Pratica di Shadowing: Cambridge 20 Listening Test 3 with answers - Impara a parlare inglese con i video
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IELTS 20, published by Cambridge University Press and Assessment, 2025.
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This recording is copyright.
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Test 3.
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This is the IELTS Listening Test.
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You will hear a number of different recordings, and you will have to answer questions 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 parts.
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At the end of the test, you will be given ten minutes to transfer your answers to an answer sheet.
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Now turn to part one.
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You will hear a woman phoning the owner of a house she is going to rent about companies
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that she could rent furniture from.
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First, you have some time to look at questions 1 to 5.
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Now listen carefully and answer questions 1 to 5.
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Good morning.
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Hi, this is Shelley Meyer.
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I'm renting your house on Archwood Avenue.
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I'm due to move in next week.
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Oh, yes.
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Hello, Ms. Meyer.
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What can I do for you?
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When I viewed the house, I told you I most probably need to rent some furniture, at least until I know whether my temporary work contract is going to be made permanent.
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Yes, of course, I remember.
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And I said I could give you some information about furniture rental companies in the city.
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That's right.
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Well, the biggest company is called Peak Rentals.
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I've recommended them to other people and have always heard positive reports about them.
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Could you give me an idea of their costs?
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Sure.
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I actually have one of their brochures here.
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It says the monthly price per room starts at $105 and goes up to $239.
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That depends on which rooms you need furniture for, of course.
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Sure.
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It's just to get a general idea of how much it's going to cost.
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And you said you had some positive feedback about this company?
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Yes.
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People have mentioned that the furniture from Peak Rentals is more modern than any of the other companies.
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And also, once you place an order, the furniture will be delivered to you in just one or two days.
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That would be really helpful.
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Oh, and the brochure says that there's a special offer at the moment.
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If you rent living room furniture, I believe that's a set of chairs and a TV table, you'll also get a lamp at no extra cost.
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Okay, but you know, that price range you gave is more than I was hoping to pay.
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Then you could try Aaron and Oliver.
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Sorry, what and Oliver?
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Aaron.
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Double A-R-O-N.
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Okay.
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Are they cheaper?
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I'd say they're a mid-price company.
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But if you chose them, you need to be aware that they charge an extra 12% every month in case of damage.
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Oh, I see.
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I'd have to do the math carefully then.
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Right.
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But one helpful thing is that they also do cleaning for customers.
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For the furniture?
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For the house.
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Oh, I see.
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I probably won't need that.
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Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.
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Now listen and answer questions 6 to 10.
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There's another company called Larch Furniture.
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It's quite new, and it has the lowest prices in town.
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That's for both furniture and also electronic equipment.
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Well, that would be good.
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I'm not bringing much with me, and I won't have much time to go shopping after I start my job.
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There are two things you need to know about large furniture.
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First of all, you have to take out insurance on the furniture, and you need to organize that yourself.
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That wouldn't be too hard.
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Also, you can't take out a contract for less than six months, but I figure that might not be a problem for you.
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You're renting the house for 12 months after all, aren't you?
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Yes, okay.
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Well, I'm...
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Sorry to interrupt.
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I just thought of another furniture rental company.
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It's called Space Rentals, and it's located very near to the house.
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Okay.
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I don't have any information about their charges, so it's best to use their app to find out what it would cost you to use them.
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Okay, thanks.
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I'll do that.
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One good thing about that company is that if you don't like the furniture once it's delivered, you can request exchanges.
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As long as you do that within a week of receiving it.
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That sounds really great.
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Okay, well, thanks very much.
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That's so helpful.
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That is the end of part one.
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You now have one minute to check your answers to part one.
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Part 2 You will hear an archaeologist who is part of a community project to excavate an ancient village,
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talking to members of the public who are visiting the site.
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First, you have some time to look at questions 11 to 16.
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Thank you.
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Now listen carefully and answer questions 11 to 16.
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Hello, I'm Hayden.
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I'm one of the archaeologists investigating the site here at Bidcaster.
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This is the third summer for this community project, and most of the people digging here are volunteers.
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I'm a full-time archaeologist for the town council, but I was asked to join the project by NHA,
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a charity which sets up projects like this up and down the country.
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As you can see, we're next to Bidcaster Castle, which is great because the owners let us use their facilities.
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So, how did we get to where we are today?
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Many archaeology projects happen when an ancient object is found, and in our case that object was a gold coin.
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Coins are often found by people using metal detectors to look for things buried in the ground,
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or coins are uncovered when wild animals like rabbits have been digging tunnels.
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Here, a walker found it on the ground after a rainstorm washed away some of the earth and sand.
