Prática de Shadowing: British Council - IELTS Listening Practice Test - Aprenda a falar inglês com vídeo
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Part 1 You will hear a student discussing her research project and final thesis submission with her tutor.
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First, you have some time to look at questions 1 to 7.
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Now listen and answer questions 1 to 7.
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Good afternoon, Emily.
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Uh, yes, I see you completed your presentation on Project 4829.
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Good afternoon, Professor.
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Yes, that's right.
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I hope you're pleased with the outcome.
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If I may say so, I think you did exceptionally well.
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The feedback from the panel shows you scored just above the base mark of 65.
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Honestly, I'm relieved.
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I admire Dr. Jonathan Keats' research, and I was determined to analyze his theories properly.
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I had set myself a target of 80, but managing 75 felt like a wonderful achievement.
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I have to admit, case studies on 19th century rural economics, like the one you explored, are often underestimated.
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Most research departments prefer more modern statistical approaches.
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Machine learning models and predictive software are the trend these days.
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That's not really my interest.
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My taste leans toward historical methods.
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They connect better with the kind of archival work I enjoy.
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Well, I hope you have space for all those resources you've been collecting.
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Fortunately, I live near the Central University Library.
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What are the exact requirements for storing the datasets, by the way?
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The primary file size is 2.3 gigabytes, and the secondary archive is 1.2 gigabytes, without the additional visuals, that is.
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If you include the scanned maps, which are fairly large to balance the written records, you'll need to add another 0.7 gigabytes for each data set.
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That won't be a problem.
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I'm just glad I managed to complete this challenging project.
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Excellent.
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Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.
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Now listen and answer questions 7 to 10.
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Now, before we finish, I need to confirm a few details for the department's records. Of course.
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Go ahead.
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I recognized your face since you've attended my seminars before, but could you remind me of your full name?
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Oh, yes.
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It's Emily Carter Williams.
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It's a hyphenated surname, so it's a make sure you add the dash in between the two names.
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So that's C-A-R-T-E-R followed by a hyphen then W-I-L-L-I-A-M-S?
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Correct.
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And your contact address please.
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It's Riverside Hall.
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That's R-I-V-E-R-S-I-D-E.
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and I live in Brookfield Town, the postcode you'll need is BL497QP.
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Sorry, was that BN497QP?
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No, it's BL, not an N, then 497QP.
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Perfect.
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I think that's everything.
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Oh, and when would you like to submit the final hard copy of your thesis?
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The office accepts submissions on Mondays and Thursdays, the week after assessments.
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Well, I'm going away on a short trip to Cornwall this Thursday, so that won't work.
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How about next Monday?
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No problem at all.
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So that will be the 14th of June.
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Perfect.
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Thank you, Professor.
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Not at all, Emily.
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It's been a pleasure supervising your work.
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That is the end of part one.
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You now have half a minute to check your answers to part one.
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Part 2 You will hear a guide explaining galleries, facilities, and events at an art museum.
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First, you have some time to look at questions 11 to 15.
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Thank you.
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A very good afternoon to you all, ladies and gentlemen.
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I'm glad you've chosen to visit the prestigious Lisbon Museum of Art today, and I'll look forward to showing you around.
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But first, I would just like you to refer to the maps of the museum
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that you picked up on your way in.
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Now, where you picked up your maps is just to the left as you enter the building, outside the museum store.
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By the way, the store is a great place to pick up some souvenirs before you leave.
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Oh, and if anyone wants to leave a coat in the cloakroom, then please feel free to do so at no extra charge.
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It's just over there on the other side of the entrance to the museum store.
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Okay, so this nice spacious area we're now standing in is the main hall.
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It contains some of the museum's most striking sculptures.
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From here you gain access to all the museum.
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Leading off from the main hall are the Ufazi Gallery and our other large gallery that houses a permanent art collection.
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We'll be starting our tour actually in the permanent collection gallery as it's the nearest of the two galleries to the entrance.
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We'll make our way afterwards to the other gallery I mentioned as it's right next door.
