ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Bernardo Bertolucci interview (1994)
กำลังสร้างบทเรียน...
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In 1973, Bernardo Bertolucci turned the cinematic world upside down with the premiere of Last Tango in Paris.
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The New Yorker's Pauline Kael said the then 32 -year -old director had, quote, quote, altered the face of an art form.
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But Bertolucci would spend the next 14 years largely unappreciated by the critics and audiences.
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Then, in 1987, he made the epic Last Emperor, which won nine Oscars, including Best Picture and Best Director.
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Bertolucci next went to the Sahara to film The Sheltering Sky.
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Then, for his new $30 million epic Little Buddha, Bernardo Bertolucci spent over two years with Buddhist lamas filming in Nepal and Kathmandu.
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Today's New York Times calls Little Buddha A Dazzling Mixture of Buddhist Thought and Cinematic Fireworks.
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It opens today, and we're pleased to have the director here with us.
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Welcome.
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Do you see this as a kind of trilogy for you, as people are talking about some people looking for nice little ways to wrap it up,
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view this coming after The Emperor
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and Children's Sky as sort of the trilogy about your own journey into Eastern religions and into Asian thought?
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When I did The Last Temple, I didn't know that that was the first part of the trilogy.
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But, you know, it was the beginning of the 80s.
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I had a great trouble to do movies in Italy because even if it was a moment of great economic boom,
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in Italy there was such a smell of corruption and everything which goes with corruption,
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which is especially cynicism, which I didn't feel inspired so I said I want to go as far as possible.
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In fact, a year ago when this trial started in Italy called Clean Hand, you know, the judge in Milan,
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so I thought maybe I wasn't so wrong about the state of my country.
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So I went as far as possible.
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I went to China and it was the first experience in the East and every completely, how can I say, victim of a kind of oriental temptation.
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Well, tell me what you mean.
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That to be able to see China not yet involved with consumerism as it was in 84
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when I went for the first time.
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I think now it's completely different.
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Less consumerism?
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Oh, yes.
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You're talking about China or are you talking about Tibet or everywhere?
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I'm talking about China in 84.
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Now, today, there is an incredible boom also there.
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But that was the eternal China, the one I met.
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And then today, of course, I mean, Little Buddha is shot in Nepal and Bhutan.
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Anyway, I felt like going, looking for something different.
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And I found it, I think.
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But what did you find?
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Many things.
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It's difficult to resume and to synthesize the experience of discovering the East.
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For me, I mean, somebody else knows this, but for me it was a great discovery.
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For example, I think Little Buddha is a bit the synthesis of things that I understood and I learned, especially with the last temple in the Chinese experience.
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For example, how they refer to individuals.
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How we refer to individuals in the West and how they think the individual is in the East.
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here we have to come out from the masses we have to have a bigger name in the credits
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and all this
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and there is a kind of great I mean we are
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able to develop our egos like big monuments in the East
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in China especially I've seen people being very happy in a
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kind of collective harmony to make to give an example
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while I was visiting the Forbidden City at the beginning of
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the pre -production of the last emperor with the Chinese guys
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I was asking all the time who has done this who is the architect of this beautiful pavilion
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or the sculpture of this
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sculpture this turtle or this fresco the painters
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and with a smile the Chinese were saying Ming Dynasty 1230
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the 16th Qing Dynasty no names no names of artists it
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was a fantastic lesson in Buddhism they talk a lot about the ego And for Buddhists,
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the ego is one of the major enemies within us.
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Have you become Buddhist?
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Oh, no. I mean, I'm a...
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I know you have enormous curiosity about it, but you spent time with the Dalai Lama.
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Yeah, of course.
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I went to see the Dalai Lama at the beginning of this project, the very beginning.
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In preparing for this film.
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Yes.
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I wanted to tell him that there was the danger that a non -Buddhist like me...
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He was preparing a movie about Buddhism.
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And with this resistible Tibetan smile, the Dalai Lama said, go ahead.
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You will have all the needed detachment, being a non -Buddhist.
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By the way, detachment is a Buddhist quality.
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And then he said, why do you want to call it Little Buddha?
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And I said, because I would like to be able to do a movie that for the first time in my life, even children can see.
