Практика Shadowing: C1 Advanced (CAE) Listening Test 1 with answers - Изучайте разговорный английский по видео

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Test 1 Part 1

You'll hear three different extracts.

For questions 1 to 6, choose the answer A, B or C, which fits best according to what you hear.

There are two questions for each extract.

Extract 1 You hear two people talking about public speaking.

Now look at questions one and two.

I dread the experience.

It's the anticipation that gets me once I start I'm usually okay

but beforehand I panic I think that my mind will go blank

and everyone will stare at me this happened once I was trying to speak

and listen to my own voice at the same time

but all I could hear was silence I seem to have forgotten how to speak

and I felt my face go red I fumbled for my notes

and simply read out the rest of the speech well fear of public speaking

or what is called pre -presentational anxiety is normal

if you think about it public speaking is not a natural

thing to do you don't want to humiliate yourself in front of people

but with preparation

and practice even the most stressed public speakers can conquer their fears

there are very few people who are quick intelligent

and extrovert enough to just get up and deliver something spontaneously

if you're giving a speech you must carefully plan what you're going to say

i find it also helps not to think of yourself the whole time once

you shift the focus onto the people

you are speaking to you feel the pressure lift now you will hear the recording again.

I dread the experience.

It's the anticipation that gets me.

Once I start, I'm usually okay, but beforehand I panic.

I think that my mind will go blank and everyone will stare at me.

This happened once.

I was trying to speak and listen to my own voice at the same time, but all I could hear was silence.

I seemed to have forgotten how to speak and I felt my face go red.

I fumbled for my notes and simply read out the rest of the speech.

Well, fear of public speaking, or what is called pre -presentational anxiety, is normal.

If you think about it, public speaking is not a natural thing to do.

You don't want to humiliate yourself in front of people.

But with preparation and practice, even the most stressed public speakers can conquer their fears.

There are very few people who are quick, intelligent and extrovert enough to just get up and deliver something spontaneously.

If you're giving a speech, you must carefully plan what you're going to say.

I find it also helps not to think of yourself the whole time.

Once you shift the focus onto the people you are speaking to, you feel the pressure lift.

Extract 2 you hear part of a radio program about the London Underground now look at questions 3 and 4

As part of a huge publicity drive in the 1920s and 1930s, London Transport launched a poster campaign to persuade people to move into the suburbs

and make use of the rapidly expanding underground network.

Tell us about that, Zoe.

Well, the posters were used to encourage people to live in

and enjoy the quiet and domestic life of the suburbs and travel into London for work and leisure.

They helped to shape people's perceptions and expectations of London

and what it meant to live there in a period of great change.

As well as persuading people to move out to the suburbs,

there was a drive for people to make use of the city at a time when the leisure industry was expanding.

What kind of things did these posters show?

Well, despite the fact that many women worked in the 1920s and 1930s, the posters depicted a domestic ideal,

with pictures of women playing with their children in the park and preparing meals for their husbands' return.

More and more people were becoming middle class,

and part of this ideal was that the husband would go to work and the wife would stay at home,

even though this was not the case for many families.

Now you will hear the recording again.

As part of a huge publicity drive in the 1920s and 1930s, London Transport launched a poster campaign to persuade people to move into the suburbs

and to make use of the rapidly expanding underground network.

Tell us about that, Zoe.

Well, the posters were used to encourage people to live in

and enjoy the quiet and domestic life of the suburbs and travel into London for work and leisure.

They helped to shape people's perceptions and expectations of London

and what it meant to live there in a period of great change.

As well as persuading people to move out to the suburbs,

there was a drive for people to make use of the city at a time when the leisure industry was expanding.

What kind of things did these posters show?

Well, despite the fact that many women worked in the 1920s and 1930s, the posters depicted a domestic ideal,

with pictures of women playing with their children in the park and preparing meals for their husband's return.

More and more people were becoming middle class,

and part of this ideal was that the husband would go to work and the wife would stay at home,

even though this was not the case for many families.

Extract 3.

You hear two people discussing the news media.

Now look at questions 5 and 6.

