ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Best Dialogue of All Time
เลือกโหมดฝึก
แต่ละโหมดจะเปิดห้องฝึกแบบเต็มจอ
286 ประโยค
หากประโยคสั้นหรือยาวเกินไป กดที่ Edit เพื่อปรับแก้
1
Speaker 1st of 111- Film isn't just a visual medium, it's a verbal one too.
2
And nowhere is the brilliance of a good script easier to hear than in the mouths of the characters.
3
Bickering and bantering, yelling and yapping, probing and pontificating, these are our picks for the best dialogue of all time.
4
Kicking us off at number 10, we're looking at dialogue that was brilliant in its specificity, and how it evoked a certain place or time or sense of character by choosing words,
5
pacing, structure, cadence that was specifically evocative.
6
This is dialogue from The Departed.
7
A lot of you fucking die.
8
On the waterfront.
9
A one way ticket to Palookaville. And Snatch.
10
Hey, what is my kindest for the horse?
11
You know?
12
My Cousin Vinnie.
13
Two Utes.
14
Juno.
15
I'm a splog.
16
True Grit.
17
I'm the dude, man.
18
However, for our number 10 pick, we think it's pretty damn hard to beat Hunger.
19
Speaker 1, how's your smoke going?
20
Speaker 2, Grand.
21
Speaker 2, Mm, filthy habit, disgusting.
22
Speaker 1, why awful?
23
Speaker 3, Lovely though.
24
Speaker 2, Aye, praise the Lord.
25
Speaker 1 We're not actually Irish, so this could be about as accurate as Lucky Charms' commercial, but goddammit if it doesn't sound bang on to us.
26
And what's more important even than its accuracy is how it uses it.
27
How it dresses a most urgent of conflicts in the most eloquent and specific of clothing.
28
There's a certain musicality to the sound of it.
29
A rhythmic patter to what amounts to a negotiation for a group of men's lives.
30
It transports you to a place and a time where terrible decisions had to be made, and illustrates it with the most beautiful of language.
31
Next, we're considering wordplay, verbal trickery, linguistic aerobics.
32
The famous who's on first routine is the classic benchmark here.
33
Speaker 3 007 Well then who's playing first?
34
Speaker 3 007 Yeah.
35
Speaker 1 007 I mean the fellow's name on first base.
36
Speaker 4 007 Who?
37
Speaker 1 007 But we also have to show some love to the Grand Budapest Hotel.
38
Speaker 2 007 A second copy of the second will.
39
Speaker 1 007 Lucky number Slevin.
40
Speaker 2 007 I never thought you were him I thought he was you.
41
Speaker 2 007 And our number 9 pick Rosencrantz and Gildenstern are dead.
42
Speaker 2 008 A man talking sense to himself is no matter than a man talking nonsense not to himself.
43
Or just as man.
44
Or just as man.
45
And he does both.
46
So there you are.
47
Stark raving saint.
48
Rosencrantz and Guildenstern are dead is Tom Stoppard's absurdist spin off of Shakespeare's Hamlet.
49
Following two of its most interesting minor characters as they grapple with various existential dilemmas.
50
Attempting to riddle their way through an inherently nonsensical world in one extended conversation the whole film long.
51
So the turn of a phrase is tantamount to the entirety of the drama.
52
It is even physicalized in a verbal tennis match as they match wits instead of swings.
53
The word play is the plot.
54
They seemingly live and die by their language
55
and it puts an urgency behind their conversation that is both desperately hilarious and completely gripping.
56
Of course, sometimes it's not the words, so much as how they relate to the meaning underneath.
57
We're talking subtext, dialogue that takes the scenic route, that zigs when the intention zags, that works to conceal or contain or contrast the underlying truth.
58
It's done wonderfully all over Double Indemnity.
59
I wonder if you wonder.
60
The third man.
61
You oughta leave this thing alone.
62
And famously in The Godfather.
63
I'm gonna make him an offer that can be filled.
64
But come on, people, we'd have to be kidding ourselves to not go Tarantino's way.
65
And while he's written Cirque du Soleil level verbal contortion all the way from Reservoir Dogs.
66
You're a big Lee Marvin fan, aren't you?
67
To Hateful Eight.
68
Did I know him?
69
Yep.
70
Yeah, I knew him.
71
There's nothing that's had quite the subtextual impact as Pulp Fiction.
72
Looks like me and Vincent caught you boys at breakfast.
73
Sorry about that.
74
Did you have it?
75
Hamburgers.
76
Hamburgers, the cornerstone of any nutritious breakfast.
77
What kind of hamburgers?
78
Cheeseburgers.
79
No, no, no, no, no, where'd you get them?
80
Tarantino is the master of subtext.
81
And it's our favorite kind.