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When the story of the gold coin hit the news, Peter Swift, an amateur historian,
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contacted me to say he believed there had been a village on this site, centuries before the castle was built.
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Just by chance, the team found some old maps and documents in our library,
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which showed 500-year-old drawings of ruined buildings on the grassy area between the outer stone walls of the castle and the river.
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We knew then we were onto something.
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Over the three summers the team has been here, we've found the remains of several buildings, and more broken pots than you can count.
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Normally you'd expect to find brooches and other jewellery, but we're still waiting to uncover any such items.
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The people who once lived here were skilled at making tools from animal bones, as you'll see when you visit the exhibition.
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Besides the discovery of the village, we've also found evidence of human activity on the other side of the river.
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No other houses or huts so far, but we can see the borders of an ancient field system.
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At one point we found a long wall and thought it was an ancient palace, but it turned out to be a modern wall.
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This summer's work will end soon, but we'll be back next summer.
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In the meantime, we're putting on a series of guided tours for school groups this autumn.
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Oh, and, um, maybe you saw the TV documentary about our project.
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That suggested the objects we've found are going to the town's museum, but we don't know that for sure yet.
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Before you hear the rest of the talk, you have some time to look at questions seventeen to twenty.
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Now listen and answer questions 17 to 20.
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When you enter the site, please make sure you keep to the paths at all times.
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There are a few other things, the highlights of the site, if you like, that I want to mention.
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Take a look at the map.
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Our present location is marked at the bottom.
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This year, we've identified the foundations of an ancient bridge.
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and it's really exciting today because a team of divers are in the river searching for lost objects.
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To reach the bridge, take the main path ahead of you, go straight on, and keep going till the path bends to the left.
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You'll see a smaller track leading off to the right.
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Follow that to take you to the river, where the divers are.
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You might be interested to see the rubbish pit.
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This is very near the castle walls, in the northwest corner of the site.
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It actually dates to the time of the castle, and not the ancient village.
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We found oyster shells and fish bones, and we assumed they were thrown from the castle kitchen above.
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One area we excavated in the first summer uncovered the site of a meeting hall.
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We knew it was an important building because it had two rows of post holes, deep enough to support a large roof.
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It's the largest structure in the central area of the site, next to the current excavation area.
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Last year we discovered a fish pond in the ancient village.
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Normally these were beside a river.
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The pond here is further away, but it's possible the river has moved slightly.
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Anyway, to get there from here, you turn right at the first information board you come to and follow the path into the trees.
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Before you come out of the trees, you'll see it on your right.
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If you reach the river, you've gone too far.
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So, does anyone have a...
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That is the end of part two.
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You now have 30 seconds to check your answers to part 2.
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Part 3 You will hear two theatre studies students, Maya and Finn, discussing their project on theatre programmes.
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First, you have some time to look at questions 21 to 26.
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Now listen carefully and answer questions 21 to 26.
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So, Finn, I've done as much as I can for our project on theatre programmes.
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How's your research coming along?
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OK, Maya.
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I didn't know theatre programmes are called Playbills in the USA till I started looking into the topic.
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Even though I struggled to find many useful websites, I'm glad we picked this subject.
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No one else on the course is doing the same as us, although it is one of the research areas of the module convener.
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That might actually put some people off.
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I suppose so.
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Anyway, I hadn't realised there are actually companies specialising in creating theatre programmes.
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Yes, they're quite common nowadays.
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Contrary to what many people think, theatres don't hire people to do the programmes.
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In fact, companies buy the rights to publish programmes on the theatre's behalf
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and then make their money selling advertising space within the programme booklet.
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It must be easier for theatres to do it that way.
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Yes.
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I remember reading something about programs in early British theatre.
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It said that the cast was always very important.
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Yeah, audiences were very familiar with leading actors and big names would draw huge crowds.
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But I hadn't realised that if the programme named a famous actor, that's who the public expected to perform.
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And if that didn't happen, people accused the theatre of breaking their agreement with the audience.
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They would demand refunds, and if they didn't get them, there were riots.
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Outrageous!
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That'd never happen now.
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No, people are too polite, even when they're disappointed if the star of the show misses a performance.
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We should definitely include that information about early audiences in our project.
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I also think it's important to mention that lots of ordinary people at that time were illiterate,
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so theatre programmes were of limited value in advertising plays.
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When a company of actors arrived in a town, they'd parade around the streets in their costumes, beating drums and announcing their upcoming performances.
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Interesting.
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I couldn't imagine that happening now either.
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Hmm.
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There's also an interesting comparison to make between 18th and 19th century programmes.
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Wasn't it in the 19th century that theatre programmes started to resemble programmes today?
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Yes.