Of course, the cliché is, don't believe everything you read in the papers, and I guess there's some truth in that.

But in many ways, that's not backed up by the evidence.

Look at all the times when stories would never have come out if it hadn't been for the much maligned news media.

I don't know about that.

Personally, I'm always pretty sceptical when it comes to all these revelations.

I mean, look at medical stories.

It sometimes seems as if every day brings some new health scare.

You mustn't eat that, you should drink that, and most of these things you never hear about again.

I think it'd be really interesting to find out how many of these stories actually turn out to be true.

I reckon they just write these things to create a stir.

I mean, lots of them are in the entertainment industry, really, aren't they?

Don't let the facts get in the way of a good story is the joke in the trade, isn't it?

I think lots of them live by that.

I don't think that's really fair.

There are lots of investigative journalists who've done the public a great service by exposing things

they otherwise would never have known about.

Now you will hear the recording again.

Of course, the cliché is, don't believe everything you read in the papers.

And I guess there's some truth in that.

But in many ways, that's not backed up by the evidence.

Look at all the times when stories would never have come out if it hadn't been for the much -maligned news media.

I don't know about that.

Personally, I'm always pretty sceptical when it comes to all these revelations.

100

I mean, look at medical stories.

101

It sometimes seems as if every day brings some new health scare.

102

You mustn't eat that, you should drink that, and most of these things you never hear about again.

103

I think it'd be really interesting to find out how many of these stories actually turn out to be true.

104

I reckon they just write these things to create a stir.

105

I mean, lots of them are in the entertainment industry, really, aren't they?

106

Don't let the facts get in the way of a good story is the joke in the trade, isn't it?

107

I think lots of them live by that.

108

I don't think that's really fair.

109

There are lots of investigative journalists who've done the public a great service by exposing things

110

they otherwise would never have known about.

111

That is the end of part one.

112

Now turn to part two.

113

You'll hear part of a talk about the invention of the microwave oven.

114

For questions 7 to 14, complete the sentences with a word or short phrase.

115

You now have 45 seconds to look at part 2.

116

Thank you.

117

One day in spring 1945,

118

physics engineer Percy Spencer was walking past a switched -on piece of radar equipment when he felt something sticky in his pocket.

119

It turned out to be a chocolate peanut bar he had been saving for his coffee break.

120

Intrigued, he set out to discover why it had suddenly melted.

121

The equipment concerned was a magnetron tube, the heart of a radar set.

122

Radar had been invented by the British in World War II to detect enemy aircraft at night using short waves or microwaves.

123

But it wasn't until Spencer, an engineer at a small -time firm called Raytheon in Boston,

124

U .S., worked out a way of mass -producing the tubes that radar made a real difference in the war.

125

The day after the chocolate incident, Spencer sent a boy out to buy some popcorn.

126

He placed the kernels near the magnetron tube.

127

They immediately started popping round the lab.

128

His next experiment was with an egg, which he put inside a kettle.

129

Curious colleagues gathered round to watch it quaking.

130

One unlucky director bent down to take a closer look just at the moment the egg exploded.

131

Spencer came to realize that the microwaves were heating the food by agitating its water and fat molecules,

132

which meant that the inside cooked just as fast as the outside.

133

Raytheon engineers soon refined the idea.

134

The first microwave, 5 foot 6 inches tall and weighing 750 pounds,

135

was installed in a Boston restaurant for testing in 1946.

136

The first commercial microwave hit the market the following year.

137

It was named Radar Range, following a competition among Raytheon employees.

138

Spencer and his colleagues confidently expected a cooking revolution.

139

But the machine was primitive, enormous, and at $3 ,000, too expensive.

140

All too soon, chefs realized its main drawback.

141

Meat refused to brown, and food emerged limp and flabby.

142

The company chairman, Chef, quit in disgust

143

because he was told to use the radar range not until the 1960s

144

when the first countertop microwave was produced did sales at last

145

begin to take off the first model in 1967 was 100 volts

146

and cost just under $500 by 1975 sales of microwaves overtook gas cookers in the US

147

now nearly 90 % of households in Britain and the US use a microwave oven

148

Now you will hear part two again.

