Pratica di Shadowing: Rowan Atkinson Breaks Down His Most Iconic Characters - Impara a parlare inglese con YouTube
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This series is called Iconic Characters.
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This series is called Iconic Characters.
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Oh, I see.
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No, I don't do idents or introductions.
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Man vs. Bee.
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Trevor Bingley, who's our hero in Man vs. Bee,
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is just a very, very nice man, actually.
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Kind of nicer than most of the characters that I play,
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who tend to be very selfish or self-centered or self-obsessed in some way, particularly Mr. Bean.
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So actually we decided to create a character who is in many ways more real, more three-dimensional.
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He's a decent sort of family man who's just gone through a divorce.
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He's very short of money,
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but he gets this job house-sitting for this very,
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very wealthy couple who are going on holiday for a week.
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And he has a lot of trouble with a bee.
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On all 14 counts of dangerous driving,
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the destruction of priceless artwork, arson.
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That's basically the story.
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One vs. Me was very difficult to shoot actually
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because we couldn't find a real house to shoot in
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because it was during Covid and no one who owned an extremely nice house wanted a film crew in it.
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So we had to create a house of our own in the studio,
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which of course means you don't have a garden and we need a garden.
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And so we had four different locations for the garden,
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two or three different locations for the interior and one big interior set.
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Get out!
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Get out!
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Die!
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And to be honest, I preferred the simplicity and the cheapness,
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if you like, of some of the early Mr. Bean stuff,
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which, as you say, we start wide.
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You know, there's a lot of wide shooting,
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and I like wide shooting.
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I'm a great believer in what Charlie Chaplin said,
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is that a life is a tragedy in close-up and a comedy in long shot.
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If you sit back visually on a situation, it automatically becomes funnier.
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I mention which is a French comedian called Jack Tatti who said that comedy begins in the legs.
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Making a character more real and more sympathetic and more identifiable doesn't necessarily make him funny.
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Because in many ways what's funny about Mr. Bean for example is his complete sort of selfishness.
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And he's a natural born anarchist.
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So he's a child trapped in a man's body.
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Whereas Trevor is an adult.
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So it's not necessarily funny to make him more three-dimensional but he becomes very obsessed and very self-centered.
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So in other words, he leaves his niceness behind.
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And that is when he becomes funny.
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In reality, we didn't have a bee,
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you'll be unsurprised to hear.
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We had a plastic bee on the end of a rod.
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If we wanted a bee to crawl across a worktop,
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then we had some professional puppeteers.
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And quite a lot of it,
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when I was just acting like that in a room,
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we didn't have anything at all.
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It was just down to me to imagine a bee and to be able to mime the situation,
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if you like, well enough,
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to make it look convincing.
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It was nice to look at a bee because your eyes,
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of course, always look different.
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If a bee's close, you look like that,
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and if the bee's further away, you look like that.
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And I think the bee,
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I mean the CGI of the bee is amazing.
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I think it's one of the finest CGI animals ever to be seen on screen.
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Mr. Bean.
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I probably enjoyed playing Mr. Bean the most because he's a character who's furthest away from my own character.
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As a person, I don't like him at all.
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I think he's very odd and pretty weird and not very nice.
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What's fun about it is it's an escape.
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You know, when you play the character,
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you don't care what you do.
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It's a weird kind of release.
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The first time we did the character,
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I'm fairly certain, was 1979 on stage.
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And that was when we had developed, I think, two sketches.
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One was the beach sketch in
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which he's trying to change into his swimming trunks on the beach
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and then there's the one in the church in
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which he's sitting in the church and he misbehaves while someone's spouting a sermon.
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The character didn't have a name.
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He didn't have to have a name because there were no words spoken in the sketches in which he featured.
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They were silent sketches.
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But then when we thought,
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actually, these sketches are quite funny,
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it's quite an interesting idea to develop a comedy character who doesn't use words.
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comedy had developed from radio comedy,
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which was a very wordy, you know, tradition.
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And we had to give him a name in order to give the television show a name.
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So we came up with the name of Mr. Bean.
