Prática de Shadowing: Inside a Charming 17th-Century Farmhouse - Aprenda a falar inglês com o YouTube
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Humour, I think, is vital because earnestness seems to be the case of death in conversation,
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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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Sobre Esta Lição
Nesta prática de conversação em inglês, você irá explorar o conceito de decoração e memória afetiva em um contexto autobiográfico, como apresentado na descrição de uma charmosa casa do século XVII. Focando na maneira como as memórias se entrelaçam com os espaços, você aprenderá a usar a linguagem para expressar sentimentos e experiências pessoais. Através deste vídeo, você será incentivado a refletir sobre como ambientes distintos influenciam nossa vida e, ao mesmo tempo, melhorar sua fluência verbal utilizando o shadowspeak.
Vocabulário e Frases Chave
- Vital - essencial, muito importante.
- Decoração - o ato ou processo de adornar um espaço.
- Fachada - a parte da frente de um edifício.
- Memória - a capacidade de recordar experiências passadas.
- Suave - algo que é calmante ou relaxante.
- Saboroso - algo que desperta o interesse ou agrada.
- Estilo - uma maneira particular de fazer algo.
- Temática - um tópico ou ideia central que se repete.
Dicas de Prática
Para melhorar sua habilidade de shadow speech, preste atenção à velocidade e ao tom do orador no vídeo. Ao praticar, siga estas dicas:
- Sombra de Frases: Tente repetir pequenas frases imediatamente após ouvi-las. Isso ajudará a internalizar a estrutura e a musicalidade do discurso.
- Varie a Velocidade: Reduza a velocidade se encontrar dificuldades, depois aumente gradualmente até acompanhar o ritmo original do vídeo.
- Imite a Entonação: Observe como o falante usa a entonação para expressar emoções. Tente replicar a ênfase que ele coloca em certas palavras.
- Faça Pausas: Use pausas para pensar sobre o que foi dito e como isso se relaciona com suas próprias experiências. Isso enriquecerá sua prática de conversação em inglês.
- Grave-se: Ouça suas gravações para identificar áreas de melhoria e ajuste sua pronúncia e entonação conforme necessário.
Ao seguir essas dicas e utilizar o shadowspeak, você não apenas aprimorará sua habilidade de ouvir, mas também será capaz de se expressar de forma mais autêntica e confiante em inglês.
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.
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