Prática de Shadowing: Michelangelo's David: Great Art Explained - Aprenda a falar inglês com vídeo
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The story of Michelangelo's David is anything but the story of a teenage boy king who slew Goliath.
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In one of his poems, Michelangelo wrote, Som di essere brutto, I know I am ugly.
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His nose was broken and appeared crushed into his face, which he said gave him the look of a beggar.
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He was tortured by his appearance and alienated from his own body.
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Despite, or perhaps because of this, he would spend his life in pursuit of sublime perfection.
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He could do little about his own looks, but he would make sure his David would be the standard by which male beauty would be judged.
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Michelangelo believed that he was a tool of God.
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He wasn't creating a sculpture from marble, he was simply releasing the figure imprisoned within it.
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Unfinished work by Michelangelo gives us many insights into his techniques.
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Most sculptors would create a clay model and then mark up their block of marble to know where to chip.
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But Michelangelo worked mostly freehand starting from the front and working back.
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To sculpt in marble you need the strength of an athlete and the dexterity of a surgeon.
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Any slip -up can destroy years of work.
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Michelangelo would start by what is called roughing out.
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Taking the bulk of weight off with a point chisel
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and a large mallet for getting it down to the general shape of the sculpture.
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Then he'd use a tooth chisel and a smaller hammer for more detailed work in modelling the form.
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As he needed more details, he'd use finer and finer tooth chisels.
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He would use a drill to get into the deeper crevices.
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Then he would refine using various smaller tools, followed by finishing the surface with a tool like the rasp, a sort of file.
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Finally he would polish the statue using abrasive pumice stones and then leather until it is smooth and glossy.
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If we look at his unfinished work here, we can clearly see the sculpture emerging from the stone.
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The marks we see here were made by Michelangelo's own hands.
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The outer part show us where Michelangelo started to cut away the stone with a large pick
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and a mallet
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and in this area we can clearly see he has used
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a tooth chisel here on the chest we see even more detail
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and the marks of fainter where he has used much finer tools michelangelo was 26
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when he was asked to sculpt a colossal statue of the
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biblical hero david to be placed on the roof of the cathedral in florence 80 meters above street level
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Only two years before he had carved the achingly beautiful Pieta in Rome and he was already considered a master.
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He was asked to use an old block of marble already owned by the cathedral
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that had been sitting around for 50 years.
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Two other sculptors had attempted to use it but the marble was flawed and considered too narrow to produce a successful figure.
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One sculptor had even carved a large hole out between what were to have been the legs of his figure.
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But where others saw flaws, Michelangelo saw opportunity.
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Because of the shape of the marble, Michelangelo had to be precise.
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There was no room for manoeuvre.
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David had to look to the side as there wasn't enough marble to have him facing forward.
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David had to be in the contrapposto position so that his legs would fit around the large hole already in the marble.
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And he would have to be slender because of the depth of the marble.
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The story of David and Goliath is the biblical story of the Philistine giant defeated by the teenage Israelite, armed only with his sling.
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The finale of the story is David cutting off his head and holding it up to the cheering crowd.
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Traditionally, David had been portrayed at the point of victory, triumphant over the dead Goliath.
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Florentine artists like Donatello and Verrocchio depicted their own version of David standing over Goliath's severed head.
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All statues are more than mere representations, but Michelangelo's take on it would be revolutionary.
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By removing the conventional attributes of the Biblical hero, Stripping him down, both literally and figuratively,
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Michelangelo also removes a simplistic reading of it, as just an illustration of the story, and gives it a wider metaphorical meaning.
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For the first time in art, David is depicted before the battle, rather than the moment of victory.
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This changes everything.
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First and foremost, Michelangelo's David depicts rationality.
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David isn't about to fight Goliath with brute strength, but with skill and reason.
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David represents the humanist ideal of a man who can become a hero by his intelligence and willpower alone.
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These are the virtues of the thinking man, considered perfection during the Renaissance.
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Michelangelo catches him at the peak of his concentration as he contemplates the challenge ahead of him.
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David is no longer the traditional self -assured boy.
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Now he is shown as an apprehensive man.
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David's neck is tense.