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Oh, the smaller room behind the Ufazi Gallery
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that you see on your maps is just a storage space for the museum
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and access is blocked off to the public by a railing across the entrance to that area.
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So now where were we?
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Ah, yes.
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After we visited those galleries, which will take us a good hour as there are so many interesting exhibits to see,
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we'll make our way back across the main hall and visit the Cowell Room.
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It's right at the far end of the museum, on the opposite side of the main hall, to the Ufazi and Permanent Collection Galleries.
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It's one of the museum highlights and contains some high-quality contemporary art exhibits.
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Oh, I'm so sorry, I forgot to point out the ladies and gents' toilets earlier.
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They're just before you get to the cowl room and are adjacent to the museum store.
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Don't go into the room opposite the toilets, that's our staff room area and kitchen.
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Right, so that's all you need to know for the moment.
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Let's begin the tour.
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Before you hear the rest of the conversation, you have some time to look at questions 16 to 20.
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Now listen and answer questions 16 to 20.
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Well, I hope you all found the tour interesting.
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If any of you would like to become a patron of the museum, you can request information from the museum store.
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Being a patron entitles you to special discounts on visiting exhibitions and first refusal on tickets to special events.
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You will also be the first to know about our museum events as you are automatically placed on the museum's mailing list.
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You can choose to become a gold, silver, or bronze patron of the museum.
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patrons are also permitted free entry for one accompanying guest.
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However, all patrons can receive year-round benefits that are not enjoyed by non-patrons.
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Having said all that, I would now like to announce some very special news.
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Next year will be our centenary celebrations.
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It's hard to believe it, but the museum was founded over 100 years ago.
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Accordingly, we will be seeing in the new year in style with a special Masked Ball.
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This has been organized in response to a special request from some of our patrons.
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Plans have yet to be finalized for this one-off event, but a themed Masked Ball has been suggested,
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the idea being that guests come in the guise of famous artists, past or present.
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One exciting event that has been confirmed is the Summer Garden Party.
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We are anticipating a lot of interest for this one, so it's best to book well in advance.
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Whilst the tickets are by no means cheap, we like to think that the price reflects the quality of the event.
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Amongst the many treats we have in store for you is a live orchestra playing in the museum's gardens, which are to the back of the main building.
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It is weather permitting, of course.
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Again, we are dependent on good weather in order for the barbecue to take place.
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Alternatively, a sit-down meal will be provided in the cowl room.
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Everything from the entertainment to the food is included in the ticket price, so there are no hidden extras.
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Now, having given you a roundup of the highlights of next year's social events, let's go on to the artistic highlights of next month.
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Coming up shortly is Ewan Bailey's newest installation, Light and Sound Waves.
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Always thought-provoking, his previous installations have been very well received.
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We will also have Hamish Barnes here for the first time as artist-in-residence.
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He will be encouraging visitors to adopt a more hands-on approach to art.
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Finally, last but not least, we will be exhibiting the work of Cien Long, who will be making his artistic debut.
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His work will be on show in the Ufazi Gallery over the summer period.
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We are anticipating a large attendance at his exhibition.
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Well, that's all from me.
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I look forward to seeing you at one or maybe all of our events.
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It's certainly going to be an action-packed year for the museum, both culturally and socially.
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That is the end of part two.
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You now have half a minute to check your answers to part 2.
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Part 3 You will hear an art reviewer answering questions from several audience members.
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First, you have some time to look at questions 21 to 25.
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Thank you.
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Now listen and answer questions 21 to 25.
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I think I've spoken enough for now, so it's time to hear from the audience.
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Would anyone like to begin and share a thought about what I said earlier?
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Ah, yes, the young man over there.
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Hello, my name's Ryan, and I've got a question.
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You described folk art as being the work of people who haven't had formal training at art schools.
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Does that mean that literally anyone could create art?
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Well, what counts as art is always going to be subjective.
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But if we accept some general agreement on what can reasonably be called art, then yes, in principle, anyone could create it.
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The real challenge is whether they can produce remarkable art.
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Excuse me, may I ask a question as well?
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Yes, of course.
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Would you like to introduce yourself to everyone first?