149

One day in spring 1945,

150

physics engineer Percy Spencer was walking past a switched -on piece of radar equipment when he felt something sticky in his pocket.

151

It turned out to be a chocolate peanut bar he had been saving for his coffee break.

152

Intrigued, he set out to discover why it had suddenly melted.

153

The equipment concerned was a magnetron tube, the heart of a radar set.

154

Radar had been invented by the British in World War II to detect enemy aircraft at night using short waves or microwaves.

155

But it wasn't until Spencer, an engineer at a small -time firm called Raytheon in Boston,

156

U .S., worked out a way of mass -producing the tubes that radar made a real difference in the war.

157

The day after the chocolate incident, Spencer sent a boy out to buy some popcorn.

158

He placed the kernels near the magnetron tube.

159

They immediately started popping round the lab.

160

His next experiment was with an egg, which he put inside a kettle.

161

curious colleagues gathered round to watch

162

it quaking one unlucky director bent down to take a closer look just at the moment the egg exploded

163

Spencer came to realize that the microwaves were heating the food by agitating its water

164

and fat molecules which meant that the inside cook just as fast as the outside Raytheon engineers soon refined the idea.

165

The first microwave, five foot six inches tall and weighing 750 pounds,

166

was installed in a Boston restaurant for testing in 1946.

167

The first commercial microwave hit the market the following year.

168

It was named Radar Range, following a competition among Raytheon employees.

169

Spencer and his colleagues confidently expected a cooking revolution.

170

But the machine was primitive, enormous, and at $3 ,000, too expensive.

171

All too soon, chefs realized its main drawback.

172

Meat refused to brown, and food emerged limp and flabby.

173

The company chairman, Chef, quit in disgust because he was told to use the radar range.

174

Not until the 1960s, when the first countertop microwave was produced, did sales at last begin to take off.

175

The first model in 1967 was 100 volts and cost just under $500.

176

By 1975, sales of microwaves overtook gas cookers in the U .S.

177

Now, nearly 90 % of households in Britain and the U .S use a microwave oven.

178

That is the end of part two.

179

Now turn to part three.

180

You'll hear a radio interview with someone who has been having ballet lessons.

181

For questions 15 to 20, choose the answer A, B,

182

C or D, which fits best according to what you hear.

183

You now have 70 seconds to look at part 3.

184

Thank you.

185

Thank you.

186

I'm talking to opera critic Rupert Christensen, who is in his forties and has recently started doing ballet classes.

187

It's a pretty unusual thing to do, isn't it?

188

Well, yes, but one consolation of growing old is that you cease to care what other people think of your views or activities.

189

So here I am, coming out on the radio as probably the only balding middle -aged man on the entire planet to take up ballet lessons.

190

Go on, Snigger.

191

I'm not laughing, I'm just interested.

192

Tell me, how did it all start?

193

Well, I have long been an infatuated ballet fan.

194

The way most men think about their football team, I think about the Royal Ballet Company.

195

They're my team, and I follow their every move with nerdy fascination.

196

recently i've become increasingly frustrated at my lack of technical knowledge um

197

but the thought of having a bash myself hadn't crossed my

198

mind since a schoolboy attempt at ballroom dancing culminated in disaster anyway many years after

199

that unfortunate event to stave off bodily decay

200

I discovered balance a wonderful physiotherapy gym in London where I began personal training with Hans et vet

201

and his colleagues Hans Nobly takes me through the necessary boring stuff,

202

weights, pull -ups, crunches, and his patience and good humour make it endurable and almost enjoyable.

203

So what led you from that to ballet lessons?

204

One day earlier this year, Hans mentioned a newcomer to the balance team and suggested I try him for some supplementary lessons.

205

His name is Julian Diaz, and he turns out to be a remarkable character.

206

A graduate of the Rambert Dance School, he ended up dancing professionally in Berlin and Amsterdam, before returning to England to set up as a trainer,

207

specialising in posture and the freeing up of body language.

208

He told me I should start doing ballet, and his disarming manner soon persuaded me to drop my inhibitions.

