쉐도잉 연습: Inside a Charming 17th-Century Farmhouse - 영상으로 영어 말하기 배우기

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Humour, I think, is vital because earnestness seems to be the case of death in conversation,

in terms of decoration, in terms of anything, in my view.

We are in a 17th century building that's over time,

had lots of different faces,

ending with a Georgian facade in the south,

and we're in a little hamlet near Petworth in West Sussex.

I had furniture, I had all sorts of things,

and I didn't want to spend any money on decoration, really.

I wanted to spend the money on the building and the garden,

because there really wasn't a garden,

and there was an enormous amount of landscaping to do.

And because the outside is as important to me as the inside,

and vice versa, after all,

you're not an island, you're looking out,

and particularly in the country,

I wanted to create a theme that resonated both inside and out.

For me, I like it to be soothing,

I like it to be exciting,

I like it to be slightly odd.

Some of it I like to be bad taste.

I like it slightly bordello somehow, or funeral parlour somehow.

I like the mix and I basically don't want rules.

Everything resonates with something, it has a meaning.

It's not just bought because it's fancy or stylish or cool or in vogue.

It's here because it holds a memory.

The thing that resonated most with me as a child,

with my father, we were in London during the week,

we would come down to the country at the weekends.

He would be waiting for us in this very chair.

And I was little, I was up to his knee.

He would be wearing those worsted wool,

crimson-magenta trousers, with a glass of cinzano on his knee, ice and lemon.

And that lemony gold next to that crimson has stayed with me forever.

That is the theme that runs through this home.

I guess I use this room mostly in the evenings.

It's not really a day room.

And it reminds me of growing up,

there was always a room that children were absolutely not allowed in.

This is sort of that room,

except that I absolutely always allow children into it.

It's full of fun things,

but try not to touch them.

Then that's okay.

And then, you know, then they can enjoy it as much as you like.

It was all painted blue,

and I had an amazing carpenter,

local guy who made the panelling for me from pieces of oak

that we'd taken from other parts of the house that we couldn't use, including the ceiling.

A lot of it had rotted away,

so rather than replacing it with oak,

I decided to put gold acrylic,

and I love the reflection of it.

At night, you light the candles and it's all very glittery and kind of Studio 54.

I love it.

The colours in here are sort of a deep crimson-y,

crushed raspberry, I don't know what you'd call it,

but I love the fact that it's a damask silk,

so it already has some sort of three dimension to it.

And they had been my bedroom curtains,

bits of old fabric that I've found over the years and had made into cushions.

The yellow fabric on the chair was impossible not to buy because it was called Princess Harriet.

So clearly I had to have it.

The Giaciano Pesci piece, you've got some sort of vinally modern,

contemporary, shiny, something that seemingly doesn't go with an Aubusson rug.

But the mix is sort of,

I find it joyful, and I find it odd and interesting,

and I like that mix-up of old and new.

We're in the library, which is a bit too grand a name for it,

really, But I think this had been a hallway or an entrance at some point.

I wanted to fill it with books and found some beautiful original drawings

that Chippendale had done of detailing and profiles of joinery and then nature.

So lots of flowers everywhere,

florals everywhere, and reflective wallpaper so that you're bouncing light all the time.

Many of my parents' friends were writers.

My father was a writer and my sister's a writer and I don't really have a theme that I collect,

although probably there are more books on art and gardening than anything else because I feel I never know anything about them.

There's so much to know,

and because also they're such visual feasts when you delve into them.

Kitchen, I wanted to have as much space as possible so

that there could be a big kitchen table in the middle of the room,

which I didn't have in my old house,

there just wasn't room enough.

So I wanted to limit the number of units.

Plain English and I did a collaboration on them and I chose then a slate worktop,

which is highly impractical.

I would never tell a client to get it because it stains like mad.

But for me, I love it because each stain,

each mark is telling your story.

Same with the brass.

The brass is a solid brass panelling and I really wanted the northern light to ping off it.

Glasses, some inherited, some old,

bits of junk, they're sort of all bits and pieces and the artwork is an artist I really admire called Pierre Bergier.

I don't like walking into houses that feel new,

it's like getting into a new car.

I can't, not that I ever have had one,

but I don't like it.

I think you want to feel you're relaxed already

and having vintage fabrics anyone can get and it's just a question of time finding them.

We are in my bedroom which is mostly filled with pictures and paintings of Scotland where where my father grew up.

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Made me think about putting the sort of deep Prussian blue against the walls,

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which I also love.

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And also this ridiculous headboard,

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which I found in an antique shop.

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I think it must have been from a film set or a theatre set.

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Life isn't a serious matter,

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but I mean outside of your little space,

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it's very serious and it's very depressing.

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So at least in your own space,

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make it something that makes you feel good,

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you know, that feels fun.

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To me, that is utterly preposterous.

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I love it.

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You know, there are lots of things I've got that are really bad paintings.

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I mean, really bad paintings.

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But they just make me laugh.

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I think they're brilliant.

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I love that mix.

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It's not about where it's from,

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its value, it's none of those things.

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It's literally, does it make your whiskers twitch?

