シャドーイング練習: The Art of Storytelling in the News World | Palki Sharma Upadhyay | TEDxMICA - YouTubeで英語スピーキングを学ぶ
上級
シャドーイング コントロール
0% 完了 (0/127 文)
Transcriber: André Ribeiro Reviewer: Robert Tucker Hello, everyone, and thank you TEDxMica for having me here.
⏸ 一時停止中
再生速度:
リピート回数:
待機モード:
字幕同期:0ms
すべての文
127 文
1
Transcriber: André Ribeiro Reviewer: Robert Tucker Hello, everyone, and thank you TEDxMica for having me here.
0:00.00 – 0:09.80 (9.8s)
2
The subject of today’s talk is “Mind the Gap”.
0:09.80 – 0:12.12 (2.3s)
3
And the first thought that comes to mind is the metro train, and its constant advice to mind the gap that we don’t really dwell on once we’re off the train.
0:12.12 – 0:19.60 (7.5s)
4
But “Mind the Gap” can and does have a more profound meaning.
0:19.60 – 0:23.36 (3.8s)
5
Today, I’m telling you about the gaps that I grappled with, and how I tried to fill them in my own way.
0:23.48 – 0:28.76 (5.3s)
6
This is my story, and before I begin it, I have a question for you.
0:28.88 – 0:33.12 (4.2s)
7
What is your story?
0:33.44 – 0:34.96 (1.5s)
8
When you grow up and talk to your grandchildren, what’s the story that you want to tell?
0:35.40 – 0:39.72 (4.3s)
9
Will your story be even more exciting than your CV?
0:39.84 – 0:42.40 (2.6s)
10
Or will you say you woke up, went to work, completed projects, met deadlines and targets, got promoted every other year, basically went through the motions of life, did not drop too many balls, but did not disrupt very much either.
0:42.56 – 0:54.24 (11.7s)
11
Think of the story you want to tell a few decades from now, and then start writing it today.
0:54.32 – 0:59.00 (4.7s)
12
Because our world today is essentially a grand storytelling competition.
0:59.36 – 1:03.60 (4.2s)
13
We’re all striving to present our own national, cultural, and personal stories in the most persuasive manner.
1:03.72 – 1:10.36 (6.6s)
14
I remember reading somewhere that in the olden times we said, “If you want to poison a people, you must poison their wells.” But in this day and age, as novelist Ben Okri said, “If you want to poison a people, poison their stories.” Because stories sway people; they change the course of policies, politics, and indeed the world.
1:11.04 – 1:29.52 (18.5s)
15
I’ll give you an example.
1:30.24 – 1:31.52 (1.3s)
16
During the Second World War, America had a list of Japanese cities that it wanted to bomb with the atom bomb.
1:31.56 – 1:37.20 (5.6s)
17
The city of Kyoto was on that list, but it was removed by the Secretary of War, American Secretary of War, Henry Stimson.
1:37.32 – 1:45.68 (8.4s)
18
Instead, they put Nagasaki.
1:46.00 – 1:47.64 (1.6s)
19
Why do you think he removed Kyoto?
1:47.92 – 1:50.00 (2.1s)
20
Because he'd gone there for his honeymoon, he’d seen Kyoto’s beauty and culture, and he did not want to see it destroyed.
1:50.08 – 1:56.56 (6.5s)
21
You could say Kyoto story saved it.
1:57.12 – 1:59.24 (2.1s)
22
And that's why it's very important to be in control of your story, to actively shape it.
1:59.36 – 2:04.04 (4.7s)
23
And this is the first gap I encountered in my career as a journalist.
2:04.40 – 2:07.88 (3.5s)
24
We are a country of 1.4 billion people, we have hundreds of channels, a very aware and politically engaged audience, but we did not have a single news channel or newspaper that told our story to the world.
2:07.88 – 2:20.16 (12.3s)
25
“The New York Times” writes something about India, and it becomes a Twitter trend.
2:20.92 – 2:24.96 (4.0s)
26
You may trash it, but you're still consuming it and reacting to it.
