Prática de Shadowing: John Berger / Ways of Seeing , Episode 1 (1972) - Aprenda a falar inglês com vídeo

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This is the first of four programs in

which I want to question some of the assumptions usually made about the tradition of European painting.

That tradition which was born about 1400 died about 1900.

Tonight it isn't so much the paintings themselves

which I want to consider as the way we now see them

now in the second half of the 20th century

because we see these paintings as nobody saw them before

if we discover why this is so we shall also discover something about ourselves

and the situation in which we are living

the process of seeing paintings or seeing anything else is less spontaneous

and natural and we tend to believe a large part of seeing depends upon habit

and convention all the paintings of the tradition used the convention of perspective which is unique to European art

now perspective centers everything on the eye of the beholder

it is like a beam from a lighthouse only instead of light traveling outwards appearances travel in

and our tradition of art called those appearances reality perspective makes the eye the center of the visible world

but the human eye can only be in one place at a time

it takes its visible world with it as it walks.

With the invention of the camera, everything changed.

We could see things which were not there in front of us.

Appearances could travel across the world.

It was no longer so easy to think of appearances always traveling regularly to a single center.

I am an eye, a mechanical eye.

I, the machine, show you a world the way only I can see it.

I free myself for today and forever from human immobility.

I'm in constant movement.

I approach and pull away from objects.

I creep under them.

I move alongside a running horse's mouth.

I fall and rise with the falling and rising bodies.

This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.

Freed from the boundaries of time and space, I coordinate any and all points of the universe wherever I want them to be.

my way leads towards the creation of a fresh perception of the world thus

I explain in a new way the world unknown to you

those words are from a manifesto written in 1923 by Ziga Vertov the Russian film director

and the images are from a film

he made in 1928 called the man with a movie camera

the invention of the camera has changed not only what we see

but how we see it and in a crucial

but quite simple way it has even changed paintings painted long before

it was invented the painting on the wall like a human

eye can only be in one place at one time the camera reproduces

it making it available in any size anywhere for any purpose.

Botticelli's Venus and Mars used to be a unique image

which it was only possible to see in the room where it was actually hanging.

Now its image or detail of it or the image of any other painting

which is reproduced can be seen in a million different places at the same time.

As you look at them now on your screen.

Your wallpaper is round them, your window is opposite them, your carpet is below them.

At this same moment they are on many other screens surrounded by different objects, different colours, different sounds.

You are seeing them in the context of your own life.

They are surrounded not by gilt frames

but by the familiarity of the room you are in

and the people around

you once all these paintings belong to their own place some

were altarpieces in churches originally paintings were an integral part of the building for

which they were designed sometimes when you go into a renaissance church

or chapel you have the feeling

that the images on the wall are records of the building's interior life together they make up the building's memory.

So much are they part of the life and individuality of the building.

Everything around the image is part of its meaning.

Its uniqueness is part of the uniqueness of the single place where it is.

Everything around it confirms and consolidates its meaning.

The extreme example is the icon.

Worshippers converge upon it.

behind its image is God before it believers close their eyes

they do not need to go on looking at it they know that it marks the place of meaning

now it belongs to no place and you can see such an icon in your home the images come to you,

you do not go to them.

The days of pilgrimage are over.

It is the image of the painting which travels now,

just as the image of me standing here in this studio travels to you and appears on your screen.

The meaning of a painting no longer resides in its unique painted surface, which it is only possible to see in one place at one time.

Its meaning, or a large part of it has become transmittable

it comes to you this meaning like the news of an event

it has become information of a sort the faces of paintings

become messages pieces of information to be used even used to persuade us to help purchase more of the originals

which these very reproductions have in many ways replaced

but you may say original paintings are still unique they look different from how they look on the television screen

or on postcards

reproductions distort only a few facsimiles don't take

this original painting in the National Gallery only what you are seeing is still not the original

I'm in front of it I can see it this painting

by Leonardo is unlike any other in the world the National Gallery has the real one

it isn't a fake it's authentic if I go to the National Gallery

and look at this painting somehow I should be able to feel

this authenticity the Virgin of the Rocks by Leonardo da Vinci.

