Shadowing Practice: Inside a Charming 17th-Century Farmhouse - Learn English Speaking with Video
Les maken...
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Humour, I think, is vital because earnestness seems to be the case of death in conversation,
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in terms of decoration, in terms of anything, in my view.
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We are in a 17th century building that's over time,
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had lots of different faces,
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ending with a Georgian facade in the south,
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and we're in a little hamlet near Petworth in West Sussex.
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I had furniture, I had all sorts of things,
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and I didn't want to spend any money on decoration, really.
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I wanted to spend the money on the building and the garden,
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because there really wasn't a garden,
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and there was an enormous amount of landscaping to do.
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And because the outside is as important to me as the inside,
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and vice versa, after all,
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you're not an island, you're looking out,
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and particularly in the country,
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I wanted to create a theme that resonated both inside and out.
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For me, I like it to be soothing,
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I like it to be exciting,
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I like it to be slightly odd.
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Some of it I like to be bad taste.
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I like it slightly bordello somehow, or funeral parlour somehow.
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I like the mix and I basically don't want rules.
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Everything resonates with something, it has a meaning.
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It's not just bought because it's fancy or stylish or cool or in vogue.
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It's here because it holds a memory.
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The thing that resonated most with me as a child,
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with my father, we were in London during the week,
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we would come down to the country at the weekends.
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He would be waiting for us in this very chair.
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And I was little, I was up to his knee.
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He would be wearing those worsted wool,
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crimson-magenta trousers, with a glass of cinzano on his knee, ice and lemon.
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And that lemony gold next to that crimson has stayed with me forever.
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That is the theme that runs through this home.
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I guess I use this room mostly in the evenings.
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It's not really a day room.
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And it reminds me of growing up,
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there was always a room that children were absolutely not allowed in.
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This is sort of that room,
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except that I absolutely always allow children into it.
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It's full of fun things,
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but try not to touch them.
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Then that's okay.
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And then, you know, then they can enjoy it as much as you like.
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It was all painted blue,
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and I had an amazing carpenter,
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local guy who made the panelling for me from pieces of oak
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that we'd taken from other parts of the house that we couldn't use, including the ceiling.
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A lot of it had rotted away,
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so rather than replacing it with oak,
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I decided to put gold acrylic,
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and I love the reflection of it.
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At night, you light the candles and it's all very glittery and kind of Studio 54.
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I love it.
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The colours in here are sort of a deep crimson-y,
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crushed raspberry, I don't know what you'd call it,
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but I love the fact that it's a damask silk,
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so it already has some sort of three dimension to it.
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And they had been my bedroom curtains,
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bits of old fabric that I've found over the years and had made into cushions.
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The yellow fabric on the chair was impossible not to buy because it was called Princess Harriet.
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So clearly I had to have it.
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The Giaciano Pesci piece, you've got some sort of vinally modern,
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contemporary, shiny, something that seemingly doesn't go with an Aubusson rug.
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But the mix is sort of,
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I find it joyful, and I find it odd and interesting,
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and I like that mix-up of old and new.
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We're in the library, which is a bit too grand a name for it,
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really, But I think this had been a hallway or an entrance at some point.
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I wanted to fill it with books and found some beautiful original drawings
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that Chippendale had done of detailing and profiles of joinery and then nature.
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So lots of flowers everywhere,
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florals everywhere, and reflective wallpaper so that you're bouncing light all the time.
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Many of my parents' friends were writers.
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My father was a writer and my sister's a writer and I don't really have a theme that I collect,
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although probably there are more books on art and gardening than anything else because I feel I never know anything about them.
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There's so much to know,
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and because also they're such visual feasts when you delve into them.
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Kitchen, I wanted to have as much space as possible so
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that there could be a big kitchen table in the middle of the room,
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which I didn't have in my old house,
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there just wasn't room enough.
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So I wanted to limit the number of units.
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Plain English and I did a collaboration on them and I chose then a slate worktop,
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which is highly impractical.
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I would never tell a client to get it because it stains like mad.
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But for me, I love it because each stain,
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each mark is telling your story.
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Same with the brass.
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The brass is a solid brass panelling and I really wanted the northern light to ping off it.
