Pratica di Shadowing: The Beatles - Roundup Interview (1964) [REUPLOAD] - Impara a parlare inglese con i video

Creazione lezione...
1
Let's meet the Beatles.
2
I've got Paul and John.
3
John.
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And Paul's talking to George and Ringo.
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Well, I said in my intro, and you were listening to it, that there have been a lot of changes since this time last year.
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Well, we've seen them, you know, we've seen you making films and doing all sorts of marvellous things, but what have the changes meant to you?
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Nothing, really.
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I think the main changes are in people's attitudes to you.
9
How?
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I don't know.
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But it's people who change rather than you.
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You know, we feel exactly the same, really.
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Got a new suit, though.
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But you've made a film since then.
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Mm-hmm.
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And you've just finished it.
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Yeah.
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Why did you make a film?
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Well, it's the logical step, isn't it?
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And I believe it's quite lucrative.
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Anyway, someone asked us.
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Yeah, we're asked to do it.
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And we said, yeah.
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And Alan Owen wrote it and we changed it and we're all...
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It's called A Hard Day's Night.
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At your local cinema now.
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Not now.
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Not now.
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Soon.
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Did you prefer this time last year or do you really like the big time?
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I like whatever's happening at the moment.
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Yeah, there's good in both of the stages.
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You know, it was great then.
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It's lovely now.
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Despite whether people are rude or not.
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Oh, I think that.
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What do you think about people who maybe, you know, didn't like you then or said something nice to you or just didn't bother about you then, but are terribly nice to you now?
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We didn't bother about them then.
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We don't bother about them now.
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Do you know something?
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What?
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I believe it.
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Yeah, it's true.
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What difference is there since last June up to now?
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What sort of things have happened to you since then?
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The main difference is that we've got more money and less time to ourselves.
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You know, everything's speeded up and we're just running around like mad.
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And which of the two would you prefer to have?
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More money and less time?
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Well...
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More money and less time.
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I think.
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If you ever manage to get away from the crowds, what sort of things do you like to do?
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Sleep, see films, go to nightclubs, drive my car and that's it.
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Play records, watch TV, just ordinary things.
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What sort of records do you like listening to?
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Listening to all my records are sort of American ones.
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People who you probably haven't heard of.
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Arthur Askey, Bert Whedon.
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Do you find any difficulty in keeping up your public image?
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No.
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What image?
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It's our image is just us.
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You know, as we were.
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We didn't try and make an image.
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It just happened, and so we don't have to keep it up.
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We just remain ourselves.
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Don't we, Ringo?
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Well, we do.
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The other two are worried about it.
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You write very good songs.
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Don't you?
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Thank you.
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do you write songs?
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Well, you know, we just depend, sometimes we write them on old pianos and anything that's lying around, you know, old tramps.
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It doesn't do the piano any good, does it?
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No, it's murder getting them to the recording studio.
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I've got a song, George, on a great big piano.
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But guitars and things, you know, normally we sit down and try and bash one out or anything.
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But then again, there's no formula,
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because he can come up with one one day completely finished we still say we both wrote it though
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when did you start writing songs i was about two i think i wrote past me the bread mother
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no no it's more like when you're about about 13 or 14 when i got a guitar writing them seriously what's the one you wrote down that's me boom
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Well funny songs then.
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Mine was I lost my little girl.
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Did you know each other when you were 13?
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Yeah, that's when we met.
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Really?
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Yeah.
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Tell us about the meeting.
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I was playing at a garden fight in the village where I lived on.
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Playing for what?
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Playing with a group, you know, a skipper group.
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And he came along and we met.
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I knew one of his mates, you know, Ivan, who was a mutual mate.
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Hey!
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mutual mate of ours and he introduced us and things.
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In those days has your...
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Go on.
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In those days has your attitude to fans changed since then?
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No, no, there's just more of them to watch.
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But they all scream when they're listening to you.
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Yeah, but we love that.
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Do you really?
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Yeah, really.
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Because in Edinburgh, you know, I mean, you know, Glasgow tonight.
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Yesterday, last week.
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and I said that, you know, I don't know, I've lost track of time.
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Anyway, the atmosphere in the theatre, it's really, it's marvellous, you know, it must come.
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I will do, I'll try to come.
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Good.
112
John, about your book, how did you go about writing this book?
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Well, sort of pen and paper and that.
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In words, too.
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I just sort of wrote it, you know, the hobby.
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Is this a stage that you went through, writing in this sort of gorbled language that you've got out of now, have you?
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No, because a lot of people can't go.
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I was rather more polite or more rude, you know, one extreme to the other.
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To the other, where's he gone?
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Clapses.
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What's the most interesting person that you've ever met?
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I should say, who's the most interesting person you've ever met?
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John Lennon.
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George?
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Um, Harry Seacombe, I think.
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I like him.
127
Is that the kind of person that you like?
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Yeah.
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Have you ever been frightened of your fans?
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A time when they've really frightened you?
131
Paul's frightened me a few times.
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Only times when getting in and out of places, when there's thousands of them all together, but when you usually only meet about the most six or seven, you know, if you were sort of running along the road,
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and then there's not enough of them then is it to sort of make you fly?
134
You don't mind that too much?
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Do you never feel lonely sitting at the back?
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No, no, no, that's where I am, you see.
137
The drummer should always be at the back.
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The drummer should be heard and not seen.
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Ringo, how do you feel about sitting playing on stage and being showered with things like jelly babies, boots, girls, things like that?
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Well, I'm lucky being at the back, you know, the other three have it worse than I do.
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Sometimes it's a bit of a drag.
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It's not much fun, actually.
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You know, off your stove.
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Yeah, because if...
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Actually, we've had things hit us in the eye.
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And if you're listening, don't throw them in your eye.
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It's dangerous, you know.
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Bad!
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Hello, boys.
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How are you doing?
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Hello, chaps.
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How are you doing?
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You can get up now.
154
I pronounce you man and wait.