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And unlike programmes from the 18th century, they always used colour.
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And there was a greater variety of designs.
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but personally I think 18th century programmes were superior because they told the theatre goers so many things, including about the actors.
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And about the writer, the plot and sometimes the history of the play.
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That's right.
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What should we say about theatre programmes in the 20th century?
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I reckon the most important thing is the dramatic change they underwent during World War II.
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When the government imposed restrictions on the use of paper.
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Yeah, but that was only in the UK.
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In the USA, programs, or rather playbills, continued to be published in the same format.
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While here in the UK, programs became merely a single sheet of paper folded to create four pages for text.
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What I don't really get is that after the war, they didn't go back to being more than one sheet or change in any way for over 25 years.
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I know there were paper shortages after the war, but only for five or ten years.
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Hmm, strange.
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Before you hear the rest of the discussion, you have some time to look at questions 27 to 30.
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Now listen and answer questions 27 to 30.
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I've got some pictures of programmes we could include on the slides for our presentation.
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I found a couple too, Maya.
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Let's go through and see what we think.
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Um, oh, this is an old one for a play called Rui Blass.
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Never heard of that, but the programme looks very decorative.
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Good enough to put in a frame on the wall.
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The images are just beautiful.
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Finn, what did you find?
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I've got some pages from a programme for Man of La Mancha.
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I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company.
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So we can learn how the production was created and the thoughts and feelings of the cast.
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Good.
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I've got a copy of a programme that's now in a museum.
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It's for The Tragedy of Jane Shaw
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and it's said to be the earliest surviving document to have been printed on Australia's first printing press.
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Fantastic!
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Another programme to talk about is for the Sailors' Festival.
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It comes from the British Library's digitised collection of programmes that was started a few years ago.
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It already comprises over 200,000 programmes, which is amazing!
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Huh, wish I'd known about it while I was doing my research!
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That is the end of part 3.
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You now have 30 seconds to check your answers to part 3.
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Part 4.
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You will hear a design and technology lecturer talking about inclusive design.
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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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It's only relatively recently that designers have become aware of the need to be inclusive when designing products.
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But what does that mean exactly?
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Well, it simply means designing products that span economic, social and cultural barriers.
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It means making sure products are accessible, so
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that as many different types of people as possible can use
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them without any type of adaptation having to be made to the original design.
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Inclusive design is often linked with universal design, although they are not quite the same thing.
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Universal Design aims to make products that work for everyone and
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that includes considering the needs of people who have cognitive difficulties which can present quite a challenge Today,
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examples of successful inclusive design can be seen all around us In workplaces,
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it is common to see desks which can be adjusted to suit people of different heights or for wheelchair users
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This still isn't always the case, however, and is one reason why office workers often suffer from back or neck problems.
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You'll find another example in the public toilets of countless hotels, airports and offices.
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Taps that you activate by sensor require no pressing or twisting movements.
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These are not only more hygienic, they're also easier for people with dexterity or mobility issues.
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The tech industry has been criticised in the past for focusing too much on young consumers, but this is changing.
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Many products are now designed with the elderly in mind.
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For example, it's well known that vision declines with age and that we also become worse at distinguishing between similar colours,
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in particular shades of blue, which is why software designers rarely create interfaces with this colour.
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Motor skills also decline with age
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and some people have difficulty doing everyday things like picking up a cup or opening a door.
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This can also affect their ability to use a mouse or keyboard.
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So voice access is now a routine way of making commands.
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It's worth looking at the problems non-inclusive designs cause when not enough consideration is given to a range of users
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as it can have a serious impact on people's lives.
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Access is one obvious example because it has such a huge impact on disabled people's independence.
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Not being able to access public transport because buses
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or trains are not wheelchair friendly means many disabled people can't go out unless someone goes with them.
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Safety is another issue.
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Inexplicably, most cars are still crash tested using a dummy based on an average sized male.
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This has safety implications for all women, particularly those who are pregnant,
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as the seatbelts worn by the dummy are not adapted to accommodate them.
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Over the past 100 years, workplaces in the UK have, on the whole, become considerably safer.
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Employers are legally required to provide well-maintained personal protective equipment, or PPE, anything from goggles to full bodysuits,
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to workers who need it, free of charge.
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But most PPE is designed to fit men.
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A recent report found that employers often think that when it comes to female workers,
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all they need to do to comply with this legal requirement is to buy jackets, for example, designed for a small man.
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The problem with this is that women can be tall and still have much smaller shoulders than the average man.
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Ill-fitting PPE such as high-vis jackets, vests and body armour can put women at risk The report found
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that 95% of women said that their PPE often hampered their work and that this problem was worst in the emergency services,
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particularly the police
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Another problem is related to comfort at work
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A very common scenario in offices in summertime is to see women wrapped in blankets
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or wearing sweaters while the air conditioning is on high.