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Glasses, some inherited, some old,
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bits of junk, they're sort of all bits and pieces and the artwork is an artist I really admire called Pierre Bergier.
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I don't like walking into houses that feel new,
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it's like getting into a new car.
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I can't, not that I ever have had one,
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but I don't like it.
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I think you want to feel you're relaxed already
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and having vintage fabrics anyone can get and it's just a question of time finding them.
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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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you
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Woordenschat en spreektips bij deze les
Deze spreekles op niveau C1 is gebaseerd op de video “Inside a Charming 17th-Century Farmhouse”. Deze video bevat 176 zinnen en 1681 woorden om na te spreken. Het gesproken deel duurt 10:41. De spreker praat in een natuurlijk tempo van ongeveer 157 woorden per minuut, dicht bij een alledaags gesprek. Slechts 81% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden, dus de woordenschat is pittig.
Belangrijke woorden in deze video
De 15 moeilijkste woorden uit de video, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| resonate werkwoord | /ˈɹɛz.əˌneɪt/ | resoneren |
| crimson zelfstandig naamwoord | /ˈkɹɪmzən/ | karmijnrood, helrood |
| brass zelfstandig naamwoord | /bɹæs/ | koperblazers, messing |
| facade zelfstandig naamwoord | /fəˈsɑ(ː)d/ | gevel, façade |
| stain zelfstandig naamwoord | /steɪn/ | vlek |
| decoration zelfstandig naamwoord | /ˌdɛkəˈɹeɪʃən/ | versieren, decoratie |
| curtain zelfstandig naamwoord | /ˈkɜɹt(ə)n/ | gordijn |
| junk zelfstandig naamwoord | /d͡ʒʌŋk/ | rommel, rotzooi |
| acrylic bijvoeglijk naamwoord | /əˈkɹɪl.ɪk/ | acryl- |
| damask zelfstandig naamwoord | /ˈdæm.əsk/ | damast |
| excite werkwoord | /ɪkˈsaɪt/ | prikkelen, opwinden |
| impractical bijvoeglijk naamwoord | /ɪmˈpɹæktɪkəl/ | onpraktisch, onhandig |
| magenta zelfstandig naamwoord | /məˈd͡ʒɛntə/ | magenta |
| maximal bijvoeglijk naamwoord | /ˈmæksɪməl/ | maximaal |
| miraculous bijvoeglijk naamwoord | /mɪˈɹæk.jʊ.ləs/ | miraculeus, verwonderlijk |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| grow up werkwoord | opgroeien |
| bring up werkwoord | opvoeden |
| pass away werkwoord | overlijden, ontslapen |
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | has stayed · I've found · I've never seen |
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | was called · have been torn · was brought |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | guy who made · library, which is · bedroom which is |
Uitspraak om op te letten
De spreker gebruikt 46 samentrekkingen en verkorte vormen, zoals you're, don't, they're. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: decoration /ˌdɛkəˈɹeɪʃən/, luxurious /lʌɡˈʒʊəɹi.əs/, cushion /ˈkʊʃən/, stylish /ˈstaɪlɪʃ/, dimension /daɪˈmɛn.ʃən/
- Lange woorden — let op de klemtoon: decoration /ˌdɛkəˈɹeɪʃən/, impractical /ɪmˈpɹæktɪkəl/, miraculous /mɪˈɹæk.jʊ.ləs/, preposterous /pɹəˈpɑstəɹəs/, luxurious /lʌɡˈʒʊəɹi.əs/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: facade /fəˈsɑ(ː)d/, knickers /ˈnɪkɚz/, reflective /ɹɪˈflɛktɪv/, trousers /ˈtɹaʊzɚz/, vogue /vəʊɡ/
- /æ/ — opener dan de Nederlandse “e”: brass /bɹæs/, fabric /ˈfæb.ɹɪk/, damask /ˈdæm.əsk/, impractical /ɪmˈpɹæktɪkəl/, maximal /ˈmæksɪməl/
- /g/ — een harde plofklank, geen Nederlandse “g”: luxurious /lʌɡˈʒʊəɹi.əs/, vogue /vəʊɡ/, glove /ɡlʌv/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als resonate, crimson, brass.
Wat is de Shadowing-techniek?
Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.