It is beautiful for that alone.

Nearly everything that we learn or read about art encourages an attitude and expectation rather like that.

The National Gallery catalogue is for art experts.

The entry on this painting is about 14 pages long, densely written.

They are about who commissioned the painting, legal squabbles who owned it its likely date the pedigree of its owners behind

this information lie years of research what for to prove beyond any shadow of doubt

that it is a genuine leonardo and to prove

that an almost identical painting in the louvre is in fact a replica french art historians try to

prove the opposite for this drawing by Leonardo the Americans wanted to pay two

and a half million pounds

now it hangs in a room by itself like a chapel behind bulletproof perspex the lights are kept low

so as to prevent the drawing from fading but why is it

so important to preserve and display this drawing it's acquired a kind of new impressiveness

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but not because of what it shows not

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because of the meaning of its image it's become mysterious again

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because of its market value and this market value depends upon it being genuine

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and now it is here like a relic in a holy shrine I don't want to suggest

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that there is There's nothing left to experience before original works of art, except a certain sense of awe.

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because they have survived, because they're genuine, because they are absurdly valuable.

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A lot more is possible, but only if art is stripped of the false mystery and the false religiosity which surrounds it.

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This religiosity, usually linked with cash value, but always invoked in the name of culture and civilization,

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is in fact a substitute for what paintings lost when the camera made them reproducible.

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The National Gallery sell more reproductions of this Leonardo cartoon than of any other picture.

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But what are the meanings these reproductions acquire in each home

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when they are hung or pinned to the wall?

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and how different are all these meanings from its original one

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when Leonardo first worked on it to work out an idea

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for a painting the camera by making the work of art transmittable has multiplied its possible meanings

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and destroyed its unique original meaning have works of art gained anything by this they have lost

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and gained let me try to explain how the most important thing about paintings themselves is

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that their images are silent still I can't demonstrate the stillness for the lines on your screen are never still

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and in a sense the pages of a book are never still but I can demonstrate the silence

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Occasionally, this uninterrupted silence and the stillness of a painting can be very striking.

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the experience of this has almost nothing to do with what anybody teaches about art

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it's as

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if the painting absolutely still soundless becomes a corridor connecting the moment it represents with the moment at

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which you are looking at it and something travels down

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that corridor at a speed greater than light throwing into question our way of measuring time itself

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because paintings are silent and still and

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because their meaning is no longer attached to them

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but has become transmittable paintings lend themselves to easy manipulation they can be used to make arguments

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or points which may be different very different from their original meaning.

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And because paintings are essentially silent and still,

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the most obvious way of manipulating them is by using movement and sound.

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The camera moves in to remove a detail of a painting from the whole.

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Its meaning changes.

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An allegorical figure becomes a pretty girl anywhere.

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From being part of a strange poetical world of metamorphosis a

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dog can be turned into a pet not unlike the dog

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of his master's voice the meaning of a painting shown on film

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or television can be changed even more radically this is a painting by Bruegel

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or rather a reproduction of a painting by Bruegel of the road to Calvary

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if you look at the whole painting Bruegel's intention is fairly clear in the right foreground are Mary

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and John and the mourners of Christ.

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Christ carrying the cross is in the middle distance, carried forward by the crowd which is making its way to the place of the crucifixes,

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far away on the right where a circle of onlookers has already gathered.

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If you look at the whole picture you see that it is about grief, about torture and above all about the callousness,

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the eager inquisitiveness, the superstitious drive of the crowd.

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If it sets out to be religious painting it is an oddly secular one

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but the difficulty is that on a screen

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if you keep the whole painting in view you don't see very much

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you have been waiting impatiently for the camera to go in to examine details

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yet as soon as this happens the comprehensive effect of the painting can be changed

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for example it is possible to isolate and show the details in a way

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that makes the painting look like a fairly straightforward devotional picture

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with a different camera movement again it can be shown as an example of landscape painting

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or details can present it to you in terms of the history of costume or social customs

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Most easily, it can be presented as a story.