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Meanwhile, the men are in shorts and t-shirts.
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This is due to differences in metabolic rates for men and women.
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There is a standard setting for air conditioning to be at a temperature of 21 degrees, designed to suit men.
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and in most modern offices it's not possible to turn the air conditioning up or down.
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This means that many offices which mainly employ women are wasting energy by having the air conditioning set too high.
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As you can see from the examples I've just mentioned, there are serious consequences for designs which don't consider the needs of all users.
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That is the end of part four.
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You now have one minute to check your answers to part four.
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Thank you.
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Thank you.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello B2 si basa sul video “Cambridge 20 Listening Test 3 with answers”. Le parole che ritornano più spesso: programme, questions, furniture, theatre, answer. Questo video contiene 279 frasi e 3213 parole da ripetere con lo shadowing. Il parlato dura 29:59. Chi parla lo fa lentamente, circa 107 parole al minuto, quindi c’è tempo per imitare ogni suono. Il 84% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
Le 15 parole più avanzate del video, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| inclusive aggettivo | /ɪnˈkluːsɪv/ | inclusivo |
| coin sostantivo | /ˈkoɪ̯n/ | moneta |
| archaeologist sostantivo | /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/ | archeologo, archeologa |
| diver sostantivo | /ˈdaɪ̯və(ɹ)/ | tuffatore, tuffatrice |
| playbill sostantivo | /ˈpleɪˌbɪl/ | manifesto, locandina |
| uncover verbo | /ʌnˈkʌvɚ/ | scoprire, scoperchiare |
| disable verbo | /dɪsˈeɪbəl/ | disabilitare |
| dummy sostantivo | /ˈdʌmi/ | stupido, scemo |
| wheelchair sostantivo | /ˈ(h)wilt͡ʃɛɹ/ | sedia a rotelle |
| pond sostantivo | /pɑnd/ | stagno |
| workplace sostantivo | /ˈwɝkˌpleɪs/ | luogo di lavoro |
| implication sostantivo | /ˌɪmpləˈkeɪʃən/ | implicazione, risvolto |
| metabolic aggettivo | /mɛtəˈbɒlɪk/ | metabolico |
| comprise verbo | /kəmˈpɹaɪz/ | consistere, comprendere |
| accuse verbo | /əˈkjuz/ | accusare |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| take out verbo | cavare, cacciare | |
| find out verbo | scoprire | |
| go out verbo | uscire, andare fuori | |
| go through verbo | attraversare | |
| pick up verbo | tirare su, sollevare | |
| set up verbo | /ˌsɛt ˈʌp/ | preparare, installare |
Frasi da ripetere
Frasi brevi e complete del video che puoi riutilizzare nella conversazione di tutti i giorni:
- I'm due to move in next week.
- What can I do for you?
- Could you give me an idea of their costs?
- How's your research coming along?
- Finn, what did you find?
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | I've recommended · have mentioned · has been |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | will be played · will be given · be made |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | Castle, which is · people who once · programmes, which is |
Pronuncia a cui fare attenzione
Chi parla usa 61 contrazioni e forme ridotte, come I'm, don't, I've. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: northwest /nɔɹθˈwɛst/, mathematics /mæθ(.ə)ˈmæt.ɪks/
- I suoni “sh” e “zh”: implication /ˌɪmpləˈkeɪʃən/, restriction /ɹɪˈstɹɪkʃən/, rubbish /ˈɹʌbɪʃ/, adaptation /ˌæd.æpˈteɪ.ʃən/, publish /ˈpʌblɪʃ/
- Parole lunghe — attenzione all’accento: archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, implication /ˌɪmpləˈkeɪʃən/, metabolic /mɛtəˈbɒlɪk/, decorative /ˈdɛk.ə.ɹə.tɪv/, historian /hɪˈstɔɹi.ən/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: wheelchair /ˈ(h)wilt͡ʃɛɹ/, historian /hɪˈstɔɹi.ən/
- Consonante finale — senza aggiungere una vocale dopo: inclusive /ɪnˈkluːsɪv/, archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, pond /pɑnd/, workplace /ˈwɝkˌpleɪs/, metabolic /mɛtəˈbɒlɪk/
- /æ/ — più aperta della “e”: activate /ˈæktɪˌveɪt/, adapt /əˈdæpt/, adaptation /ˌæd.æpˈteɪ.ʃən/, rabbit /ˈɹæbɪt/, lamp /ˈlæ̝mp/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come inclusive, coin, archaeologist.
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.