Практика Shadowing: C2 Proficiency CPE Listening Part 1,2,3 -T25 with answer - Изучайте разговорный английский по видео

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Now open your question paper and look at part 1.

You will 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

The latest wave of worry started in the 1960s, and there's been a proliferation of societies for the preservation of pure English ever since.

And you know, when all else fails, when they've got nowhere with teachers and public figures and so on, these people would write to us.

And I drew the short straw of having to deal with all those letters complaining about the language.

These range from those drawing our attention to our own piddling misprints,

to those vilifying the general use of vogue words such as ongoing or scenario or whatever in the media,

and those cataloguing the alleged mispronunciation of newsreaders.

this latter being a real obsession with some of the most persistent correspondence.

The latest wave of worry started in the 1960s, and there's been a proliferation of societies for the preservation of pure English ever since.

And, you know, when all else fails, when they've got nowhere with teachers and public figures and so on, these people would write to us.

And I drew the short straw of having to deal with all those letters complaining about the language.

These range from those drawing our attention to our own piddling misprints,

to those vilifying the general use of vogue words such as ongoing or scenario or whatever in the media,

and those cataloguing the alleged mispronunciation of newsreaders, this latter being a real obsession with some of the most persistent correspondence.

Extract 2

Thank you.

about the immediacy of being on stage with an audience that's ten metres away from you, as opposed to the distance in an ice arena.

And I've been fortunate enough not only to have skated on a theatrical stage and have the audience there,

but also to have danced in some of the great shows, Cats, Rocky Horror...

But when you dance, don't you miss the skates terribly?

I don't miss the skates, but in rehearsals it did take some getting used to.

In ice skating, you take a few steps and you've You've travelled 20 metres at high speed.

I was 10-pin bowling with the rest of the cast.

I was making my steps and banging into other people.

Then I realised you can do all this great choreography and move nowhere.

So, you're finished with competitive skating, and you're going to carry on choreographing ice shows.

What else?

Well, I'm only 42, full of energy.

And I hear you've taken to the boards.

I love the stage.

There's something about the immediacy of being on stage with an audience that's ten metres away from you, as opposed to the distance in an ice arena.

And I've been fortunate enough not only to have skated on a theatrical stage and have the audience there, but also to have danced in some of the great shows, Cats, Rocky Horror.

But when you dance, don't you miss the skates terribly?

I don't miss the skates, but in rehearsals it did take some getting used to.

In ice skating you take a few steps and you've travelled 20 metres at high speed.

I was ten-pin bowling with the rest of the cast.

I was making my steps and banging into other people.

Then I realised you can do all this great choreography and move nowhere.

Extract 3

The film was rather limp and morose, a rather low-powered film, and unfortunately not a very good adaptation of the novel.

I think part of the problem is that this particular novelist is not a very filmic writer on many occasions.

Most of the pleasures one gets from reading him are pleasures of language.

He's very playful.

He's very witty with language.

But the message goes straight from the eye to the brain.

You don't need pretty pictures to intervene.

So, wisely, on the one hand, the filmmakers have skipped a lot of the verbal playfulness, but what they're left with is a rather pedestrian story, firmly set in the 70s,

examining the issue of conformity, and it all seems to have lost its relevance.

The other thing which is lost in the translation is that the heroes, Chris and Tony, are very clever boys.

They're very bright and witty.

But in the film, Chris is a rather pedestrian character.

Tony, who in the book is a rather exotic character, whose sense of otherness Chris wants to emulate, just comes across as a bit of a thug and totally unappealing.

I thought the film was rather limp and morose, a rather low-powered film, and unfortunately not a very good adaptation of the novel.

I think part of the problem is that this particular novelist is not a very filmic writer on many occasions.

Most of the pleasures one gets from reading him are pleasures of language.

He's very playful, he's very witty with language, but the message goes straight from the eye to the brain.

You don't need pretty pictures to intervene.

So, wisely, on the one hand, the filmmakers have skipped a lot of the verbal playfulness, but what they're left with is a rather pedestrian story, firmly set in the 70s,

examining the issue of conformity, and it all seems to have lost its relevance.

The other thing which is lost in the translation is that the heroes, Chris and Tony, are very clever boys, they're very bright and witty.

But in the film, Chris is a rather pedestrian character.