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We were thinking Mr. White for a while.
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That was an idea, but that sounded a bit dull.
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We thought of, you know,
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vegetables and Mr. Bean seemed to be short,
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sharp and to the point.
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Bane.
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Bane.
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The one I remember shattering me the most,
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making me the most tired
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and exhausted I have ever been was a movie we did called Mr. Bean's Holiday in
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which he travels down through France to the south of France to the Cannes Film Festival.
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We did a sequence in Provence
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which was where he gets caught up with a peloton of cyclists and he overtakes them with great ease.
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I didn't overtake them with great ease.
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I had to put in a tremendous amount of effort
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and once we'd done a couple of takes of that I was absolutely dead because I'm not a cyclist.
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I'm not fit.
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I'm not an athlete.
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They cycled very slowly to make sure that I overtook them very very hard.
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I remember thinking that I'd nearly killed myself with the exhaustion.
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In those days we tended to do things for real
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because it was cheaper and CGI didn't really exist with the sophistication that it now has.
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I mean certainly the wider shots If you can see the wheels of the car on the road,
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then we were doing it for real.
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If it's a tighter shot,
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then we may have been on a trailer being pulled along.
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Just to make it easy,
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I tended to just, you know, do it.
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I remember, you know, we wanted this shot of the car coming straight towards camera.
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You know, the cameraman was here and I just drove straight at him, you know.
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And you would never do that in this day and age.
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I mean, I stopped, you know,
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before I hit him, but I might not have done.
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Or the brakes might have failed because of that.
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You're not allowed to do that kind of thing anymore.
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But in those days we did.
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The Blackadder.
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The Blackadder is a recurring character in history.
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We wrote a sitcom in which,
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before series, you see him in four different eras of British history.
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The essence of the Blackadder, it's about hierarchy either it's the royal court or it's the army,
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which has a very definable levels of status.
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Effectively, in every subsequent series,
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I play the ancestor, the descendant of the person in the previous series.
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In the first series, he's a prince.
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Precisely.
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In the second series, he's a lord.
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That barrow bloke you executed today, you sure he's dead?
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Well, chopped his head off,
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that usually does the trick.
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Third series, he's a butler.
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Lead on, MacDurl.
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I shall.
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And in the fourth series,
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he's a captain in the British Army in the First World War.
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I must be pretty impressed having Squadron Commander,
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the Lord Flashheart, drop in on your squally bit of line.
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Actually, no. I was more impressed by the contents of my handkerchief the last time I blew my nose.
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In the first series, he was a bit more of an idiot of an idiot.
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In the second, third and fourth series,
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he's a cleverer man, sort of stuck in the middle of a hierarchy.
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He'd love to move up,
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but he finds it very,
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very difficult to do so,
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and he certainly doesn't want to move down towards his sidekick, Baldrick.
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Yes, and your definition of dog is?
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Not a cat.
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Excellent.
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And he's always the middle guy,
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he's the sort of middle management guy who resents those above him and he resents those below him.
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But he had a wonderful sort of weary
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cynicism about the world and that I think is what made him surprisingly identifiable and also made him funny.
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The big change between the first series
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and the second series was we went from a very extravagant location-based semi-film-like texture to something,
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well, we just had to make something much more effective and much more funny and much more cheaply.
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So we ended up with a sort of three-set sitcom.
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So there were only three sets and the action just moves between the three sets.
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And then the third series,
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yeah, we were in the Regency period with George III on the throne and the Prince Regent in charge,
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is that right?
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Sorry, history was never my strong point.
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You know, Richard and Ben Elton,
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Richard Curtis and Ben Elton,
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who really made the Blackadder what it was.
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It was just whatever they thought was going to work best.
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Whenever I've been invited to do one of his films,
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I think I've always said yes,
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so if I'm not in one of his films,
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then he hasn't invited me,
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which he's perfectly entitled not to do.
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Well, Like Love Actually, you know,
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is a case in point,
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which was when he asked me to do the small part of the salesman in the shop.
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Could we be quite quick?