2:25.04 – 2:28.64 (3.6s)
27
“The Economist” weighs in on an Indian election, and it becomes part of the political debate.
2:28.84 – 2:33.40 (4.6s)
28
We are letting the foreign press shape our self-image.
2:33.72 – 2:36.96 (3.2s)
29
Which Indian newspaper triggers a similar response in the West?
2:37.20 – 2:40.48 (3.3s)
30
If there is disturbance in Kashmir, the world learns about it from the BBC or Al Jazeera.
2:41.00 – 2:45.92 (4.9s)
31
They use their own lens, their own editorial biases, and for the moment, that’s besides the point.
2:46.60 – 2:51.32 (4.7s)
32
The argument I am making is very simple: Why can’t India, the land of epics like the Mahabharat and Ramayana, tell its own story in its own words?
2:51.32 – 2:59.56 (8.2s)
33
This gap was filled by WION, India’s first international news channel, of which I am a part.
2:59.72 – 3:04.48 (4.8s)
34
Gap number two: You have a story, but why should anyone listen to it?
3:04.64 – 3:08.92 (4.3s)
35
There are multiple channels with heavyweight anchors, all discussing the same story, with the same guests, the same graphics, the same visuals, and the same decibel levels.
3:08.92 – 3:17.08 (8.2s)
36
We're like that song: “I’m just a copy of a copy of a copy.” We all kept looking at each other, and perhaps forgot the viewer.
3:17.24 – 3:24.32 (7.1s)
37
We wanted to do what someone else was doing bigger, bolder, brighter, but not necessarily better.
3:24.76 – 3:30.76 (6.0s)
38
If you have 10 windows, I’ll have 12.
3:31.00 – 3:33.00 (2.0s)
39
But we forgot to ask what the viewer wants.
3:33.24 – 3:36.16 (2.9s)
40
Do you want to see so many talking heads?
3:36.28 – 3:38.84 (2.6s)
41
Do you want an endless and, frankly, useless shouting match every day?
3:38.92 – 3:43.08 (4.2s)
42
And if you want to see a good stunt, will you watch “Avengers” or anchors.
3:43.60 – 3:48.00 (4.4s)
43
In this clutter, how do you become different?
3:48.80 – 3:50.96 (2.2s)
44
What sets you apart is the way you tell the story, and that brings me to the concept of the katha and the kathakar.”r If you have a child, or a niece or a nephew, you would have noticed something.
3:50.96 – 4:01.44 (10.5s)
45
They all ask for the same story to be told over and over again.
4:01.56 – 4:05.16 (3.6s)
46
We did the same with our grandparents.
4:05.20 – 4:07.08 (1.9s)
47
We know the story from beginning to end, but we want to hear it again.
4:07.16 – 4:11.08 (3.9s)
48
Why do we like the same story retold?
4:11.36 – 4:13.64 (2.3s)
49
Because what is pulling us is not the katha, the story, but the kathakar, the storyteller, the manner in which that story is told.
4:13.88 – 4:21.72 (7.8s)
50
That’s what holds the magic.
4:22.00 – 4:23.44 (1.4s)
51
How do we create this magic in news?
4:24.08 – 4:26.28 (2.2s)
52
Well, I was introduced to the life changing concept called “Orbit Shift”.
4:26.92 – 4:30.76 (3.8s)
53
It’s a very simple concept.
4:31.24 – 4:32.84 (1.6s)
54
You all know what a gravitational pull is: In the simplest of terms, it keeps you grounded.
4:33.00 – 4:38.44 (5.4s)
55
But it also prevents you from flying.
4:38.44 – 4:40.60 (2.2s)
56
As professionals, and individuals, we’re saddled with many levels of gravity.
4:40.64 – 4:45.08 (4.4s)
57
Number one is personal gravity: this is what I can do, this is what I cannot do, there is self-doubt, and there are limitations that your mind sets for you.
4:45.12 – 4:53.60 (8.5s)
58
Number two is company gravity.