209

I was under no illusions about my abilities, but I wanted to find out about the art of ballet by trying it myself.

210

Isn't it a bit dangerous for someone of your age, if you don't mind me saying so?

211

Well, as Julian says, it's a superb form of exercise.

212

He'd like to see the whole world doing ballet.

213

It's only dangerous to muscles if you do it day in, day out at the very top level.

214

For almost anyone else, it's an injury preventative activity that tones and elongates every part of your body, from toes to fingers to head.

215

It's a training in balance, coordination and flexibility, which gets you to engage your body and brain at the same time.

216

It's fantastic for getting you to walk with a spring in your step, and it also cleanses the mind.

217

There's no way you can do a ballet class without concentrating 100 % on what you're doing.

218

So what do your lessons consist of?

219

The sessions last for 90 minutes.

220

We start with what are basically bending and stretching exercises.

221

Then we move on to the hopping, skipping and turning movements, finishing with some jumps in both the closed first and open second positions,

222

before cooling down with some excruciating but vital stretches.

223

This is basic stuff, but believe me, it isn't easy, and you have to take it slowly.

224

I'm not unfit, but I can't do more than a couple of minutes without gasping for rest.

225

and it's incredibly difficult to program it all into one's muscle memory.

226

You can't approximate, you have to get it right, and that involves focusing simultaneously on the correct angle of turnout, the complementary shaping of the arms,

227

a firm finish to any sequence of movements, and the fluent placing of the head, neck and shoulders.

228

Are you going to get really good at this?

229

What kind of progress are you hoping to make?

230

How much further can I get? well

231

i'm not expecting a call from my beloved royal ballet my

232

main aim is to find out something of what it feels like to dance from the inside already i find

233

that as a spectator my admiration for the professionals has sharpened

234

considerably julian has a potty notion of molding some of the movements i am painfully acquiring into a dance

235

and believes that most people of my age could reach a point at

236

which they could take the lower grades of Royal Academy of Dance exams.

237

And Hans has noticed that my work with Julian has resulted in improvements in my regular training.

238

He says that I'm moving better and walking taller with firmer core stability and more flexibility in my hips and back.

239

I wonder whether he's tempted to have a go himself.

240

So presumably you would recommend ballet lessons to anyone?

241

Now you will hear part three again.

242

Today I'm talking to opera critic Rupert Christensen, who is in his forties and has recently started doing ballet classes.

243

It's a pretty unusual thing to do, isn't it?

244

Well, yes, but one consolation of growing old is that you cease to care what other people think of your views or activities.

245

So here I am, coming out on the radio as probably the only balding middle -aged man on the entire planet to take up ballet lessons.

246

Go on, Snigger.

247

I'm not laughing, I'm just interested.

248

Tell me, how did it all start?

249

Well, I have long been an infatuated ballet fan.

250

The way most men think about their football team, I think about the Royal Ballet Company.

251

They're my team, and I follow their every move with nerdy fascination.

252

Recently, I've become increasingly frustrated at my lack of technical knowledge,

253

but the thought of having a bash myself hadn't crossed my mind since a schoolboy attempt at ballroom dancing culminated in disaster.

254

Anyway, many years after that unfortunate event, to stave off bodily decay, I discovered balance.

255

A wonderful physiotherapy gym in London, where I began personal training with Hans Eckvet and his colleagues.

256

Hans nobly takes me through the necessary boring stuff,

257

weights, pull -ups, crunches, and his patience and good humour make it endurable and almost enjoyable.

258

So what led you from that to ballet lessons?

259

One day earlier this year, Hans mentioned a newcomer to the balance team and suggested I try him for some supplementary lessons.

260

His name is Julian Diaz, and he turns out to be a remarkable character.

261

A graduate of the Rambert Dance School, he ended up dancing professionally in Berlin and Amsterdam before returning to England to set up as a trainer,

262

specialising in posture and the freeing up of body language.

263

He told me I should start doing ballet, and his disarming manner soon persuaded me to drop my inhibitions.

264

I was under no illusions about my abilities, but I wanted to find out about the art of ballet by trying it myself.