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His thigh muscles are flexed.
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His nostrils are flared and his brow is furrowed with fear.
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He is just about to glide easily and naturally into action.
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He is tense but contemplates the challenge ahead of him with a calculated gaze.
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The rock is hidden inside his right palm.
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The slingshot rests on his shoulder and hangs down his back, almost invisible, emphasizing that David's victory was intellectual.
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His chest appears to pulse with anxiety.
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Like all of Michelangelo's sculptures, the viewer sees David at a specific and pivotal point.
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It is not meant to be the whole story.
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David is in motion.
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The position he is in is known as contrapposto or counterpose.
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It was invented by the ancient Greeks and is a very natural and human way to stand.
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The red lines show where his muscles are tensed and the yellow ones where his muscles are relaxed.
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Most of the weight is on one leg with the other leg forward, causing the figure's hips and shoulders to rest at opposing angles,
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giving a slight S curve to the entire torso and therefore giving the statue a more dynamic look.
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The story of David and Goliath would come to represent the city of Florence itself.
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During the Renaissance, Italy was a collection of city -states, each with its own ruler.
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The newly independent Republic of Florence saw itself as the David of Italy,
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holding out with unexpected strength against the Medici's and the powerful and all consuming influence of the Pope in Rome.
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This point was emphasized when David was placed in a secular spot, rather than its intended religious one.
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Commissioned as a statue of the biblical story, in Michelangelo's hands it becomes something else entirely.
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The proportions of David are not typical of Michelangelo's work.
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The figure has an unusually large head and hands.
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But Michelangelo, who had dissected many cadavers, understood the human body better than any physician.
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As per the commission, the statue was designed to be seen from 80 meters below.
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In 2010, a fiberglass replica was temporarily placed in the spot originally planned for David.
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And we can clearly see that the proportions work perfectly when seen from below.
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Nudity was unusual at the time for a biblical story, but the Renaissance was a decisive time for the nude in Western art.
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A renewed interest in ancient Greek and Roman art brought the human body to the forefront of artistic innovation during the Renaissance.
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Achievement in representing the body became the standard for measuring artistic genius.
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It is far harder to depict a nude figure than a clothed one.
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It is a myth though that Renaissance Europeans were comfortable with nude bodies in art, particularly when displayed in public.
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In fact, the city fathers had a garland of 28 gilded copper leaves made to protect David's modesty, and in later years he wore a fig leaf,
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as in this photo from the 1860s shows.
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Why is the Jewish hero David not circumcised?
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Again, we can trace this back to the inspiration for the Renaissance, the ancient Greeks and Romans.
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They regarded circumcision as barbaric, and there are no depictions of circumcision in ancient statuary.
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Also, the Catholic Church denounced circumcision in the Middle Ages.
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The Jewish figure of David has been placed into the Christian context of Florence, a hallmark of the High Renaissance.
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It has been remarked that David's penis is rather small this was considered an indication of modesty
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and respectability and shows that the biblical figure is in control of his own urges.
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We can contrast that with contemporary images of satyrs and other figures which represented evil sexuality.
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David has a slight squint.
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It is rarely remarked on but his eyes point in slightly different directions.
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This is a typical Michelangelo trick to pull us into the eyes of David.
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The pupils are carved out hollow to capture the changing sunlight adding to the intensity of the gaze.
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Michelangelo calculated every angle and always considered the position of the viewer.
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The details are extraordinary.
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My own favorite is the jugular vein which is swollen.
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This only occurs when people get excited or nervous.
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Michelangelo understood this over a century before scientists would describe the circulatory system.
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The veins in the raised left hand are delicate, while the veins in the hanging right hand are pulsing and more well -defined.
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The way our blood circulates, this is exactly what would happen to our own hands in the same position.
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Every detail points to Michelangelo's passion for human anatomy.
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Michelangelo, who never wasted a minute of his life, worked morning, noon and night on David, alone and in total secrecy.
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At night he would attach candles to his hat.
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He rarely ate and when he did sleep he slept in his clothes, which he seldom, if ever, changed.
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In 1504 he finally presented his giant to the cathedral committee.
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They were astonished at Michelangelo's skills and agreed it was far too perfect to be placed at such a height.