Tony, who in the book is a rather exotic character, whose sense of otherness Chris wants to emulate, just comes across as a bit of a thug and totally unappealing.

That is the end of part one.

Now turn to part two.

You'll hear a talk given by a naturalist who's interested in a type of insect called the damselfly.

For questions 7 to 15, complete the sentences with a word or short phrase.

You now have 45 seconds in which to look at part 2.

Thank you.

Good evening.

Now, you may think that looking into the murky depths of a muddy pond doesn't sound much like fun, but I have many happy childhood memories of doing just

that as I went hunting for the insects that have always fascinated me.

For it is in surroundings like these

that you can find one of the fastest and oldest species of insect in the world,

the dragonfly, and its elusive but beautiful smaller cousin, the damselfly.

The speed of these insects is estimated to vary from 35 to 60 miles per hour,

and fossilised remains show them to have been in existence 300 million years ago.

But apart from that, relatively little is known about these creatures, particularly the damselfly, the abundance and distribution of which in Britain can only be guessed at.

What is known is that changes to the rural landscape have been affecting the population of these charming creatures over recent decades.

Developments such as land drainage and the filling in of ponds have certainly taken their toll, but exactly how much is difficult to assess.

And this is where you come in, because conservation organisations desperately need your help in locating the remaining damselfly habitats.

So, how do you go about this?

Well, first of all, when you make what you think is a sighting of a damselfly, it is necessary to make a positive identification.

The insect is similar to its close relation, the dragonfly, but differs in several respects.

Firstly, the dragonfly has a rapid, strong flight, while its damsel cousin is delicate, with frail wings, and is therefore relatively weak in flight.

Secondly, you should try to observe the insect when it is at rest.

When the dragonfly is not flying, its wings are held out at right angles to its body.

This is in direct contrast to the damselfly, which holds its wings over its body, so that they are touching each other, rather like a butterfly.

I would like to emphasise that this is a stronger distinguishing feature than, say, the eyes or body.

As regards colouring, damselflies can be blue, red, or green, but these are not ordinary colours.

There's nothing muted about them.

They're vivid, and they sparkle in the sunlight like jewels, as the insects dart about from place to place.

And some of them have names that reflect this.

The emerald damselfly and the azure damselfly, both of which may be spotted locally.

It is, however, the more prosaically named blue-tailed damselfly that is actually the most frequently sighted in the region.

Whilst others you might see include the common blue damselfly, which is not as common as its name suggests, and the large red damselfly,

100

which is thought almost to have died out locally.

101

And so, if you should get a sighting of that one, we'd certainly be interested in hearing about it.

102

Now, where and when to look for them?

103

Well, not surprisingly, the summer months are best, from May onwards, but not much after August.

104

It is a relatively short season, and you need to be looking in areas where there is water.

105

Although you may find them in gardens, especially near slow-moving streams, damselflies really thrive in the vegetation that's found in and around still water.

106

It's here that they find the smaller, flying insects which are their prey, and it's also here that they lay their eggs below the surface of the water.

107

In terms of the best time of day, avoid the afternoon and evenings, because these insects are definitely early risers.

108

The ideal time to catch up with them is soon after dawn.

109

And so please, if you see damselflies, and if you find them as captivating as I do, then please don't just walk away and forget them.

110

The Conservation Trust is keen to produce a survey of the remaining sites that provide a habitat,

111

and so put pressure on the authorities to preserve them for future generations.

112

So do let them know what you see and where you see it.

113

Now you'll hear part two again.

114

Good evening.

115

Now, you may think that looking into the murky depths of a muddy pond doesn't sound much like fun,

116

but I have many happy childhood memories of doing just

117

that as I went hunting for the insects that have always fascinated me.

118

For it is in surroundings like these

119

that you can find one of the fastest and oldest species of insect in the world,

120

the dragonfly, and its elusive but beautiful smaller cousin, the damselfly.

121

The speed of these insects is estimated to vary from 35 to 60 miles per hour,

122

and fossilised remains show them to have been in existence 300 million years ago.

123

But apart from that, relatively little is known about these creatures, particularly the damselfly, the abundance and distribution of which in Britain can only be guessed at.

124

What is known is that changes to the rural landscape have been affecting the population of these charming creatures over recent decades.

125

Developments such as land drainage and the filling in of ponds have certainly taken their toll, but exactly how much is difficult to assess.

