シャドーイング練習: Ocean Vuong Shares With Oprah His Writing Secrets - YouTubeで英語スピーキングを学ぶ
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I've heard you say writing is about listening rather than making.
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I've heard you say writing is about listening rather than making.
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I think that is so fascinating.
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What is it you're listening for?
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You say writing is about listening rather than making.
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When I was a younger writer,
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I thought you had to fill the page or else nothing happens.
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But the more I work at this,
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the more I realize that writing is about listening to the world.
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You're collaborating with the world.
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You don't shut it away and go into your little desk or your cave and create genius work.
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It doesn't work like that.
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Ultimately, nobody writes a good sentence by accident.
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It comes with care.
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You have to really care for the world.
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And every author's book is multiple drafts.
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It means it comes out of tireless care, obsession, worry.
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and when you hold up anyone's book,
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you're getting their best self.
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And the best self for me comes from really engaging with the world without judgment and really being interested in people.
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At the end of the day,
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all I would say is that as an author,
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I'm just really interested in human beings.
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That's it.
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Everything else is craft.
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You can learn that.
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You'll find a way to get that.
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But what you can't learn is a deep investment in compassionate watching and listening of our species.
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And that's what this whole story is all about.
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It means you've watched and observed.
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And I feel that parts of you are high,
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but then you're not high.
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So you are high and not high, right?
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He's a lot better than me.
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I get one draft at life and I usually mess it up.
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But high got 12 drafts.
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So he's a little more refined.
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Okay, so I will tell you that I read chapter one sometimes just to soothe myself,
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particularly in these times.
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And over Christmas holidays, I was with my chosen family.
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I've raised these girls since they were 12 years old,
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and now they're in their 30s and there were four of us at my house
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and we were sitting around a crackling fire reading out loud chapter one
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i mean when i think of
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that i think about the people as teenagers drinking in their father's trucks
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and i think i think wow all of that's true and then time passes and then they're sitting there
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in the same trucks or different trucks,
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and there they are with the babies in their arms and they don't even know how they got there.
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How were you able to get that?
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I think at the heart of every writer,
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you have to really love the world,
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even when it's difficult to love.
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And I think description is autobiographical in that when you describe something,
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you're giving it a point of view.
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How you describe something, how you see something,
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says a lot about yourself.
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And I think I saw all these people in my life and I never heard anyone write about them.
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And I said, if the sentence can pin life to the page,
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I want to pin these people who never got to get out.
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You know, we fetishize these heroes journey about getting out of this town.
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And it's a very cathartic one.
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We love these stories.
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We want to feel that everyone can get out,
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but the majority of people can't.
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And won't.
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And won't.
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And sometimes by choice.
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Sometimes they have to stay and take care of elders who are ill.
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They have jobs they can't leave.
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And I just didn't see the literary world write about people who had to stay.
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Because that's actually much more interesting to me.
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It's easy to go to the big city and have a different life.
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It's much harder but more interesting to ask yourself,
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how do I make do without escape?
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That becomes an existential question.
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How do I make do in this body if I can't leave it?
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The book starts with a young man deciding to jump off a bridge.
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Yeah.
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And he's stopped by an elderly widow doing laundry.
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And it's a personal crux for me because when I was a teenager,
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one of my best friends took his own life with a gun.
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He was 16.
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My uncle at 28 took his own life.
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And usually when we talk about suicide,
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it's usually like, oh, they struggled,
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but then they didn't do it.
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And that's triumphant.
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Great.
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Well, actually what I'm more interested in is like,
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how do you live and go on in the aftermath of that decision?
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If you decide to end your life and then ultimately decide not to,
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what's day two look like?
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What's day three look like?
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What's the aftermath of living and deciding to live and have the will to live without the hope of living?
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And I wanted to know that of my uncle because I didn't get that from him.
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And so I think I write in order to understand that,
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what if he got to have an aftermath Were he still alive?
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What would that life look like?
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That seemed like a much more interesting place to write a book from rather than to say,
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oh, well, they didn't do it.
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End of story.
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Everyone clap.
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And then life goes on.
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Yeah.
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And you think life goes on just as it was before.
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Right.
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Well, Hai is a 19-year-old who meets Grazina,
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an elderly woman who brings hope into Hai's life against all odds.
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And she and Hai form an unlikely friendship.