82
He's not just writing subtext in that awful literary way where both people are talking in a mutual, thinly veiled metaphor that's basically just a coat.
83
No, in Pulp Fiction, they talk about hamburgers.
84
They talk about coffee.
85
They talk about tomatoes and pot bellies and oral sex and the Bible.
86
They talk about anything and everything that has nothing to do with what's really going on.
87
Because what they're really doing is threatening and apologizing and flirting and falling in love and sparring and opening up.
88
And the results speak for themselves.
89
Next up we're looking at the all time best verbal conflict.
90
Dialogue that attacks and digs and dodges and parries and goes straight for the heart.
91
Words as warfare, conversation as combat.
92
Think the master.
93
Who likes you except for me?
94
Or the lion in winter.
95
You can expire.
96
Move first, old man. Or doubt.
97
You have taken vows.
98
Or Glengarry Glen Ross.
99
What is this, courtesy class?
100
You bet your ass it's all over the social network, but for our number seven pick, our favorite of Sorkin's psychological sadism belongs to Steve Jobs.
101
Speaker 3rd of Nate Harnessy, Vycella, Jr.: We're there.
102
Speaker 3rd of Nate Harnessy, Vycella, Jr.: No, it's got a one in six chance of working.
103
Speaker 3rd of Nate Harnessy, Vycella, Jr.: God damn it.
104
Speaker 3rd of Nate Harnessy, Vycella, Jr.: We're not a pit crew at Daytona.
105
This can't be fixed in seconds.
106
Speaker 3rd of Nate Harnessy, Vycella, Jr.: You didn't have seconds.
107
You had three weeks.
108
The universe was created in a third of that time.
109
Speaker 3rd of Nate Harnessy, Vycella, Jr.: Well, someday you'll have to tell us How you did it.
110
Love it or hate it, Sorkin's writing is something to marvel at.
111
And nowhere is it more talky, more play-like, more reliant on what characters say than hear.
112
The conflict bubbles so turbulently just below the surface, always swirling around and constantly being dredged up by Jobs himself.
113
Who flies about like a conversational juggernaut, arguing and threatening and bludgeoning the people around him into the shape of the world as he envisions it.
114
Sorkin's dialogue stages a war on many fronts, while always connecting it to Jobs' central thrust for a result
115
that is a frenzied whirl of a character desperately clawing about in a fight for his own self worth. On the other hand,
116
the flip side of this kind of linguistic aggression takes us to the calmer world of dialogue as storytelling.
117
Where the pleasure lies not in the conflict, but in the honesty and vulnerability of humans sharing their personal narratives.
118
It's the big chill.
119
Why is that folks, we're all alone out there. And Magnolia.
120
The past is not true with us.
121
End of tour.
122
I'm sure that I still have those same parts of me.
123
And coffee and cigarettes.
124
I know I got it.
125
Freezes coffee.
126
But for our number six, there can be none other than My Dinner with Andre.
127
See, I've seen a lot of death in the last few years, Wally.
128
And there's one thing that's for sure about death.
129
You do it alone, you see.
130
That seems quite certain, you see.
131
That I've seen.
132
That the people around your bed mean nothing.
133
Your reviews mean nothing.
134
Whatever it is, you do it alone.
135
And so the question is, when I get on my deathbed, what kind of a person am I going to be?
136
And I'm just very dubious about the kind of person who
137
would have lived his life those last few years the way I did.
138
My Dinner with Andre is quite literally just a conversation.
139
There is no plot, no external conflict, no ticking clock.
140
Just two men with various disagreements, as men have, talking them through.
141
There is no character arc or grand reconciliation or great big epiphany.
142
The film is just talk, and yet, it's utterly fascinating.
143
Written by the two actors, distilled from months worth of their actual conversation, it is nothing more than two men gradually and articulately revealing their inner selves.
144
At number five, we want to reserve a spot for a dialogue that manages to feel as true to life as possible.
145
And sure it'll never be realistic because have you listened to real people talk?
146
It's awful.
147
But with careful balance and compromise and imperfection, a talented scribe can achieve a subtle naturalism worthy of this list.
148
Primer is an excellent example of this.
149
Speaker 1st 3rd year old
150
Speaker 1st 3rd year old Speaker 1st 3rd year old Speaker 1st 3rd year old Speaker 2nd year old
151
Speaker 1st 3rd year old Speaker 1st Week 1 Speaker 1st
152
Week 2 Speaker 1st Week 2 Speaker 1st Week 2 Speaker 2st Week 2 Speaker 1st Week 2
153
Speaker 2 Speaker 1st Week 2 And even Superbad in parts.