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Prontissimo It was just a sweet funny little part it took one all-night shoot in Selfridges on Oxford Street and
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And it was a very nice thing to have done Johnny English
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Johnny English is a British spy who's not as good as he thinks he is.
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He always overreaches himself.
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His ambition is always greater than his skill.
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The joke is in that discrepancy between reality and ambition.
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The master criminal sees not a room but a series of opportunities.
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Should I come in through the window?
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Possibly.
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Should I drop down from the ceiling?
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Perhaps.
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Actually, sir...
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There's one thing I think we can be fairly confident about.
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That is that they didn't come up through the...
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Whoa, whoa, whoa!
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I've got you, sir!
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He's a curious thing, actually.
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A relatively rare character, because he used to be called Richard Latham,
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and he was a character in some commercials that we made for Barclaycar in the 90s.
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No ordinary biro.
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Two clicks of a cap,
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and it will render any assailant immobile.
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Very dangerous in the wrong hands.
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Take over for a boff, would you a moment?
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We made the commercials to look like feature films.
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We'll never make that prank, sir.
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Nonsense.
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Our carriage awaits.
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It was a bit of a no-brainer to say,
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well, actually, why don't we just make a feature film?
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When we try and think of a name for the movies,
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I like sort of, you know,
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the name of the character in there, like Mr. Bean.
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And so in trying to think of a name,
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we thought Richard Latham was a bit dull,
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bit dull but Johnny English had a certain...
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Johnny English, I'm here to see Pegasus.
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Still, no sense rushing things.
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I did most of the driving stuff I did.
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I did what I was allowed to do.
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They are very, very reluctant to allow the star actors to do them.
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But I remember doing those things here in the first Johnny English
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when I fly down on the rope and grab the crown from John Malkovich's head.
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I hated every single one of them.
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I must have done it 25 times,
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swinging on a big rope.
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So I did some and I didn't do others.
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Informazioni su Questa Lezione
In questa lezione, praticerai l'inglese attraverso l'analisi delle icone comiche di Rowan Atkinson. Attraverso l'uso di frasi e vocaboli chiave tratti dalla trascrizione, avrai l'opportunità di migliorare la tua comprensione e la tua pronuncia. Concentrandoti sulle emozioni e i toni di Atkinson, apprenderai non solo nuovi termini, ma anche come esprimere caratteri e situazioni con maggiore autenticità, un aspetto fondamentale nella pratica di conversazione in inglese.
Vocabolario e Frasi Chiave
- Iconic Characters - Personaggi iconici
- Selfish - Egoista
- Family man - Uomo di famiglia
- Divorce - Divorzio
- House-sitting - Custodia della casa
- Three-dimensional - Tridimensionale
- Anarchist - Anarchico
- Puppeteers - Burattinai
Consigli di Pratica
Per sfruttare al meglio i materiali di questo video nella tua shadowing in inglese, ti consigliamo di seguire questi suggerimenti:
- Ascolta attivamente: Presta attenzione al modo in cui Atkinson modula la sua voce e usa le pause. Questo ti aiuterà a comprendere l'importanza del ritmo nella tua pratica di conversazione in inglese.
- Ripeti ad alta voce: Prova a ripetere le frasi di Atkinson, cercando di imitare non solo le parole ma anche il tono e le espressioni facciali. Utilizza il materiale come un shadow speech.
- Focalizzati sulle emozioni: Identifica le emozioni che Atkinson cerca di trasmettere nei suoi personaggi e prova a riprodurle mentre parli. Questo ti renderà più identificabile e coinvolgente.
- Utilizza un shadowing site: Integra la tua pratica con altre risorse online che forniscono estratti simili per migliorare ulteriormente il tuo ascolto e la tua pronuncia.
- Registrati mentre pratichi: Ascoltare la tua voce ti aiuterà a identificare le aree di miglioramento e a seguire i progressi nella tua pronuncia e fluidità.
Impegnati a praticare regolarmente e scoprirai che, man mano che migliori nella tua pronuncia e comprensione, anche la tua capacità di esprimere personaggi più complessi diventerà più naturale e divertente!
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.
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