4:53.64 – 4:55.24 (1.6s)
59
This cannot be done in our organization, because you lack cross-functional support, or because यहाँ ऐसा ही काम होता है, [the way it is here] we’ve all heard this and accepted it.
4:55.24 – 5:04.00 (8.8s)
60
Number three is industry gravity.
5:04.12 – 5:06.12 (2.0s)
61
How can you do a 9 PM show without guests? It doesn’t happen anywhere.
5:06.20 – 5:09.56 (3.4s)
62
How can you not take a break in the middle of the show?
5:09.56 – 5:12.24 (2.7s)
63
This is the industry practice, and soon it becomes industry gravity and we do not challenge it.
5:12.24 – 5:17.76 (5.5s)
64
Number four is a social or cultural gravity.
5:17.88 – 5:21.00 (3.1s)
65
Prejudice, preconceptions.
5:21.04 – 5:22.64 (1.6s)
66
In India, we flaunt the Jugaad.
5:22.64 – 5:25.24 (2.6s)
67
We do not want a long-term plan because we believe in figuring something out at the last moment with Jugaad.
5:26.00 – 5:31.68 (5.7s)
68
Now, think of the number of times when you’ve had to struggle with this cumulative gravity.
5:31.92 – 5:36.80 (4.9s)
69
It is the biggest hurdle in the path of innovation.
5:36.96 – 5:39.40 (2.4s)
70
It kills ideas, and you rationalize all of it in the name of practicality.
5:39.40 – 5:43.60 (4.2s)
71
But sometimes you have to be impractical.
5:43.64 – 5:47.08 (3.4s)
72
You have to throw yourself [in] at the deep end, and burn the bridge to safety, to come up with something that is really transformative.
5:47.48 – 5:54.40 (6.9s)
73
And that is what is called an orbit shift.
5:54.68 – 5:57.32 (2.6s)
74
And that’s what we did with Gravitas, or we hope we did.
5:57.40 – 6:00.12 (2.7s)
75
We created a prime-time news and views show, minus multiple guests.
6:00.16 – 6:04.40 (4.2s)
76
We went back to the drawing board to focus on tight scripts on relevant subjects, research, analysis, fact checks, basic things really, which should ideally be SOP for all news, but they were not.
6:04.48 – 6:16.32 (11.8s)
77
Gap number three, or should I say challenge?
6:17.40 – 6:19.56 (2.2s)
78
Who watches TV news anymore?
6:20.00 – 6:21.92 (1.9s)
79
There is an explosion of content around you.
6:22.16 – 6:24.60 (2.4s)
80
Television is already the second screen; the mobile phone has taken the top spot.
6:24.64 – 6:28.72 (4.1s)
81
So, my news story is competing with the WhatsApp forward, an Instagram reel, a YouTube spoof, and what have you.
6:29.40 – 6:36.20 (6.8s)
82
One editor famously said, “My competition is not other news shows; my competition at 9 o’clock is ‘Big Boss’ or ‘Kapil Sharma’.” Another one asked for fizz, and said, "Do not do water journalism, colourless, flavourless, odourless." This is the age of coke, find your flavour.
6:36.48 – 6:51.96 (15.5s)
83
Well, what should that flavour be?
6:52.48 – 6:54.44 (2.0s)
84
Inform without making a fuss.
6:54.68 – 6:57.12 (2.4s)
85
"Give your viewer value for time".
6:57.12 – 6:59.20 (2.1s)
86
That’s the flavour we decided on.
6:59.28 – 7:01.20 (1.9s)
87
Use the old playbook of Aristotle to make your story compelling.
7:01.44 – 7:04.72 (3.3s)
88
He gave us five elements of a good story, some 2,000 years ago.
7:05.12 – 7:09.64 (4.5s)
89
And these are the five elements.
7:09.92 – 7:11.52 (1.6s)
90
Ethos: authority and character, which comes with credibility and commitment to the issues that you raise in your broadcast.
7:11.52 – 7:18.56 (7.0s)
91
Do people trust you?
7:18.56 – 7:19.64 (1.1s)
92
Do they see you as an authority on a subject?