154
Speaker 1st Week 1
155
Speaker 1st Week 2 Speaker 1st Week 2 And Kenneth Lonergan is hot as hell right now with Manchester by the Sea, but we want to turn new Lonerganians,
156
onto an older lesser known gym of his that's flush with this kind of dialogue, you can count on me.
157
Speaker 2 on speaker 2 Speaker 1st Week 2 Speaker 2 Speaker 3 Speaker 3 Speaker 1st Week 3 Terry,
158
how are you?
159
Yeah.
160
The magic of You Can Count On Me is that so much happens in the dialogue without resorting to the extraordinary, the unbelievable, or the melodramatic.
161
It is subtext but a tamer sort.
162
Deep familial conflicts of love and responsibility and respect
163
and dependability lie underneath the everyday topics of plumbers and car rides and the quotidian how are you.
164
Speaker 1st on the far opposite end of the naturalism spectrum, we end up with the hyper stylized, uber suave quick wit of banter.
165
Where everyone always seems to know the exact right thing to say.
166
David Mamets is sharp as attack and heist and house of games.
167
Speaker 1st on the screen, let's talk turkey pal.
168
Speaker 1st on the screen, Woody Allen's is quick and frenetic in Amy Hall and Manhattan.
169
Speaker 1st on the screen, people should make the full life like pigeons or Catholics.
170
Speaker 1st on the screen, and Scott Frank's take on Elmore Leonard is never better than in Get Shorty.
171
Speaker 1st on the screen, I say any more than I have to, if that.
172
Speaker 1st on the screen, but for our fourth to last slot, we're going with Shane Black, who is iconic in Lethal Weapon.
173
Speaker 3 That's a real badge, I'm a real cop and this is a real fucking gun.
174
Speaker 1 Hilarious in The Nice Guys.
175
Speaker 3 Oh, excuse me, I'm carrying a dead body and I have a schwanz in my face.
176
I'm sorry I'm not.
177
Speaker 2 You can't even say Baryshnikov.
178
Speaker 1 But never better than in Kiss Kiss Bang Bang.
179
Speaker 2 I want you to picture a bullet inside your head.
180
Speaker 2 Can you do that for me?
181
Speaker 2 F* you.
182
Speaker 2 Anyway, that's ambiguous.
183
Speaker 2 Ambiguous?
184
No, I don't think so.
185
No, I think he means that when you say picture it inside your head, okay, is that a bullet will be inside your head or picture it in your head?
186
Like, he's got a point.
187
Where Sorkin's characters always seem in danger of destroying each other with their words, Shane Black's are just slap boxing.
188
And Kiss Kiss Bang Bang is him at his quippiest, throwing the most hilarious of shade in the cleverest of ways.
189
It's verbal slapstick, characters tripping over their own words in an attempt to prove themselves smarter than each other.
190
Of course, that last slot was all Hollywood.
191
And while you may have noticed by now
192
that we've limited this list to English language films only
193
because we didn't feel properly qualified to evaluate dialogue in languages we couldn't speak, English isn't only the purview of America.
194
The UK has their own special kind of banter too.
195
You can find it in Lock, Stock and Two Smoking Barrels.
196
That boy doesn't know his arsehole from his ear on.
197
Train spotting.
198
They're just wankers.
199
With Nail and I.
200
They must be delighted with your career.
201
And Hot Fuzz up the model village.
202
But to our ears, there's one modern master who stands above them all, Martin McDonough.
203
And while Seven Psychopaths is a fantastic second effort, our hearts still belong to In Bruges.
204
Speaker 1st of 11, I retracted it, didn't I?
205
Speaker 1st of 11, while Martin McDonough only has two feature films to his name, he's an accomplished playwright of the funniest, darkest theater you'll ever read.
206
We personally recommend The Pillow Man
207
if you ever get a chance for the most hilarious take on child murder you'll ever hate yourself for laughing at.
208
And some of that sneaks over into InBrews too, because McDonough goes dark.
209
He takes his comedy to the blackest of places.
210
Everyone in Bruges should be despicable for what they've done and will undoubtedly continue to do.
211
And yet, you love them for their cleverness, their humanness, and their sense of the absurd.
212
But banter isn't a modern invention, and we want to take these last two slots to pay homage to its origins.
213
And in America, that means your Noirs.
214
Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1 00 You paid us more than
215
if you'd been telling us the truth and enough more to make it all right.
216
Speaker 1 00 You're Wilder.
217
Speaker 1 00 I'll say.
218
Speaker 1 00 You're Sturgis.
219
Speaker 1 00 You find him, I'll push him.
220
Speaker 1 00 You're Lubitsch.
221
Speaker 1 00 Must you flirt?
222
Speaker 1 00 I don't have to but I find it natural.
223
Speaker 1 00 You're Hawks.
224
Speaker 1 00 How do you like your brandy sir?
