Some people would say that's terrible for such a valuable vase.
72
Well, yes, they probably would.
73
But something that's broken so extensively as this, if you cover all the cracks up, you're really making a fake.
74
Being broken is something that's happened to it in its lifetime, which should be recorded.
75
And as long as you can restore it so that aesthetically it still works, It shouldn't matter that the cracks show.
76
Extract 3 On the radio, you hear a visitor talking to a man about the remote island where he lives.
77
Now look at questions 5 and 6.
78
This is such an unusual place because there's no public transport to the island.
79
I came here in your fishing boat.
80
The result is a paradise.
81
Rich marine life, unspoilt countryside.
82
Yet you want to let the world in.
83
You've campaigned to start up a ferry service from the mainland.
84
Why?
85
Well, there isn't enough work to support our population.
86
If visitors come to the island and we have a lot to offer them, catering for them would create employment.
87
Also, our young people would be able to commute to jobs on the mainland.
88
Don't you think it's risky?
89
These beaches could be covered with holiday houses and hotels.
90
Your visitors will complain because there are only a few shops and a ferry service won't be enough.
91
People will want to fly here and you'll have to build an airport.
92
No more paradise.
93
We can build a small airport without impacting on our quality of life here and it makes economic sense.
94
Our shops can cope with more people on the island.
95
It'll be seasonal anyway.
96
And why would we build on the beaches?
97
It'd be crazy.
98
I hope you're right.
99
Now you'll hear the recording again.
100
This is such an unusual place, because there's no public transport to the island.
101
I came here in your fishing boat.
102
The result is a paradise, rich marine life, unspoilt countryside.
103
Yet you want to let the world in.
104
You've campaigned to start up a ferry service from the mainland.
105
Why?
106
There isn't enough work to support our population.
107
If visitors come to the island and we have a lot to offer them, catering for them would create employment.
108
Also, our young people would be able to commute to jobs on the mainland.
109
Don't you think it's risky?
110
These beaches could be covered with holiday houses and hotels.
111
Your visitors will complain because there are only a few shops.
112
And a ferry service won't be enough.
113
People will want to fly here and you'll have to build an airport.
114
No more paradise.
115
We can build a small airport without impacting on our quality of life here.
116
And it makes economic sense.
117
Our shops can cope with more people on the island.
118
It'll be seasonal anyway.
119
And why would we build on the beaches?
120
It'd be crazy.
121
I hope you're right.
122
That's the end of part one.
123
Now turn to part two.
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Informazioni su questa lezione
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.