7:19.64 – 7:22.20 (2.6s)
93
If they do, they will listen to you.
7:22.20 – 7:24.24 (2.0s)
94
Number two.
7:24.36 – 7:25.44 (1.1s)
95
Logos: That is reason, which involves making a logical appeal, using data and facts to make a rational argument, because you cannot make an assertion with no basis in fact or logic.
7:25.44 – 7:35.08 (9.6s)
96
Number three is pathos.
7:35.24 – 7:36.76 (1.5s)
97
Emotion - and this is different from drama.
7:36.76 – 7:39.00 (2.2s)
98
It’s a genuine connect with the audience through honest and effective communication.
7:39.04 – 7:44.40 (5.4s)
99
Number four is metaphor, which helps the viewer process complex issues.
7:45.12 – 7:49.64 (4.5s)
100
When you give them relatable parallels, it makes you more memorable.
7:49.72 – 7:53.60 (3.9s)
101
And number five is brevity, using short sentences, punchy lines, informative tag-outs.
7:53.64 – 7:58.96 (5.3s)
102
And finally, the gap that is common to all human stories, the gap that I continue to try to fill: The question of purpose.
7:59.52 – 8:07.92 (8.4s)
103
What is the purpose of what you're doing?
8:08.00 – 8:10.96 (3.0s)
104
What do you really want to do?
8:11.08 – 8:12.80 (1.7s)
105
And to what end?
8:12.80 – 8:14.08 (1.3s)
106
It’s like the dreaded interview question: Where do you see yourself five years from now?
8:14.44 – 8:18.68 (4.2s)
107
Where do you see yourself at the end of this journey you've embarked on?
8:18.68 – 8:22.16 (3.5s)
108
Honestly, I've not been able to answer this question, so I gave myself another one: Which is the one story that changed your life?
8:22.20 – 8:28.76 (6.6s)
109
If that sounds too dramatic, the one story that profoundly impacted you, or just stayed with you.
8:28.80 – 8:34.60 (5.8s)
110
For me, that story was the story of the ugly duckling.
8:34.60 – 8:37.28 (2.7s)
111
It's a nursery tale, you may remember it.
8:37.32 – 8:39.76 (2.4s)
112
A duck lays some eggs, they hatch, all ducklings look similar, except one.
8:39.76 – 8:45.36 (5.6s)
113
He is bigger, awkward, doesn’t have webbed feet.
8:45.36 – 8:48.60 (3.2s)
114
He feels sad about not fitting in.
8:48.76 – 8:50.96 (2.2s)
115
Until he sees a flock of swans, and realizes he was never even a duck in the first place; he was a swan, bracketed with ducks by mistake.
8:51.52 – 8:59.24 (7.7s)
116
He realizes he’s beautiful and not ugly, and he flies away.
8:59.24 – 9:02.64 (3.4s)
117
And I find the story very powerful because it is simple and relatable, it talks to me.
9:02.68 – 9:08.00 (5.3s)
118
I think at some point in our lives, we’ve all been the ugly duckling, under immense pressure to fit in and beating ourselves up for not being able to.
9:08.40 – 9:16.20 (7.8s)
119
I'm sure all of you have sad stories.
9:16.32 – 9:18.28 (2.0s)
120
You read them, or saw them, and then the penny dropped - or: "This is what this is about"> And these stories shaped us.
9:18.44 – 9:25.08 (6.6s)
121
Where do you find them?
9:25.52 – 9:26.84 (1.3s)
122
In books, in movies and TV shows, cartoons, basically mass media.
9:26.84 – 9:30.72 (3.9s)
123
And if mass media has such a profound impact on minds, my purpose, I believed, as a cog in the wheel of mass media, should be to find and tell such stories that inspire, that motivate, or at the very least, that trigger ideas and conversations.
9:31.00 – 9:45.32 (14.3s)
124
So, that, I would say, became my purpose: to shape ideas, to make sense of the news, to empower you to form your own opinion, because you're intelligent, intelligent enough to choose.