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What was your intention in bringing these two characters together?
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Oh, I felt, you know,
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on one hand, they're very different.
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He's 19, she's 84.
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Was there a Grazina in your life?
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Because you dedicate the book to Grazina.
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And you say, in memory of Grazina.
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Yeah, it's a long, convoluted story,
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but Grazina is the grandmother of my partner.
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And when I was in college,
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I dropped out of business school.
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I lost my housing, lost my tuition,
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and I was casually dating my partner,
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Peter, and he was in law school and we were kids.
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And I said, I'm kind of homeless,
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but I want to go to school and study English.
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And he said, one day he called me as I talked to my mom.
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My grandma lives alone.
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She's very independent.
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She wants to stay in the house that she lived in after fleeing Stalin,
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fleeing World War II.
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She's a self-made person, a refugee like myself.
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And you can live with her and go to school.
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And so I lived with her for three years.
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And we had this incredible bond that then led to my partner and I's relationship blooming,
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because it's this kind of strange quintessential American family.
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He would visit from school,
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but I would live with her every day.
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And here we are, two refugees from two different wars,
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two different continents, 20 years apart.
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And we are in Brooklyn,
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living probably the most American life I can think of.
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It's not the white picket fence American life, but it's still true.
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And that reciprocal care, I had to care for her as she looked out for me.
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And I was so inspired by this because I think
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Both the very young and the very old are on the margins of society.
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They're no longer in the center.
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The young are said, oh, you don't know enough.
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You don't have enough.
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You don't own enough to contribute.
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You don't have a degree.
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You don't have the credentials.
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In the old, you're defunct.
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You're out of the market.
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You're in the retirement.
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Push yourself away.
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And so both the young and the very old,
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in my observation in this country,
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live in a perennial loneliness.
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Yeah.
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And when they get together,
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you realize there's actually a lot of common ground.
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When people have been pushed to the center,
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I wanted to write a book where the people who were pushed to the absolute fringes of society
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get to occupy the center and the camera would just not pan away.
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I did not want a plot that solved them.
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I did not want anyone to get a better job,
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to have a better home.
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There's no improvement.
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is just life and it's kindness without hope,
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which is kindness at the highest cost.
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And yet we all know people every day who are kind and gracious and good to each other despite all of that.
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Kindness without any hope of return.
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That's just something I'm so fascinated in.
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Thank you.
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この動画では、著者オーシャン・ヴォンが自分の作風について語っています。彼が強調するのは、創作は「作ること」ではなく「聞くこと」であるという点です。これは、英語のスピーキングにおいても非常に重要な要素です。リスニングスキルを高めることは、自然な会話を促進し、発音や表現を向上させる助けになります。特に「英語シャドーイング」を通じて、聞くことと話すことの相互作用を体感することができ、言語の感覚を深めることができます。
文法と表現の文脈
オーシャン・ヴォンの発言の中にいくつかの重要な構文があります。以下にその一部を分析します：
- 「You have to really care for the world.」 - ここでは、「care for」というフレーズが使われており、「世界を大切に思う」という意図が伝わります。このような感情を表現する仕方は、人とのつながりを深めます。
- 「It comes with care.」 - このフレーズでは、物事が愛情をもって行われる必要があることを表しています。「comes with」の使い方は、何かが自然についてくる様子を示しています。
- 「You've watched and observed.」 - 動詞「watch」と「observe」を使うことにより、単に見るだけでなく、注意深く体験する姿勢を意図しています。この表現は、スピーキングの文脈でも応用可能です。
一般的な発音の罠
オーシャン・ヴォンの発言の中には、発音が難しい単語やフレーズがあります。特に以下の点に注意してください：
- 「collaborating」 - この単語は、日本語話者にとっては発音が難しいことがあります。特に「-ate」部分を滑らかに発音することがポイントです。
- 「engaging」 - 「e」の音は短く、特に「g」の発音に注意を払うことが求められます。
- 「obsession」 - この単語では、強調される音が多いため、リズムよく発音することが大切です。
これらのポイントを意識しながら、あなたの話し言葉を磨いていきましょう。動画を何度も見て、shadow speech を活用することで、自然なペースで話す力を高めることができます。また、IELTS スピーキング対策にも役立つ技術です。ぜひ試してみてください！
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。