126

And this is where you come in, because conservation organisations desperately need your help in locating the remaining damselfly habitats.

127

So, how do you go about this?

128

Well, first of all, when you make what you think is a sighting of a damselfly, it is necessary to make a positive identification.

129

The insect is similar to its close relation, the dragonfly, but differs in several respects.

130

Firstly, the dragonfly has a rapid, strong flight, while its damsel cousin is delicate, with frail wings, and is therefore relatively weak in flight.

131

Secondly, you should try to observe the insect when it is at rest.

132

When the dragonfly is not flying, its wings are held out at right angles to its body.

133

This is in direct contrast to the damselfly, which holds its wings over its body, so that they are touching each other, rather like a butterfly.

134

I would like to emphasise that this is a stronger distinguishing feature than, say, the eyes or body.

135

As regards colouring, damselflies can be blue, red or green, but these are not ordinary colours.

136

There's nothing muted about them.

137

They're vivid, and they sparkle in the sunlight like jewels, as the insects dart about from place to place.

138

and some of them have names that reflect this

139

the emerald damselfly and the azure damselfly both of which may be spotted locally

140

it is however the more prosaically named blue-tailed damselfly that is actually the most frequently sighted in the region

141

whilst others you might see include the common blue damselfly

142

which is not as common as its name suggests

143

and the large red damselfly which is thought almost to have died out locally And so, if you should get a sighting of that one,

144

we'd certainly be interested in hearing about it.

145

Now, where and when to look for them?

146

Well, not surprisingly, the summer months are best, from May onwards, but not much after August.

147

It is a relatively short season.

148

And you need to be looking in areas where there is water.

149

Although you may find them in gardens,

150

especially near slow-moving streams, damselflies really thrive in the vegetation that's found in and around still water.

151

It's here that they find the smaller flying insects which are their prey, and it's also here that they lay their eggs below the surface of the water.

152

In terms of the best time of day, avoid the afternoon and evenings because these insects are definitely early risers.

153

The ideal time to catch up with them is soon after dawn.

154

And so please, if you see damselflies and if you find them as captivating as I do, then please don't just walk away and forget them.

155

The Conservation Trust is keen to produce a survey of the remaining sites that provide a habitat,

156

and so put pressure on the authorities to preserve them for future generations.

157

So do let them know what you see and where you see it.

158

That's the end of part two.

159

Now turn to part three.

160

You'll hear a radio interview with the artist Madeline Nol.

161

For questions sixteen to twenty, choose the answer A, B, C or D, which fits best, according to what you hear.

162

You now have one minute in which to look at part three.

163

Thank you.

164

Thank you.

165

Her paintings reflect the peaceful nature of country life.

166

A vase of pansies or roses, a few buttercups or some bluebells.

167

A new book, The Art of Madeline Knowles, has been published this week to coincide with her 75th birthday, and she currently has exhibitions in London and Cardiff.

168

Madeline, why do you usually paint very peaceful subjects rather than the harsher realities of life?

169

Well, I think the thing about plants, actually, is that they're quite wonderful.

170

They're absolutely adapted to survival, and I think that what we see as grace and beauty is actually strength.

171

When I'm painting flowers, I'm looking for their inner strength and wanting to show it.

172

It isn't for me done in order to be peaceful.

173

It's done in order to discover that something inside which keeps them going.

174

But is art then just to please the eye and calm the nerves?

175

Because that's how we respond to it, isn't it?

176

I think mankind has always needed art for magic, for celebration, for embellishment, and artists,

177

meanwhile, have been trying to produce some sort of sense out of this funny old world in which we exist.

178

And I think artists today, well, we're still trying to find that order and show it to people when we paint.

179

So you don't approve of what's called the modern movement?

180

I think my kind of painting is part of the modern movement, but it's a description that gets overused and often in a misleading fashion.

181

For example, those artists at the so-called cutting edge are only one very small part of it, which gets a lot of attention in the media and elsewhere.

182

Now, you began as a designer of textiles rather than a painter.

183

Why did you change?

184

Was it very important to you to paint?

185

Well, I jumped into it, really.

186

I hadn't sought the change at all.

187

I was teaching drawing at the time, as well as doing my own design work.

188

And I was suddenly asked for some reason, staff shortages or something, to do the painting classes with the students as well.

189

so it made me shift.

190

I had to get a box of paints and go out and paint myself in order to feel prepared.