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That's it.

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This room is a dressing room.

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Because my child is now an adult,

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I didn't need lots and lots and lots of bedrooms.

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And what I did need,

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which everybody needs, is a space,

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a room of their own.

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The pictures are tear sheets really,

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some far too good to have been torn from books,

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but there you are, that's me all over.

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They're original paintings and drawings by an artist called Vertez,

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a book that he had illustrated called The Stronger Sex, about women.

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and that formed the thread of what this room became.

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My father, when he passed away,

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left in his will the contents of his dressing room.

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And amongst his things were these wonderful boxes of all sorts of things,

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like wing collars, because effectively he was brought up by an Edwardian.

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So, you know, it seems miraculous to me that they're so old-fashioned,

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but look at these beautiful gloves and I don't know whether he ever wore them or not,

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or when he bought them or where they came from.

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But the white ties, I've never seen him wear.

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I like the idea of there he is with this other life,

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you know, before, of course,

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we were all born, living in New York,

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dating Jacqui Bouvier as she was at the time, having a marvellous time.

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I think there's pretty much nothing more luxurious than a big bathroom.

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I like the northern light,

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the curtains that the blinds and I found online,

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somebody in Portugal who made them,

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they sort of look like knickers,

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which I quite like hanging down.

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The muslin came from my old house and then I decided to paint with ink.

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Every time you have a bath you can see it begins to fade and drip and alter in its state.

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I love that, it's telling a little story every time you're using it.

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The blue is what the indication and the thread which runs through this whole floor,

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in particular this bathroom and our bedroom.

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I love being able to see the origins of the house,

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which is of course medieval.

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And you know, the Georgian facade was just to show off to the neighbours,

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but this is what it really was like.

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And the bed I found in a junk shop and then some years after Min Hogg died,

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the estate had a sale of which I bought some things

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and that is what started the idea of it being a red and white room.

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And although it's nothing scented or uniform,

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I really like that higgledy-piggledy feel about the room.

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I think, yes, I hope that all the rooms have some kind of an effect on whomever is going into them.

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That's why I don't like to have every room the same.

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I don't want to have a house that's minimal or maximal everywhere.

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I want it to be three-dimensional as we are as humans.

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Design and creativity is just a way of expressing yourself because you don't have the words.

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And you're going to do that whether you're paid to or not.

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You're just doing it.

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You're making, you're doing, you're creating, you're viewing, you're noticing.

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And if you're lucky enough to have somebody say,

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I'll pay you to do that, then happy days.

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맥락 및 배경

이 영상에서는 17세기 농가의 매력적인 내부와 그 장식에 대한 이야기를 담고 있습니다. 화자는 대화에서 유머의 중요성을 강조하며, 이 집의 역사와 개인적인 기억에 대한 애착을 표현합니다. 그는 과거의 추억을 바탕으로 집을 꾸미는 것에 대해 설명하며, 주말마다 가족과 함께했던 경험이 그의 집 꾸미기 선택에 어떤 영향을 미쳤는지를 이야기합니다. 또한, 인테리어뿐만 아니라 외부 정원과의 조화를 중요시하여 특별한 테마를 만들려고 했습니다.

일상 소통을 위한 5가지 표현

Humour is vital in conversation. (대화에서 유머는 매우 중요하다.)
I wanted to spend money on the building and the garden. (나는 건물과 정원에 돈을 쓰고 싶었다.)
Everything resonates with something. (모든 것은 어떤 것과 연결되어 있다.)
It holds a memory. (그것은 기억을 담고 있다.)
I like it to be slightly odd. (나는 그것이 약간 이상한 것을 좋아한다.)

단계별 쉐도잉 가이드

이 영상을 통해 영어 발음 교정 및 쉐도잉 연습을 하기 위해 다음과 같은 단계를 따라가 보세요:

영상 시청: 처음에는 전체 영상을 시청하면서 화자의 억양과 발음을 주의 깊게 들어보세요. 대화의 흐름을 파악하는 것이 중요합니다.
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녹음 및 피드백: 자신의 목소리를 녹음하고, 화자의 발음과 비교해 보세요. 어떤 부분에서 개선이 필요한지 파악합니다.
반복 연습: 정기적으로 이 과정을 반복하여 자연스럽게 영어의 리듬과 억양을 익히도록 합니다. shadowspeaks의 방식으로 자주 연습하면 발음이 개선될 것입니다.

이렇게 단계적으로 연습하면 영어 회화 능력을 크게 향상시킬 수 있습니다. 흥미로운 환경과 개인적인 이야기로 가득한 이 영상을 통해 많은 것을 배우시길 바랍니다.

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문형	영상 속 표현
수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점	were absolutely not allowed · was called · is mostly filled
현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때	has stayed · I've found · have had
관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보	guy who made · library, which is · bedroom which is

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법

쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.

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쉐도잉 연습: Inside a Charming 17th-Century Farmhouse - 영상으로 영어 말하기 배우기

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맥락 및 배경

일상 소통을 위한 5가지 표현

단계별 쉐도잉 가이드

이 영상의 문법

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법