Prática de Shadowing: The Childhood years - As Told By Marilyn Monroe - Aprenda a falar inglês com vídeo

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I never lived with my mother.

My mother's first husband was named Baker.

Her second husband was Mortensen, but she was long since divorced when I was born.

She had, you know, mental disturbances, and she was taken away.

I called every woman I would see, I'd say, oh, there's a mama.

And if I see a man, I'd say, there's a daddy.

One morning I was having a bath, actually, and I referred to the woman as Mama,

and she said, I'm not your mother.

Don't call me mother anymore.

Call me aunt so-and-so.

The one who comes here with the red hair, she's your mother.

So to learn that she was my mother was quite a shock.

It was the red hair.

I said, but he's my daddy.

She said, no, you call him uncle.

Although they weren't my aunt and uncle.

I was only boarding there.

They adopted the boy that they had, that they were born in.

You see, some places I lived, I was taken there at the end of the school term, and they were planning to keep me.

But then after the summer they'd had enough.

So then I was taken to another place.

So that's one of so many.

See, I don't think there's 12, but there were quite a few.

Ten counting the orphans home.

I know I went to six different grammar schools.

You know, that's before you're in the seventh grade.

There was one other family I stayed with for a short time.

Because a woman used to have to deliver things.

I don't know her husband made things

and she was to deliver them to these plates and I used to get so car sick driving

I didn't like the world around me too much because it was kind of grim

but I loved playing I loved playing with the children in the neighborhood you could imagine anything

and pretend anything but I loved to play house and it was like,

you know, you can make your own boundaries, your own situation.

Other children like to play with me because I could think of things, you know, I'd say, now we're going to have murder, then a divorce, and then they say, how do you think of that?

I don't know.

Because then I heard, that's acting, I said, that's what I want to be.

You know, you could play.

They used to take me to movies here in Hollywood.

Every Saturday and Sunday I was taken there because they worked during the week.

They worked very hard and they didn't want to be bothered with a child around the house, I think.

You know, you can't blame them.

They were very tired.

So I was taken there in the morning and wait till the movie opened.

I tried to fit my foot.

My feet prints are there now, but I would try to, you know.

I never could get my feet in there.

My feet were always too big.

For 10 cents, I would go in,

sit in the first row and I watched all kinds of movies like Cleopatra with Claudio Colbert, that I remembered very well.

I'd sit there and I'd see it over and over and over and over again till late at night.

I was supposed to come out at dark but but of course I didn't know when it was dark.

That was when I was very small.

When I was seven years old, my favorite was Jean Harlow.

And the reason why she was my favorite, because she had white hair and I had white hair.

And I dreamed of having golden hair, but instead mine was white.

So when she had white hair, I felt close to her.

And Clark Gable, I'm sure he won't mind if I say it, I used to always think of him as my father.

I pretended that he was my father.

I never pretended anyone was my mother, I don't know why, but I always pretended he was my father.

I would go in my room and I would act out every part.

Only I would act out before that happened or after, and I would act out all the parts.

What he said and what she said and what he felt and she felt can usually be sad.

And then suddenly I was taken to the orphan's home.

I was only nine or ten.

And I put my feet down on the sidewalk and they had to drag me in.

I said, I'm not an orphan.

And then later some people said, well, it's better you forget about your mother.

I said, but where is my mother? and they said, she's dead.

I used to sit up in the window and cry

because I'd look over and I'd see RKO

and I knew my mother had work there and she'd been a cutter there and all the kids were asleep.

Grace used to come to the orphanage and take me out sometime.

Well, she was my legal guardian, and she once worked as a film editor, and she had been my mother's best friend.

I could put on her lipstick.

I was only nine or ten.

And she would take me someplace to have my hair curled, which was unheard of because I had straight hair.

Things like that meant a great deal to me.

I cleaned that dormitory where I slept.

Oh, everything had to be perfect, you know.

You swept and then you dusted everything.

We had a bed and a chair.

We had a locker downstairs.

Also the kitchen, you could earn money there.

I washed 100 plates, 100 cups, spoons, and forks, and you made five cents a month.

And they took one penny for Sunday school.

So you had one penny left.

So you hope you can buy your friend or friends some little thing at Christmas.

Well, I complained bitterly to Grace, who was my guardian.

There were these people who took me for a while.

Grace was financially unable to care for me,

but I'm very grateful that they at least assumed the responsibility because I could have just been kept there until I'm 18.

Thank you.

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Contexto e Fundo: A Infância de Marilyn Monroe

Nesse vídeo, Marilyn Monroe compartilha detalhes cruéis e tocantes de sua infância, contando sobre a ausência de sua mãe, mudanças constantes de lar e a descoberta precoce do mundo da atuação. Sua narração é uma mistura de vulnerabilidade e resiliência, com uma linguagem coloquial e expressiva que torna o diálogo perfeito para praticar shadow speech e melhorar a pronúncia em inglês. Ao ouvir sua voz, você percebe nuances de entonação que refletem emoções, o que é essencial para se comunicar de forma natural.

5 Frases Essenciais para Comunicação Diária

"I called every woman I would see, I'd say, oh, there's a mama." (Chamava todas as mulheres que via e dizia: "Ah, aí está uma mamãe.") – Pratique a pronúncia de "called" e a entonação de surpresa.
"You can't blame them." (Não se pode culpar eles.) – Uma frase útil para justificar ações alheias, com foco no som "blame".
"I loved playing with the children in the neighborhood." (Adorava brincar com as crianças do bairro.) – Aprenda a conectar "loved playing" de forma fluida.
"You could imagine anything and pretend anything." (Você podia imaginar qualquer coisa e fingir qualquer coisa.) – Perfeito para treinar a repetição de "anything" com clareza.
"I never could get my feet in there." (Nunca consegui encaixar meus pés lá.) – Trabalhe o som "feet" e a estrutura negativa "never could".

Guia Passo a Passo para Shadow Speak

O vídeo tem uma velocidade média e uma voz suave, ideal para iniciantes no shadowing. Siga esses passos:

Ouça uma frase por vez: Pause o vídeo após cada frase e repita imediatamente, copiando a entonação e o ritmo de Marilyn.
Foque na pronúncia: Pay attention to sons como "th" em "the" e "there", e tente igualar a forma como ela abre a boca para falar palavras como "shock".
Grave sua voz: Compare com a original e veja se você está acertando a duração das sílabas, como em "mental disturbances".
Aumente a velocidade: Depois de dominar frases curtas, tente repetir parágrafos inteiros sem pausar. Isso ajuda a melhorar a fluência.

Com prática diária, você verá que o shadow speak não é só sobre imitar, mas sobre entender a emoção por trás das palavras – e isso fará com que sua pronúncia em inglês fique mais natural e confiante!

Gramática neste vídeo

As estruturas que o falante mais usa, com as palavras exatas do vídeo:

Estrutura	No vídeo
“Used to” used to + verbo — um hábito ou estado do passado que não é mais verdade	used to have · used to get · used to take
Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz	was named · was born · was taken
Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa	one who comes · curled, which was · people who took

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 →