191

And, of course, I found it such a, I don't know, almost sort of an enormous relief that I haven't looked back since.

192

And these days you teach just the one rather famous person, I believe.

193

What was it in your work that appealed particularly to Andy Benson, the rock star?

194

Well, I think he saw a little painting of mine in an exhibition.

195

It had a pathway running up to a village, I think, but it was the image that caused his attention, because when I got to his house,

196

I was early, and so I was waiting in the sitting room for a quarter of an hour or so,

197

and I looked out of the window and saw that he was outside creating a path with stones,

198

and it struck me that it must have been that image which had appealed to him.

199

I understand that on seeing my picture he'd said, oh, I'd like my garden painted like that.

200

And initially that's what you were invited to do, of course.

201

That's right.

202

But then later he did ask me for advice about his own paintings.

203

Which you gave?

204

Oh, yes.

205

We had to go through them because he was working for an exhibition the following year.

206

And your advice was?

207

Oh, it was the usual art school advice about big shapes and little shapes.

208

Quite a formal discussion.

209

It wasn't about how he felt about the landscapes that he was doing.

210

That's for him.

211

Why, treat him just like an art school student, really.

212

Madeleine Knowles, thank you very much for joining me today.

213

Thank you.

214

Now you'll hear part three again.

215

Her paintings reflect the peaceful nature of country life.

216

A vase of pansies or roses, a few buttercups or some bluebells.

217

A new book, The Art of Madeline Knowles, has been published this week to coincide with her 75th birthday, and she currently has exhibitions in London and Cardiff.

218

Madeline, why do you usually paint very peaceful subjects rather than the harsher realities of life?

219

Well, I think the thing about plants, actually, is that they're quite wonderful.

220

They're absolutely adapted to survival, and I think that what we see as grace and beauty is actually strength.

221

When I'm painting flowers, I'm looking for their inner strength and wanting to show it.

222

It isn't for me done in order to be peaceful.

223

It's done in order to discover that something inside which keeps them going.

224

But is art then just to please the eye and calm the nerves?

225

Because that's how we respond to it, isn't it?

226

I think mankind has always needed art for magic, for celebration, for embellishment.

227

And artists, meanwhile, have been trying to produce some sort of sense out of this funny old world in which we exist.

228

And I think artists today, well, we're still trying to find that order and show it to people when we paint.

229

So you don't approve of what's called the modern movement?

230

I think my kind of painting is part of the modern movement, but it's a description that gets overused and often in a misleading fashion.

231

For example, those artists at the so-called cutting edge are only one very small part of it, which gets a lot of attention in the media and elsewhere.

232

Now, you began as a designer of textiles rather than a painter.

233

Why did you change?

234

Was it very important to you to paint?

235

Well, I jumped into it, really.

236

I hadn't sought the change at all.

237

I was teaching drawing at the time, as well as doing my own design work.

238

And I was suddenly asked for some reason, staff shortages or something, to do the painting classes with the students as well.

239

So it made me shift.

240

I had to get a box of paints and go out and paint myself in order to feel prepared.

241

And, of course, I found it such a, well, I don't know, almost sort of an enormous relief that I haven't looked back since.

242

And these days you teach just the one rather famous person, I believe.

243

What was it in your work that appealed particularly to Andy Benson, the rock star?

244

Well, I think he saw a little painting of mine in an exhibition.

245

It had a pathway running up to a village, I think, but it was the image that caught his attention, because when I got to his house,

246

I was early, and so I was waiting in the sitting room for a quarter of an hour or so,

247

and I looked out of the window and saw that he was outside creating a path with stones,

248

and it struck me that it must have been that image which had appealed to him.

249

I understand that on seeing my picture he'd said, oh, I'd like my garden painted like that.

250

And initially that's what you were invited to do, of course.

251

That's right.

252

But then later he did ask me for advice about his own paintings.

253

Which you gave?

254

Oh, yes.

255

We had to go through them because he was working for an exhibition the following year.

256

And your advice was?

257

Oh, it was the usual art school advice about big shapes and little shapes.

258

Quite a formal discussion.

259

It wasn't about how he felt about the landscapes that he was doing.

260

That's for him.

261

Why, treat him just like an art school student, really.

262

Madeline Knowles, thank you very much for joining me today.

263

Thank you.