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They decided to find a better location and eventually decided it should be placed in the political heart of Florence,
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in Piazza della Signoria, in front of the Town Hall, where its copy still is today.
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One member of the committee tried to persuade them to place David in a less prominent place.
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His name?
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Leonardo da Vinci.
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David is truly a colossus.
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At nearly six meters tall and weighing six tons it took four days
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and 40 men to move the statue half a mile from Michelangelo's workshop.
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In a gesture of defiance David was placed facing south towards Rome.
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Michelangelo then added the finishing touches on site.
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Originally the sling and tree stump support were gilded with gold as seen in these reconstructions.
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David received a rapturous reception from the Florentines
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and right from the start it was hailed as a masterpiece and a symbol of the Republic.
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The Italian 16th century historian Giorgio Vasari wrote,
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after seeing this, no one need wish to look at any other sculpture or the work of any other artist.
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In 1873 David was moved to the Accademia Gallery to protect it from environmental damage
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and in 1910 a full -size copy was placed in the square.
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His fig leaf was eventually removed and David could be seen as Michelangelo intended.
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Statues have power beyond their initial reading.
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One man's hero is another man's symbol of oppression.
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Michelangelo would go on to create many masterpieces, but his miraculous transformation of a shepherd boy into the physical
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embodiment of Florence would prove to be a defining moment in his artistic career.
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He was an alchemist who turned marble into flesh and bone
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and brought a psychological insight and physical realism to sculpture never seen before.
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He died in Rome in February of 1564, still working at the age of 88 years old,
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having outlived both his arch -rivals Leonardo da Vinci and Raphael.
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He was brought back to Florence to be buried in Santa Croce Church, just a stone's throw away from his divine David.
📺 Mesmo canal
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Vocabulário e dicas de fala para esta lição
Este vídeo tem 144 frases e 2007 palavras para praticar shadowing. A fala dura 14:06. O falante mantém um ritmo estável de cerca de 142 palavras por minuto, confortável para o shadowing. Apenas 76% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| marble substantivo | /ˈmɑɹ.bəl/ | mármore |
| statue substantivo | /ˈstæt͡ʃu/ | estátua |
| biblical adjetivo | /ˈbɪblɪkəl/ | bíblico |
| sculpture substantivo | /ˈskʌlpt͡ʃɚ/ | escultura |
| muscle substantivo | /ˈmʌs.əl/ | músculo |
| artistic adjetivo | /ɑɹˈtɪs.tɪk/ | artístico |
| meter substantivo | /ˈmitəɹ/ | contador |
| tooth substantivo | /tuθ/ | dente |
| nude adjetivo | /n(j)uːd/ | nu, pelado |
| cathedral substantivo | /kəˈθiːdɹəl/ | catedral |
| vein substantivo | /veɪn/ | veia |
| rarely advérbio | /ˈɹɛəɹli/ | raramente |
| angle substantivo | /ˈæŋ.ɡəl/ | ângulo |
| symbol substantivo | /ˈsɪmbəl/ | símbolo |
| leaf substantivo | /lif/ | folha |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| cut off verbo | /ˌkʌt ˈɔf/ [ˌkɐɾ ˈɔf] | recortar |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | was broken · was tortured · would be judged |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | has been placed · has been remarked |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | man who can · vein which is |
Pronúncia para ficar de olho
O falante usa 5 contrações e formas reduzidas, como he'd, wasn't, isn't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: tooth /tuθ/, cathedral /kəˈθiːdɹəl/, smooth /smuːð/, leather /ˈlɛðɚ/, athlete /ˈæθ.liːt/
- Os sons de “sh” e “zh”: proportion /pɹəˈpɔɹʃən/, perfection /pɚˈfɛk.ʃən/, unfinished /ʌnˈfɪnɪʃt/, contrast /kənˈt(ʃ)ɹæst/, unusual /ʌnˈjuːʒ(u)əl/
- Palavras longas — acerte a sílaba tônica: naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, anxiety /æŋˈzaɪ.əti/, unusual /ʌnˈjuːʒ(u)əl/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/
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 marble, statue, biblical.
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.