265

Isn't it a bit dangerous for someone of your age, if you don't mind me saying so?

266

Well, as Julian says, it's a superb form of exercise.

267

He'd like to see the whole world doing ballet.

268

It's only dangerous to muscles if you do it day in, day out at the very top level.

269

For almost anyone else, it's an injury -preventative activity that tones and elongates every part of your body, from toes to fingers to head.

270

It's a training in balance, coordination and flexibility, which gets you to engage your body and brain at the same time.

271

It's fantastic for getting you to walk with a spring in your step, and it also cleanses the mind.

272

There's no way you can do a ballet class without concentrating 100 % on what you're doing.

273

So what do your lessons consist of?

274

The sessions last for 90 minutes.

275

We start with what are basically bending and stretching exercises.

276

Then we move on to the hopping, skipping and turning movements, finishing with some jumps in both the closed first and open second positions,

277

before cooling down with some excruciating but vital stretches.

278

This is basic stuff, but believe me, it isn't easy, and you have to take it slowly.

279

I'm not unfit, but I can't do more than a couple of minutes without gasping for rest,

280

and it's incredibly difficult to program it all into one's muscle memory.

281

You can't approximate, you have to get it right, and that involves focusing simultaneously on the correct angle of turnout, the complementary shaping of the arms,

282

a firm finish to any sequence of movements, and the fluent placing of the head, neck and shoulders.

283

Are you going to get really good at this?

284

What kind of progress are you hoping to make?

285

How much further can I get?

286

Well, I'm not expecting a call from my beloved Royal Ballet.

287

my main aim is to find out something of what it feels like to dance from the inside

288

already i find that as a spectator my admiration for the professionals has sharpened considerably

289

julian has a potty notion of molding some of the movements i am painfully acquiring into a dance

290

and believes that most people of my age could reach a point at

291

which they could take the lower grades of Royal Academy of Dance exams.

292

And Hans has noticed that my work with Julian has resulted in improvements in my regular training.

293

He says that I'm moving better and walking taller with firmer core stability and more flexibility in my hips and back.

294

I wonder whether he's tempted to have a go himself.

295

So presumably you would recommend ballet lessons to anyone...

296

That is the end of part three.

297

Turn to part four.

298

Part four consists of two tasks.

299

You will hear five short extracts in which people are talking about people they know.

300

Look at task one.

301

For questions 21 to 25,

302

choose from the list A to H the description each speaker gives of the person.

303

Now look at task 2.

304

For questions 26 to 30, choose from the list A to H the feeling each speaker expresses about the person.

305

While you listen, you must complete both tasks.

306

You now have 45 seconds to look at part 4.

307

Speaker 1 I know people say he thinks a lot of himself, and, well, they've got a point.

308

He certainly isn't what you'd call modest.

309

He'll be the first one to tell you how brilliant he is, and how hard he's worked, and you certainly couldn't accuse him of lacking confidence.

310

Quite frankly, a lot of people think he's an absolute pain and steer clear of him, because he's always going on about himself.

311

Anything you've done, he can top it.

312

But the fact is, I know another side of him, the kind side that means he'll do anything for a friend.

313

And he's done me a lot of big favours, so I stand by him.

314

When other people have a go at him, I always defend him.

315

She's certainly had a lot of knocks in her life, but she keeps bouncing back.

316

She's definitely what you'd call resilient, and all these terrible things that have happened,

317

she just seems to take them in her stride and hardly talks about them.

318

I wish I could be like that.

319

I always seem to cave in at the slightest hint of trouble.

320

I don't seem to be able to just get on with life when something goes wrong.

321

But she's got this incredible strength that keeps her going.

322

It must be great to be like that.

323

She doesn't want anyone feeling pity for her.

324

She hates that and she doesn't need it.

325

Speaker 3 You never know what's going to happen with him because he's never the same.

326

One time you're with him he's cheerful and sociable, the next time he sits quietly in the corner and doesn't want to speak to anyone.

327

Some people find that very hard to handle and he often loses friends because of it.

328

I think that might well happen with me because, to be honest, it gets on my nerves.

329

You want your friends to be basically the same most of the time, not always up and down like he is.