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and I thought that also grown -ups in the West, I think that we are children when we talk of Buddhism,
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we are so ignorant about this incredibly sophisticated philosophy.
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And he said something I really liked, he said, you know, I think there is a little Buddha in all of us, which is this idea of Buddhahood that the Buddhists have,
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that each one of us has the potential Buddhity inside, Buddhahood inside.
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I mean, but it's asleep.
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Tell me a little bit about the notion, is the story, tell us the story first, and then I want to...
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At the beginning there was an idea of doing a movie about the life of Buddha.
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Then I thought I'm more interested in seeing the confrontation between
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the thoughts of a man who lived 2 ,500 years ago with our reality, our present, our days.
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So I found this story of this...
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So you had two ideas you needed to marry, one contemporary...
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Yeah, the present and the past, and how Buddhism has a resonance in the present, today.
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So I have this old Tibetan Lama going to...
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Lama being teacher?
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I mean teacher, guru, yeah.
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Going to Seattle because he heard that maybe there is a boy who is the reincarnation of his old teacher,
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his own Lama, who died nine years ago, exactly when the little boy was born and and then
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so this little kid wants to know what's about what's all about
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and so the old lama tells the story of Siddhartha
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which is a young prince
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which will become Buddha as a fairy tale as a fable to the little boy
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and so you have this contrast between the present and the past and
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and the past part is this young prince in his summer
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palace somebody was never able to go out of his palace
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to walk out of his palace he's there in a kind of wonderful golden cage
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and one day will walk up he will wake up
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and he will walk out of the palace
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and we learn the meaning of words like suffering old age
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sickness death let me take a look here is this is
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a you may want to set this up the clip we'll
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see from little buddha is where buddha greets the city oh
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yeah this is what i was telling about the moment
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when he goes out of his golden cage all right out of his palace here it is rotate
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and how much how accurate is the story and with respect to buddha you know um the youth of buddha
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the young buddha prince siddhartha it's a legend
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and there is really no iconography about so in In some way we were lost,
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on the other way we were very free visually to invent.
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Speaking of visual, Vittorio Storaro was your cinematographer.
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Did he also do The Emperor?
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Yes, he's done all my movies since 1969.
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What does he bring to your film?
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What is the genius of a cameraman or a cinematographer because you paint on such a broad canvas in these films?
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You know, we grew up together in some way.
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I started very, very young, and Vittorio, in 1963 -4, when I did Before the Revolution, which is one of my first movies, I was, I don't know,
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23 years old, was the focus puller.
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Then in 69, he had become a director of photography, and we went through the years together.
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So there is a kind of communal growing up together.
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So what he brings?
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Let's say that he's like my own private painter who is able to give with his lightning the colors,
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the shadows, the light to my shots
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so it's really my conscious of colors my conscious of light
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and shadows and then and you know we know each other
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so well that now when we start to do a movie we discuss
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and I tell him how I think we should the perspective we should have on on the visual effects
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and then we are we know each other so
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that we can communicate just without speaking looking at each other
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and it's as you know it's an important collaboration and I think
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that cinema you know I come from poetry I was writing poetry
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which is the most loneliness of all languages cinema is really
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based on collaboration cinema is really based on the fact
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that the director is able to stimulate the creativity of his collaborators speaking of poetry your father's a great poet
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yeah did you go into film because you were looking for something to do that would not be in competition
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with your father yeah you caught me i mean i started to write poems
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when i was six seven when i started to write
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because it was in the family it wanted to be a point yeah
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and like i don't know in the family of a carpenter children worked wood and
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when i was 16 17 i started to think my god
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this is not mine this is not my language this is not my expression is my father
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and i've been given a 16 mil i was 16
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so 16 years old and i did i've done my little first 10 minutes
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film and i then i was sure i would have been a film director and
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a friend of my father was pierre parlo pasolini yeah
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and i remember that the in 1960 he did his first film he met me said
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that you want to do the movie why don't you come with me you will be my assistant
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and that was a fantastic experience to see pasolini who was a writer becoming a film director
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while i was already a cinephile i mean i was a movie girl he wasn't and
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so i saw pier paulo inventing cinema it's like seeing griffith
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i mean it's like seeing somebody who discovers yeah like like discovering cinema
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so Pierpaolo once said that let's put down the dolly track
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and that was the first dolly of history of cinema because it was done by somebody who didn't have a cinema
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experience and that was extraordinary who else has influenced you whose work as a filmmaker
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you know i am a not a very old man
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but i'm an ancient filmmaker because i started in 62 so it's more than 32 years.