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Sure.
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My name is Sophia.
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All right, Sophia.
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What would you like to ask?
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Don't you think that self-taught artists lack the proper technique to make truly great work?
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Honestly, I thought some of the drawings by those so-called folk artists you showed us looked quite rough.
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I believe you're mixing up the idea of technique with the idea of art itself.
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Strong technical ability doesn't necessarily equal strong art.
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Sometimes remarkable pieces come from talented people who don't possess what we would normally think of as professional skills.
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Okay, who's next with the question?
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Hello, I've got one.
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Oh, my name's Daniel, by the way.
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I just wanted to ask how many folk artists were actually recognized during their lifetimes?
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Only a small number.
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The exceptions are the ones who created truly extraordinary pieces, such as Simon Rodia's Towers in California, or Antonio Gaudí's famous structure,
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the Sagrada Familia in Spain.
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Both were built using unconventional methods and recycled objects.
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Yeah, they were incredible.
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I remember those from the pictures you showed earlier.
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But what fascinates people most isn't just the size of these works, but the devotion behind them.
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Both were built almost entirely by one person over decades, often without official approval or permits.
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That secrecy adds to the mystery and romance of the whole story, don't you agree?
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Well, their dedication definitely impressed me.
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Yes.
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Folk art often results in creations that are completely unique.
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Before you hear the rest of the conversation, you have some time to look at questions 26 to 30.
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Now listen and answer questions 26 to 30.
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So, now I'd like to ask you some questions.
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Out of all the folk artworks I showed earlier, which one did you find the most striking and why?
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May I answer that?
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Yes.
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Hello again, Ryan.
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Which piece was your favorite?
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Oddly enough, the illustrations by Henry Darger, the perspective is strange and inconsistent, but the detail is astonishing.
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Well, if you look at celebrated artists like Van Gogh and Cezanne, perspective wasn't their main concern either.
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Strangely, I can appreciate that style when it comes to folk art, but I don't feel the same about contemporary art.
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Maybe it's because I don't view the two styles with the same expectations.
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Interesting.
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You mean you expect more from trained professional artists like Van Gogh or Cezanne?
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Yes, exactly.
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I expect contemporary artists to at least use conventional tools like perspective,
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while folk artists are widely honored.
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I see your point.
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Apart from folk art, I suppose you prefer more traditional painters?
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I think so.
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Like most people, I can appreciate the works of the Renaissance masters like Raphael and Botticelli.
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Their techniques were brilliant.
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And, of course, I can also understand the continuing popularity of the Impressionists.
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One last question.
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What about modern sculpture?
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Do you view modern sculpture the same way you view modern painting?
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I think sculpture requires skill no matter what.
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Handling wood, metal, or stone is never easy.
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But to be honest, I find that many modern sculptures in public spaces get more admiration than they really deserve.
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Hmm.
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You certainly have clear opinions about art.
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Well, it was most interesting hearing your perspective.
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That is the end of part three.
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You now have half a minute to check your answers to part three.
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Part 4.
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You will hear a lecture exploring how animals produce paintings and sculptures.
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First, you have some time to look at questions 31 to 40.
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Now listen and answer questions 31 to 40.
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I've just shown you a series of slides featuring a surprisingly wide variety of paintings.
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As I was presenting them, I noticed a few chuckles among you, and even some puzzled looks.
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Perhaps calling today's lecture Unexpected Masters of Creativity was a little misleading.
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Although the brushwork seemed clumsy-looking, the artworks are still impressive considering who created them.
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Well, let me surprise you further.
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What I'm about to reveal should make the title much clearer.
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All those artworks you just saw were created by, wait for it, animals.
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Yes, I can hear a few murmurs of disbelief now.
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Of course, when compared to human standards, these paintings appear basic.
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But when you remember that they were made by animals, the results are nothing short of extraordinary.
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And it wasn't only our closest relatives like monkeys who produced them.
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The artworks came from an astonishing range of creatures like dolphins, parrots, and even anteaters.
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In fact, not long ago,
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the Manchester Natural History Gallery held what was thought to be the very first exhibition of paintings created by different species.