330

I know it's not the nicest thing to say, but sometimes I just want to yell at him.

331

Speaker 4 He's one of those people who's always finding fault with things.

332

Nothing's ever good enough for him.

333

There's always something wrong.

334

He likes nothing better than to moan.

335

And my goodness, can he moan.

336

You've never heard anything like him when he gets going.

337

People wonder why I spend so much time with him, considering that he's always like that.

338

But the fact is, I find it hilarious.

339

Once he gets going, it's as much as I can do to keep a straight face.

340

And believe it or not, he sees the funny side sometimes.

341

He's not as serious about everything as most people think he is.

342

Speaker 5 You never know whether you can take what he tells you at face value or not, because he makes a lot of it up.

343

He'll tell you he's doing one thing, when in fact he's doing another, and he tells different people different things.

344

I sometimes wonder if he can remember all the different versions he's given.

345

He's always up to something, covering up something he shouldn't have done, or coming up with some cunning plan.

346

To be honest, I feel sorry for him.

347

It must be terrible to spend your whole life pretending.

348

He must be very unhappy at heart, and I wouldn't wish that on anyone.

349

Now you will hear part four again.

350

Speaker one.

351

I know people say he thinks a lot of himself, and, well, they've got a point.

352

He certainly isn't what you'd call modest.

353

He'll be the first one to tell you how brilliant he is, and how hard he's worked, and you certainly couldn't accuse him of lacking confidence.

354

Quite frankly, a lot of people think he's an absolute pain and steer clear of him, because he's always going on about himself.

355

Anything you've done, he can top it.

356

But the fact is...

357

I know another side of him, the kind side that means he'll do anything for a friend.

358

And he's done me a lot of big favours, so I stand by him.

359

When other people have a go at him, I always defend him.

360

She's certainly had a lot of knocks in her life, but she keeps bouncing back.

361

She's definitely what you'd call resilient, and all these terrible things that have happened.

362

She just seems to take them in her stride and hardly talks about them.

363

I wish I could be like that.

364

I always seem to cave in at the slightest hint of trouble.

365

I don't seem to be able to just get on with life when something goes wrong.

366

But she's got this incredible strength that keeps her going.

367

It must be great to be like that.

368

She doesn't want anyone feeling pity for her.

369

She hates that and she doesn't need it.

370

Speaker 3 You never know what's going to happen with him because he's never the same.

371

One time you're with him he's cheerful and sociable, the next time he sits quietly in the corner and doesn't want to speak to anyone.

372

Some people find that very hard to handle and he often loses friends because of it.

373

I think that might well happen with me because, to be honest, it gets on my nerves.

374

You want your friends to be basically the same most of the time, not always up and down like he is.

375

I know it's not the nicest thing to say, but sometimes I just want to yell at him.

376

He's one of those people who's always finding fault with things.

377

Nothing's ever good enough for him.

378

There's always something wrong.

379

He likes nothing better than to moan, and my goodness, can he moan.

380

You've never heard anything like him when he gets going.

381

People wonder why I spend so much time with him considering that he's always like that, but the fact is, I find it hilarious.

382

Once he gets going, it's as much as I can do to keep a straight face.

383

And believe it or not, he sees the funny side sometimes.

384

He's not as serious about everything as most people think he is.

385

Speaker 5

386

I feel sorry for him.

387

It must be terrible to spend your whole life pretending.

388

He must be very unhappy at heart, and I wouldn't wish that on anyone.

389

Thank you.

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Этот урок разговорной практики построен на видео «C1 Advanced (CAE) Listening Test 1 with answers». В этом видео 389 предложений и 4949 слов для шедоуинга. Речь длится 38:19. Говорящий держит ровный темп — около 129 слов в минуту, удобный для шедоуинга. Только 81% слов входят в 3000 самых частых слов английского языка, поэтому лексика сложная.