Informazioni su questa Lezione

In questa lezione, avrai l'opportunità di praticare l'inglese attraverso un'intervista storica ai Beatles del 1964. Questo video non solo ti aiuterà a comprendere come sono cambiati nel tempo, ma ti permetterà anche di ascoltare le loro risposte a domande sulla fama, le loro esperienze e come gestiscono il successo. Utilizzeremo il metodo di shadowing in inglese, che è ottimo per migliorare la pronuncia e la fluidità nel parlato.

Vocabolario e Frasi Chiave

  • changes - cambiamenti
  • attitudes - atteggiamenti
  • lucrative - redditizio
  • local cinema - cinema locale
  • money and time - soldi e tempo
  • running around - girare in giro
  • main difference - differenza principale
  • prefer - preferire

Consigli per la Pratica

Quando pratichi con questo video, cerca di prestare attenzione alla velocità e al tono dei Beatles. La loro conversazione è informale e veloce, quindi il shadow speak ti aiuterà a seguire il ritmo. Ecco alcuni suggerimenti:

  • Ascolta attentamente l'audio più volte prima di provare a ripetere. Familiarizzarti con il contesto aiuterà a migliorare la tua comprensione.
  • Fai un primo tentativo di shadowing ascoltando una frase alla volta. Ferma il video e prova a ripetere immediatamente dopo le loro parole.
  • Concentrati sulla intonazione e sul ritmo delle loro voci. Non è solo questione di parole, ma di come vengono pronunciate.
  • Utilizza una funzione come il shadow speech per registrarti mentre parli. Questo ti permette di sentire dove puoi migliorare la tua pronuncia e i tuoi accenti.
  • Sperimenta con la registrazione e il playback per migliorare la pronuncia inglese e acquisire fiducia nel parlato.

Ricorda, la pratica costante è essenziale per progredire. Goditi il processo e divertiti mentre migliori il tuo inglese!

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.