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The two thieves being carted to the place of crucifixion, Christ carrying the cross.

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In a film sequence, the details have to be selected and rearranged into a narrative which depends on unfolding time.

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Yet, in the painting as a whole, all these elements are there simultaneously.

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in paintings there is no unfolding time as well as by the movements of the camera paintings are modified

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and changed by the sounds you hear

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when looking at them here is a landscape a cornfield with birds flying out of it

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look at it for a moment in silence now supposing I say was to look at it this

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This is the last picture

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Van Gogh painted before he killed himself.

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Words you notice consciously.

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Music is subtler it can work almost without your noticing it.

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How often do you consciously notice the music played over paintings on television?

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Yet music and rhythm change the significance of a picture.

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Here's a painting by Caravaggio.

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Here are details of this painting cut to music from an Italian opera.

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Mande -la in campagna, in l 'herba à la magna.

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Un feu de parler, c 'est comme un désert, comme l 'air prédicard.

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Now cut to a religious chorale.

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Oh I've said that as soon as the meaning of a painting becomes transmittable, this meaning is liable to be manipulated and transformed.

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It's no longer a constant.

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It's changed by the camera which moves, by words put around it, by music played over it.

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Now lastly, paintings can be changed in another way.

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When paintings are reproduced, they become a form of information which is being continually transmitted,

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and so there they have to hold their own against all the other information,

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which is jostling around them to appear on the same page or the same screen.

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The meaning of an image can be changed according to what you see beside it or what comes after it.

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Let's try our last experiment.

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We put the image of this well -known painting by Goya on your screen.

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You look at it in the context of what I'm saying.

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In the context of my image in relation to it.

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But supposing you had just turned onto this channel from one of the other two.

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Then you might see something like this.

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Some years ago

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Up in the mountains that were white with snow

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Inside a cabin, McDougal, he was planning

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There's gonna be a showdown with somebody else

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And supposing now you turn off from the R channel onto one of the others.

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each time the impact of the Goya is modified I've now emphasized the ways in

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which reproduction makes the meaning of works of art ambiguous this is not as negative as it necessarily sounds

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if we realize what is happening what it means in theory is

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that reproduction of works of art can be used by anybody for their own purposes.

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Images can be used like words we can talk with them.

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Reproduction should make it easier to connect our experience of art directly with other experiences.

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You can sometimes see how naturally this begins to happen

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when for instance children or adults pin up reproductions alongside snapshots or their own drawings or pages from magazines.

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There, everything belongs to the same visual language used for describing or recreating experience.

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What so often inhibits such a spontaneous process is the false mystification which surrounds art.

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For instance, the art book depends upon reproductions.

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Yet often what the reproductions make accessible, a text begins to make inaccessible.

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What might become part of our language is jealously guarded and kept within the narrow preserves of the art expert.

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These last two great paintings by Franz Hals portray the governors

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and the governesses of an almshouse for old paupers in the Dutch 17th century city of Harlem.

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Hulse, an old man of over 80, was destitute.

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Most of his life he had been in debt.

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During the winter of 1664, the year he began painting these pictures, he obtained three loads of peat on public charity,

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otherwise he would have frozen to death.

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Here he paints the official portraits of the administrators of such public charity.

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Reproductions in colour or in black and white, showing the whole or showing details, make these two paintings easily accessible.

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Yet this is how these images are introduced each woman stands

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out with equal clarity against the enormous dark surface yet they are linked by a firm rhythmical arrangement

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and the subdued diagonal pattern formed by their heads

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and hands subtle modulations of the deep glowing blacks contribute to the harmonious fusion of the whole

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and form an unforgettable contrast with the powerful whites

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and vivid flesh tones where the detached strokes reach a peak of breadth and strength.

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In the portrait of the men, Hals's old tendency of creating an impression of casual informality and the instantaneousness recurs.