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15 слов из видео, которые стоит выучить, с произношением и значением:

Слово	Произношение	Значение
ballet существительное	/bælˈeɪ/	бале́т
microwave существительное	/ˈmaɪkɹoʊˌweɪv/	микроволна́
radar существительное	/ˈɹeɪˌdɑɹ/	рада́р, радиолока́тор
lesson существительное	/ˈlɛs.ən/	уро́к, ле́кция
poster существительное	/ˈpoʊstɚ/	по́стер, афи́ша
tube существительное	/tuːb/	тю́бик
colleague существительное	/ˈkɒliːɡ/	колле́га, сослужи́вец
ideal прилагательное	/aɪˈdi(ə)l/	идеа́льный
muscle существительное	/ˈmʌs.əl/	мы́шца, му́скул
expand глагол	/ɪkˈspænd/	растя́гивать, расширя́ть
stretch глагол	/stɹɛt͡ʃ/	вытя́гивать, вы́тянуть
bend глагол	/bɛnd/	сгиба́ть, изгиба́ть
extract существительное	/ˈɛkstɹækt/	экстра́кт, извлече́ние
flexibility существительное	/ˌflɛksɪˈbɪlɪti/	ги́бкость
leisure существительное	/ˈlɛʒə(ɹ)/	досу́г

Фразовые глаголы, которые вы услышите

Слово	Произношение	Значение
find out глагол		узнава́ть, узна́ть
back up глагол		дава́ть за́дний ход
come out глагол	/ˌkʌm ˈaʊt/	выходи́ть, вы́йти
end up глагол		зака́нчиваться, зако́нчиться
get on with глагол		приступа́ть, продолжа́ть
get up глагол		поднима́ться, подня́ться
set up глагол	/ˌsɛt ˈʌp/	устана́вливать, установи́ть
take off глагол		снима́ть, снять

Фразы, которые стоит повторять

Короткие законченные фразы из видео, которые пригодятся в повседневном разговоре:

You'll hear three different extracts.
Tell me, how did it all start?
Are you going to get really good at this?
What kind of progress are you hoping to make?
How much further can I get?

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	who've done · i've become · has sharpened
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is called · had been invented · was installed
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	people who are · someone who has

Произношение, на которое стоит обратить внимание

Говорящий использует 101 сокращённых и редуцированных форм, например I'm, don't, isn't. Произносите их коротко, так, как слышите.

Звуки «sh» и «zh»: leisure /ˈlɛʒə(ɹ)/, unusual /ʌnˈjuːʒ(u)əl/, preparation /ˌpɹɛpəˈɹeɪʃ(ə)n/, chef /ʃɛf/, patience /ˈpeɪ̯.ʃəns/
Длинные слова — следите за ударением: flexibility /ˌflɛksɪˈbɪlɪti/, anxiety /æŋˈzaɪ.əti/, unusual /ʌnˈjuːʒ(u)əl/, experiment /ɪkˈspɛɹ.ə.mənt/, incredibly /ɪŋˈkɹɛdɪbli/

Звуки, трудные для русскоязычных:

/w/ — губы округлены, это не /v/: microwave /ˈmaɪkɹoʊˌweɪv/, persuade /pə(ɹ)ˈsweɪd/, sequence /ˈsiː.kwəns/, quietly /ˈkwaɪ.ɪt.li/, acquire /əˈkwaɪɚ/
/h/ — лёгкий выдох, а не русское «х»: household /ˈhaʊshoʊld/, hip /hɪp/, hilarious /hɪˈlɛə.ɹi.əs/, hint /hɪnt/, unhappy /ʌnˈhæpi/
Звонкие согласные в конце слова — не оглушайте их: microwave /ˈmaɪkɹoʊˌweɪv/, tube /tuːb/, colleague /ˈkɒliːɡ/, suburbs /ˈsʌbɝbz/, expand /ɪkˈspænd/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Повторяйте предложение за предложением на обычной скорости, пока ваш ритм не совпадёт с ритмом говорящего.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как ballet, microwave, radar.

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

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Лексика и советы по произношению к этому уроку

Ключевая лексика этого видео

Фразовые глаголы, которые вы услышите

Фразы, которые стоит повторять

Грамматика в этом видео

Произношение, на которое стоит обратить внимание

Как заниматься с этим видео

Что такое техника Shadowing?