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This event included contributions from a chimpanzee, an orangutan, and a dolphin.
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While the ape paintings resembled the energetic style of abstract artists such as Paula Ginrothko,
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the Dolphins piece showed a more representational form depicting a fishbowl.
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Now, before anyone here assumes this is some groundbreaking discovery, I want to clarify a few things.
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The idea that animals can contribute to the artistic world was already being explored as early as the 1960s.
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During that period, a renowned anthropologist named Margaret Linton,
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who also wrote bestsellers like Mind Watching and The Human Animal,
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introduced the British public to Sally and painting Orangutan in a popular television program.
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At that time, these animal creations were dismissed as amusing oddities.
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Today, though, animal-made artworks are regarded far more seriously,
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as many of these creatures display a natural talent and employ their senses in ways quite different from human artists.
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Because of this recognition, it is now fairly standard for wildlife parks and aquariums to provide artistic outlets for their residents.
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The goal is not only to enrich the lives of the animals, but also to stimulate them physically and mentally.
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Clearly, you cannot simply hand a snake a paintbrush and expect it to produce a masterpiece.
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Instead, caretakers supply materials appropriate to each species.
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For instance, anteaters, which naturally feed by using their long tongues to search through soil for ants,
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have been given narrow tubes to blow paint across canvases, mimicking their feeding behavior.
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One of the most intriguing outcomes of this practice is the discovery that many animals willingly and spontaneously engage in making art.
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It appears they experience enjoyment, much like humans do, when applying colors to paper or shaping clay.
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This suggests there are far more commonalities between people and other animals than some critics might prefer to acknowledge.
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Yet, for those of you who remain doubtful, let me add a word of caution.
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Some Some examples of elephant and ape paintings have shown striking similarities to contemporary Western art.
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In fact, the stylistic elements suggest there might have been a degree of human influence.
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A famous case involved an elephant called Dara, whose keeper actually guided her trunk as she made brushstrokes on a canvas.
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However, when examining animal art, skeptics should have a fair perspective.
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That is the end of part 4.
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Thank you.
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Contexto e Fundo
O vídeo apresenta um diálogo entre uma aluna, Emily, e seu tutor, focando em um projeto de pesquisa e a submissão de uma tese. A conversa inclui detalhes práticos, como nome completo, endereço e datas de submissão, além de discussões sobre metodologias de pesquisa. Essa situação realista é perfeita para quem quer praticar shadow speak, pois combina linguagem formal e informal, ideal para aprimorar a escuta e a pronúncia.
5 Frases Essenciais para Comunicação Diária
- "If I may say so, I think you did exceptionally well." – Útil para elogiar de forma educada.
- "That won't be a problem at all." – Expressa tranquilidade diante de um pedido ou situação.
- "Could you remind me of your full name?" – Forma polida de pedir informações.
- "I'm going away on a short trip to Cornwall this Thursday." – Ideal para falar sobre planos futuros.
- "The office accepts submissions on Mondays and Thursdays." – Útil para informar horários ou prazos.
Guia Passo a Passo para Shadowing
Para dominar o shadowspeak nesse vídeo, siga esses passos: 1. Ouça o diálogo completo uma vez para entender o contexto. 2. Repita frases curtas (como "No problem at all") imediatamente após o falante, focando na entonação. 3. Escolha trechos mais longos (como a parte sobre o nome e endereço) e pratique a prática de conversação em inglês repetindo com a mesma velocidade. 4. Grave sua voz e compare com o original para ajustar a pronúncia de palavras como "hyphenated" ou "postcode". 5. Faça isso diariamente por 10 minutos – o shadow speech é uma técnica comprovada para melhorar a fluência rapidamente.
Essas dicas ajudam a transformar a escuta em prática ativa, tornando o aprendizado mais eficaz. Lembre-se: o shadowspeaks é sobre imitar não só as palavras, mas também a emoção e a cadência do falante!
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | you've attended · you've chosen · has been organized |
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | was determined · are often underestimated · is blocked |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | maps, which are · galleries, which will · gardens, which are |
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.