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But the pictorial unity appears less successful than in earlier works.

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The intense light areas of the flesh tones, the great expanses of white linen,

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and the daringly broad red touch on the knee of the man on the right tend to jump

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and are not fully integrated into a coherent design

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that is a quotation from the most comprehensive book on house in English

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it was published last year

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it's as though the author wants to mask the images as though he fears their directness

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and accessibility as in

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so many other pictures by house the penetrating characterizations almost seduce us into believing

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that we know the personality traits and even the habits of the men

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and women portrayed and in the case of some critics the seduction has been a total success he speaks of seduction

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disparagingly yet what is this seduction it's nothing less than the painting working on us

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if the characterization is as he says penetrating it penetrates to reveal something

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it's as though he doesn't want us to make sense of it in our terms and when he sums up

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he resorts to meaningless generalizations

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we attempt to control the powerful impact his paintings make upon us by considering the tradition in

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which he worked

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and the range of possibilities open to him the effort only

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increases our admiration for house's unwavering commitment to his personal vision

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which enriches our consciousness of our fellow men

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and heightens our all for the ever increasing power of the mighty impulses

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that enabled him to give us a close view of life's vital forces

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this is mystification children until they are educated out of it

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and are forced to accept the mystifications look at images

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and interpret them very directly they connect any image whether from a comic

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or from the National Gallery directly with their own experience

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I showed a reproduction of the Caravaggio to a group of school children I think it

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It couldn't have been.

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They stole the food.

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One of them said, I'm not going to eat it, it's stolen food.

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And he's going, why not?

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You think he wants to get up?

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He looks as if he's a bit...

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They look all romantic and she wants to go away and do something.

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I think it might be Jesus.

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What makes you think it might be Jesus?

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Well, he's in the centre of the table and he looks like he might be a leader of some kind.

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It's like a seismic.

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They've got the food on the table there.

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Yes, but they haven't got bread or wine.

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What do the rest of you think about him saying that it might be Jesus?

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I don't think it's Jesus. Could be.

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Some of you think it's a man and some of you think it's a woman.

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I think it's a woman.

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It looks as though they're all going to jump up and kiss her because she's a scissor.

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And he's got his arm out to cuddle him and he's jumped the other one round.

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I think it's a man.

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It's a woman.

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It is a woman.

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There's no bristles, even.

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Yes, but he hasn't got any bristles.

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He's got a moustache.

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Yes, but he hasn't got any bristles.

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All of...

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No, not quite all, but most of the boys thought that he was a man

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And most of the girls, you thought she was a woman.

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I'm not sure.

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And you said she was perhaps both.

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Because they were really looking and really relating what they saw to their own experience, they recognised something that most adults wouldn't.

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Without knowing the artist's name, let alone anything about Caravaggio's life or the fact that he was a homosexual,

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they immediately saw how sexually ambivalent the principal figure was.

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i can't pretend to the clairvoyance of children

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but in the next three programs i'm going to try to relate the experience of art directly to other experiences

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and to use the means of reproduction as though they offered

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a language as though pictures were like words rather than holy relics

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how we see women, possessions, advertisements and their promises which surround us on every side

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but remember that I am controlling and using for my own purposes the means of reproduction needed for these programs

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the images may be like words

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but there is no dialogue yet you cannot reply to me for

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that to become possible in the modern media of communication access

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to television must be extended beyond its present narrow limits meanwhile with this program as with all programs

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you receive images and meanings which are arranged.

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I hope you will consider what I arrange, but be sceptical of it.

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and Ways of Seeing is right back here tomorrow night at half past seven next tonight

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we have a whole stack of monitors for you beginning with

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a chat with one of the most iconic film directors and actors of all time

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Vocabulário e dicas de fala para esta lição

Esta aula de conversação usa o vídeo “John Berger / Ways of Seeing , Episode 1”. As palavras que mais se repetem: painting, image, meaning, reproduction. Este vídeo tem 296 frases e 3573 palavras para praticar shadowing. A fala dura 29:58. O falante mantém um ritmo estável de cerca de 119 palavras por minuto, confortável para o shadowing. 83% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.