9:45.68 – 9:57.76 (12.1s)
125
I'm going to wrap with that.
9:57.84 – 9:59.20 (1.4s)
126
All the very best.
9:59.20 – 10:00.24 (1.0s)
127
Thank you.
10:00.28 – 10:01.32 (1.0s)
このレッスンについて
このTEDxトークでは、パルキ・シャルマ・ウパダイが「ストーリーテリング」の重要性について語ります。彼女は、ニュースの世界における物語の力とそれが私たちの自己イメージや文化に与える影響について考察しています。このレッスンを通じて、Learnersは以下のことを練習できます:
- 語彙トピック: ストーリーテリング、ニュース報道、視覚的表現など。
- 文法パターン: 現在進行形や未来形を使った物語の構築。
- スピーキングの文脈: 自分自身の物語を語る際の構造や技術。
重要な語彙とフレーズ
- Mind the Gap: ギャップに注意する、という意味で、物事の間にある空白やズレに気をつけること。
- Storytelling: 物語を語る技術、特に聴衆を惹きつけるための技術。
- Self-image: 自己イメージ、自分自身に対する認識や評価。
- Katha: 物語そのもの。
- Kathakar: 物語を語る人、語り手。
- Persuasive manner: 説得力のある方法、他人を引き込むための技術。
この動画の練習のコツ
この動画の内容を効果的に学ぶためのシャドーイングのアドバイスを以下に示します:
- 話速: 初めはゆっくりとしたスピードで練習し、内容を理解することに集中します。慣れてきたら、徐々に元のスピードに近づけていきましょう。
- アクセント: 話者のアクセントに注目し、彼女のイントネーションや強調するポイントを模倣することで、英語の発音練習にも繋がります。
- トピックの難易度: ストーリーテリングや文化についての理解を深めるため、関連する英語の語彙を本文から引き出して日常的に使ってみることが大切です。
このようにして、英語の流暢さを高めるだけでなく、トピックに対する理解も深まります。続けて、IELTS対策やスピーキング練習にも役立つでしょう。
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。
ShadowingEnglishでの効果的な学習方法
- 動画を選ぶ: 自然で明瞭な英語が使われているYouTube動画を選びましょう。TED Talks、BBC News、映画のシーン、ポッドキャスト、IELTS模範解答などが最適です。URLをコピーして検索バーに貼り付けてください。短い動画（5分以内）や、自分が本当に興味を持てるテーマから始めるのがコツです。
- まず聞いて内容を理解する: 最初は1倍速でただ聞くだけにしましょう。まだ繰り返す必要はありません。文の意味を理解し、話者がどのように単語を強調し、音を繋げ、間を取っているかに注目してください。内容を把握してからシャドーイングに入ると、はるかに効果的です。
- シャドーイングモードを設定する:
- Wait Mode（待機モード）:
+3sまたは+5sを選ぶと、動画が一文を読み終えた後に自動で一時停止し、繰り返す時間が生まれます。完全に手動でコントロールしたい場合はManualを選んでNextを自分で押しましょう。 - Sub Sync（字幕同期）: YouTubeの字幕と音声がずれることがあります。
±100msで調整して、正確なタイミングで追えるようにしてください。
- Wait Mode（待機モード）:
- 声に出してシャドーイングする（最重要）: ここが練習の本質です。文が流れると同時に——または一時停止中に——はっきりと自信を持って声に出して繰り返しましょう。ただ単語を読むだけでなく、話者のリズム、強調、高低、連音をそっくりそのまま真似することが大切です。「影」のように話者に重なるのが理想。Repeat機能を使って同じ文を何度も繰り返し、自然に出てくるまで定着させましょう。
- 徐々に難易度を上げて続ける: 一つのパッセージに慣れたら、さらに挑戦してみましょう。速度を <code>1.25x</code> や <code>1.5x</code> に上げれば、高速の言語反射を鍛えられます。Wait Modeを <code>Off</code> にして連続シャドーイングするのが最も上級で効果的なモードです。毎日15〜30分継続すれば、数週間で目に見える変化を実感できます。