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I really think that my great love in the 60s
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when cinema was something very special was Jean -Luc Godard and some of the French directors.
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Why those French directors?
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Because there was a mutation in cinema and they were the authors of this mutation.
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Cinema has changed there is a cinema before Godard
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and after Godard in some way and I was how was it different after Godard
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that all the way of rethinking cinema let's say in the 60s Godard
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and all is kind of say since we are in Buddhism
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I said devotees instead of followers I wouldn't say normally
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and we wanted to tell a story
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but we we also wanted to to analyze with our movie movies what cinema is
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so cinema was a story characters
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but also the conscious of conscience of cinema I remember saying
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that a Dolly track movement of a pan of 360 degrees was an affair de morale,
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something regarding morality and style was so important, style and politics.
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It was about 20 years ago, as I remember, 73 when Last Tango in Paris came out.
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Yeah, that was already after 10, 12 years I started.
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Did you have some sense when you rapped
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that you had something special there that would be heralded not just by Pauline Kael
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but others as some kind of landmark movie
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and landmark performance by Brando you know I think I'm the
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only the last one to know what I'm what I have done and
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because I work in a state kind of trance in some
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way I mean I need to go to the cutting room to start to understand what the movie is
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because and that's where it happens for you more than directing the shots
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but it happens to you when you put it together in the editing room? For you?
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I mean, directing is the letting out the beautiful chaos and the editing is to put order in the chaos.
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Yeah. And...
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So directing is creating chaos and editing is putting order into the chaos.
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And editing is finding the reason within the chaos and the reason why.
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And you don't see the order when you're making, when you're creating the chaos as out on the location?
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No. I mean...
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It's almost like you're creating the colors
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that you can later bring together you know there is always
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a kind of attempt to balance what is written on the script
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and what life gives me i remember meeting jean renoir in
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something like 10 20 years ago in 74 in hollywood he was eight years old he was an incredible
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mind about cinema because he was speaking uh like goddard so he he had our experience in the 30s Anyway, he told me something.
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He said, il faut toujours laisser la porte ouverte.
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You have always to leave the door open on the set.
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One door open, he said. Because.
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Somebody can come in.
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You weren't expecting.
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And that is life intruding to cinema, and this is very important.
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So to balance always the fiction and life, in fact, for example, the performance of Marlon in Last Dangle,
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it's very much behind the mask of Marlon, behind the kind of actor -studio mask that we have seen in all his movies.
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So I told him just two months ago, I met him again, and that I thought that there was a lot of himself and he smiled at me,
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you think that it was really me?
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But, I mean...
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And what did you say?
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You tell him you thought it was a lot of him?
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I thought it was, but I know that it was him if he was lying.
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Even if he was lying, it was.
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Yeah, it was, yeah.
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Yeah.
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How brilliant was his performance in your judgment in the last tango?
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Oh, I think that, first of all, I had the privilege of having Marlon in front of my camera different from,
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in general, his other movies, because he was like forgetting his mask, forgetting his usual Brando persona,
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and giving me something new.
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So I think that he was another great collaborator, you know.
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What's next for you now?
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I mean, do you, now that you've completed this trilogy.
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I think I want to go back to Italy.
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Even though the political tenor there is quite different from one that I would think that would appeal to you.
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I mean, Berlusconi is not your seemingly prime minister.
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No, you know, Italy for the first time has voted right wing.
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I've got 30 seconds, but go ahead.
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Right wing, yes.
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And we always said center, center, left in Italy.
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For the first time, there is a right wing.
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And I think that it's good to remind the Italians of what right wing means.
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It's like if the Italians have lost their historical memory.
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And to have a reminder, and I think I will do a third part of the movie called 1900, which was ending in 45, between 45 and today.
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Wow.
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All right.