Vocabulário principal deste vídeo

15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:

Palavra	Pronúncia	Significado
reproduction substantivo	/ˌɹiːpɹəˈdʌkʃən/	reprodução
surround verbo	/səˈɹaʊnd/	contornar, cercar
silence substantivo	/ˈsaɪ̯ləns/	silêncio
silent adjetivo	/ˈsaɪ̯lənt/	silencioso
belong verbo	/bɪˈlɒŋ/	pertencer
connect verbo	/kəˈnɛkt/	conectar
genuine adjetivo	/ˈd͡ʒɛn.juˌɪn/	genuíno, autêntico
tone substantivo	/ˈtəʊn/	tom
alongside	/əˌlɔŋˈsaɪd/	junto a, juntamente com
charity substantivo	/ˈtʃæɹɪti/	instituição de caridade
steal verbo	/stiːl/	roubar, furtar
discover verbo	/dɪˈskʌvə/	descobrir
narrow adjetivo	/ˈnæɹəʊ/	estreito, estreita
visible adjetivo	/ˈvɪzɪb(ə)l/	visível
comprehensive adjetivo	/ˌkɑm.pɹəˈhɛn.sɪv/	abrangente

Phrasal verbs que você vai ouvir

Palavra	Pronúncia	Significado
get up verbo		subir
go away verbo		sair, partir
make up verbo	/ˌmeɪk ˈʌp/	compensar
work out verbo	/ˌwɝk ˈaʊt/	calcular

Frases que vale a pena repetir

Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:

I move alongside a running horse's mouth.
Let's try our last experiment.
You think he wants to get up?
I think it's a woman.
I think it's a man.

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	has changed · has even changed · has become
Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz	was born · was invented · is reproduced
Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa	tradition which was · perspective which is · things which were

Pronúncia para ficar de olho

O falante usa 26 contrações e formas reduzidas, como I'm, don't, can't. Diga-as na forma curta, do jeito que você ouve.

Os sons de “th”: gather /ˈɡæðɚ/, rhythm /ˈɹɪð.əm/, authentic /ɔˈθɛn.tɪk/, thief /ˈθiːf/
Os sons de “sh” e “zh”: reproduction /ˌɹiːpɹəˈdʌkʃən/, flesh /flɛʃ/, invention /ɪnˈvɛnʃən/, contrast /kənˈt(ʃ)ɹæst/, shadow /ˈʃædəʊ̯/
Palavras longas — acerte a sílaba tônica: reproduction /ˌɹiːpɹəˈdʌkʃən/, comprehensive /ˌkɑm.pɹəˈhɛn.sɪv/, accessible /əkˈsɛs.ɪ.bəl/, spontaneous /spɑnˈteɪ.ni.əs/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: surround /səˈɹaʊnd/, silent /ˈsaɪ̯lənt/, connect /kəˈnɛkt/, alongside /əˌlɔŋˈsaɪd/, landscape /ˈlan(d)skeɪp/
/l/ final — a língua toca o céu da boca, não vira “u”: steal /stiːl/, visible /ˈvɪzɪb(ə)l/, accessible /əkˈsɛs.ɪ.bəl/, chapel /ˈt͡ʃæp.əl/, meanwhile /ˈmiːnwaɪl/
/h/ — um sopro suave, diferente do “r”: comprehensive /ˌkɑm.pɹəˈhɛn.sɪv/, habit /ˈhæb.ɪt/, wherever /(h)wɛɹˈɛvɚ/, historian /hɪˈstɔɹi.ən/

Como praticar com este vídeo

Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
Faça shadowing frase por frase na velocidade normal, repetindo cada uma até o seu ritmo ficar igual ao do falante.
Grave a sua voz e compare com o original, prestando atenção a palavras como reproduction, surround, silence.

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.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: John Berger / Ways of Seeing , Episode 1 (1972) - Aprenda a falar inglês com vídeo

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