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Лексика и советы по произношению к этому уроку

Этот урок разговорной практики уровня C2 построен на видео «C2 Proficiency CPE Listening Part 1,2,3 -T25 with answer». В этом видео 263 предложений и 3727 слов для шедоуинга. Речь длится 25:36. Говорящий держит ровный темп — около 146 слов в минуту, удобный для шедоуинга. Только 81% слов входят в 3000 самых частых слов английского языка, поэтому лексика сложная.

Ключевая лексика этого видео

Самые сложные слова из видео (15), с произношением и значением:

Слово	Произношение	Значение
damselfly существительное	/ˈdæmzəlflaɪ/	стрекоза́
insect существительное	/ˈɪn.sɛkt/	насеко́мое, бука́шка
skate существительное	/skeɪt/	конёк
dragonfly существительное	/ˈdɹæɡənˌflaɪ/	стрекоза́
witty прилагательное	/ˈwɪti/	остроу́мный
pedestrian существительное	/pəˈdɛstɹiən/	пешехо́д, пешехо́дка
metre существительное	/ˈmiːtəɹ/	метр
pond существительное	/pɑnd/	пруд, водоём
extract существительное	/ˈɛkstɹækt/	экстра́кт, извлече́ние
allege глагол	/əˈlɛd͡ʒ/	заявля́ть под присягой
azure существительное	/ˈæʒɚ/	лазу́рь, лазу́рный
buttercup существительное	/ˈbʌt.ɚ.kʌp/	лю́тик
captivate глагол	/ˈkæptəˌveɪt/	очаро́вывать, очарова́ть
choreography существительное	/ˌkɔɹiˈɑɡɹəfi/	хореогра́фия
coincide глагол	/ˌkoʊɪnˈsaɪd/	совпада́ть, совпа́сть

Фразовые глаголы, которые вы услышите

Слово	Значение
die out глагол	вымира́ть, вы́мереть
go out глагол	выходи́ть, вы́йти
look back глагол	огля́дываться, огляну́ться

Фразы, которые стоит повторять

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

You don't need pretty pictures to intervene.
Because that's how we respond to it, isn't it?
Why did you change?
Was it very important to you to paint?
I hadn't sought the change at all.

Грамматика в этом видео

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

Конструкция	В видео
Present Perfect Continuous have/has been + -ing — действие началось раньше и продолжается	have been affecting · have been trying
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	there's been · I've been · You've travelled
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is lost · is estimated · is known
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	thing which is · insects which are

Произношение, на которое стоит обратить внимание

Говорящий использует 61 сокращённых и редуцированных форм, например don't, they're, I'm. Произносите их коротко, так, как слышите.

Звуки «th»: thug /θʌɡ/, theatrical /θiˈætɹɪkəl/, thrive /θɹajv/, pathway /ˈpæθˌweɪ/
Звуки «sh» и «zh»: azure /ˈæʒɚ/, embellishment /ɪmˈbɛlɪʃmənt/, mispronunciation /mɪspɹəˌnʌn.siˈeɪ.ʃən/, proliferation /pɹəˌlɪf.əˈɹeɪ.ʃən/, vegetation /ˌvɛd͡ʒəˈteɪʃən/
Длинные слова — следите за ударением: choreography /ˌkɔɹiˈɑɡɹəfi/, conformity /kənˈfɔːmɪti/, embellishment /ɪmˈbɛlɪʃmənt/, immediacy /ɪˈmiːdi.əsi/, mispronunciation /mɪspɹəˌnʌn.siˈeɪ.ʃən/

Звуки, трудные для русскоязычных:

/w/ — губы округлены, это не /v/: witty /ˈwɪti/, onward /ˈɒnwəd/, wisely /ˈwaɪzli/, pathway /ˈpæθˌweɪ/, distinguish /dɪˈstɪŋ.ɡwɪʃ/
/h/ — лёгкий выдох, а не русское «х»: habitat /ˈhæb.ɪ.tæt/, rehearsal /ɹɪˈhɝsl̩/
Звонкие согласные в конце слова — не оглушайте их: pond /pɑnd/, allege /əˈlɛd͡ʒ/, coincide /ˌkoʊɪnˈsaɪd/, elusive /ɪˈl(j)u.sɪv/, mislead /mɪsˈliːd/

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 damselfly, insect, skate.

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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Что такое техника Shadowing?