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I'm pleased to meet you.
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Bernardo Bertolucci, Little Buddha, opens around the country.
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As we go out, we'll see a clip from that.
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I thank you again for coming here.
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Thank you, Tom.
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Look forward to seeing you again.
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And we thank you for joining us this evening.
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Notice this clip as we say good night and see you tomorrow night.
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คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้
วิดีโอนี้มี 236 ประโยค และ 2793 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 17:21 ผู้พูดพูดด้วยความเร็วเป็นธรรมชาติ ประมาณ 161 คำต่อนาที ใกล้เคียงกับบทสนทนาในชีวิตประจำวัน มีเพียง 81% ของคำที่อยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ คำศัพท์จึงค่อนข้างยาก
คำศัพท์สำคัญในวิดีโอนี้
คำที่ควรเรียนรู้ 15 คำจากวิดีโอ พร้อมคำอ่านและความหมาย:
| คำศัพท์ | คำอ่าน | ความหมาย |
|---|---|---|
| cinema คำนาม | /ˈsɪn.ə.mə/ | โรงภาพยนตร์, โรงหนัง |
| chaos คำนาม | /ˈkeɪˌɑs/ | ความยุ่งเหยิง, ความโกลาหล |
| palace คำนาม | /ˈpælɪs/ | ตำหนัก, พระตำหนัก |
| edit คำกริยา | /ˈɛdɪt/ | แก้ไข |
| emperor คำนาม | /ˈɛmp(ə)ɹə/ | จักรพรรดิ, ฮ่องเต้ |
| poetry คำนาม | /ˈpoʊ.ə.tɹi/ | กวีนิพนธ์ |
| discover คำกริยา | /dɪˈskʌvə/ | ค้นพบ |
| mask คำนาม | /mæsk/ | หน้ากาก |
| temple คำนาม | /ˈtɛm.pl̩/ | วัด |
| shadow คำนาม | /ˈʃædəʊ̯/ | เงา, ฉายา |
| epic คำนาม | /ˈɛp.ɪk/ | มหากาพย์ |
| cage คำนาม | /keɪd͡ʒ/ | กรง |
| painter คำนาม | /ˈpeɪntɚ/ | จิตรกร |
| sculpture คำนาม | /ˈskʌlpt͡ʃɚ/ | รูปปั้น |
| mutation คำนาม | /mjuˈteɪʃən/ | การกลายพันธ์, การผ่าเหล่า |
กริยาวลีที่คุณจะได้ยิน
| คำศัพท์ | คำอ่าน | ความหมาย |
|---|---|---|
| go out คำกริยา | ออก, ออกไป | |
| wake up คำกริยา | /ˌweɪk ˈʌp/ | ตื่น, ตื่นนอน |
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | I've seen · has done · i've been given |
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | is shot · was born · were lost |
| Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ | man who lived · Revolution, which is · somebody who discovers |
การออกเสียงที่ควรระวัง
ผู้พูดใช้รูปย่อและรูปลดเสียง 30 ครั้ง เช่น I'm, don't, I've ให้พูดแบบสั้นตามที่ได้ยิน
- เสียง “th”: synthesis /ˈsɪnθəsɪs/, rethink /ɹiːˈθɪŋk/, synthesize /ˈsɪnθəsaɪz/
- เสียง “sh” และ “zh”: conscious /ˈkɑn.ʃəs/, shadow /ˈʃædəʊ̯/, corruption /kəˈɹʌpʃən/, collaboration /kəˌlæbəˈɹeɪʃən/, mutation /mjuˈteɪʃən/
- คำยาว — ลงเสียงหนักให้ถูกพยางค์: collaboration /kəˌlæbəˈɹeɪʃən/, photography /fəˈtɑ.ɡɹə.fi/, incredibly /ɪŋˈkɹɛdɪbli/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, communicate /kəˈmjuːnɪkeɪt/
วิธีฝึกกับวิดีโอนี้
- ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
- เริ่มที่ความเร็ว 0.75× พูดตามทีละประโยค แล้วกลับไปใช้ความเร็วปกติเมื่อเริ่มคล่อง
- อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง cinema, chaos, palace เป็นพิเศษ
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