225
Speaker 1 00 They're in a glass.
226
Speaker 1 00 However, we're gonna take it back one step further to some of the original kings of banter, the Marx Brothers and their brilliant back and forths of horse feathers.
227
Speaker 1 00 Who are you?
228
Speaker 1 00 I'm fine thanks, who are you?
229
Speaker 1 00 I'm fine too about the animal crackers?
230
Speaker 2nd Doctor Hennessey And our number two pick, duck soup.
231
Speaker 788 Three- Speaker 1 that I care, but where is your husband?
232
Speaker 4th of 2000 Why he's dead.
233
Speaker 19 0000 I'll bet he's just using that his excuse.
234
Speaker 819 I was with him till the very end.
235
Speaker 109 Hmm, no wonder he passed away.
236
Speaker 1913 I held him in my arms and kissed him.
237
Speaker 109 Oh I see, then it was murder.
238
Will you marry me?
239
Did he leave you any money?
240
Answer second question first.
241
Speaker 1 111 While the screenplay was written by a handful of scribes, over a handful of years, the mouthful of dialogue is distinctively brothers Marxist.
242
In an act refined over decades from vaudeville to Broadway to the screen, the Chico, Harpo, Groucho, Zeppo combination was honed into one of the best comedy formulas of all time.
243
The type of banter they sling rapid fire and nonstop is specific to the wild smorgasbord of characters the brothers had created.
244
And Duck Soup is probably the best incarnation of their particular brand of madness, and by God does it sing.
245
Finally, for our number one, we're tracing British banter's origins to another place.
246
And it's not to Monty Python.
247
I'm your king.
248
Well, I didn't bow for you.
249
Or James Bond.
250
Mr. Smith and Wesson, and you've had your six.
251
Or kind hearts and coronets.
252
He said he wants to improve his mind.
253
He has room to do so.
254
No, it comes from before all that, way before all that.
255
Our top scribe of our top slot goes to a young man by the name of Bill, who wrote some of the prettiest dialogue you ever did see.
256
He did it in Romeo and Juliet.
257
Why then is my pump well plowed?
258
He did it in Julius Caesar.
259
He's a tried and valiant soldier.
260
So is my horse, Octavius.
261
And he did it in our top pick, Hamlet.
262
Gildan, sterner, hrosen, crads, good lads, how do you both?
263
As the indifferent children of the earth.
264
Happy in that we are not over-happy on fortune's cap, we are not the very button.
265
Nor the soles of her shoes.
266
Neither, my lord.
267
By then you live about her waist, or in the middle of her family.
268
Faith a private's way.
269
In the secret parts of fortune, most true, she is a strumpet, what news?
270
Are we cheating because this dialogue was originally written for the stage?
271
Sure, maybe.
272
But to separate the origins of cinema dialogue from theater is disingenuine and likely impossible.
273
And the bard is simply the goat and Hamlet is even better.
274
And if you haven't given him a shot since high school, do yourself a favor and try.
275
Try him on film.
276
His dialogue is so much more fun in the hands and mouth of a smart actor than it is on the page.
277
They can reveal the humor, the wit, the musicality, the subtext, the emotion, the conflict, the humanity beneath it all.
278
And it hardly gets better than Kenneth Branagh's turn.
279
There's nothing on this list that Shakespeare didn't do better and first, which is why we think this is the best dialogue of all time.
280
So what do you think?
281
Disagree with some of our picks?
282
Do we leave out any of your favorite dialogue?
283
Think my voice sounds sexy and want to take me out for a night of passion and romance?
284
Is anyone still actually listening?
285
God, I hope not.
286
Let us know in the comments below and be sure to subscribe for more Cinefix movie lists.
ดาวน์โหลดแอป
ทุกอย่างที่ต้องใช้เพื่อพูดได้คล่อง
AI ให้คะแนนการออกเสียงให้คะแนนทุกประโยค
ฝึก IPAเชี่ยวชาญทุกเสียง
คำศัพท์สร้างคลังคำของคุณ
เกมคำศัพท์เล่นไปเรียนไป
FOR YOU
วิดีโอแนะนำ
B24
95 ประโยค
“That’s a Bingo!" | Inglourious Basterds
Daily ConversationUniversity StudentsWorking Adults
B22
10 ประโยค
10 AMERICAN Monologues | Male
Daily ConversationUniversity StudentsWorking Adults
B2372 ประโยค
Callum Turner Keeps It Simple While Eating Spicy Wings | Hot Ones
Business EnglishDaily ConversationUniversity Students
B25
86 ประโยค
Why Interstellar is The Greatest Film of All Time
Daily ConversationUniversity StudentsWorking Adults
B21
127 ประโยค
Carrie Bradshaw being iconic for 5 minutes straight
Daily ConversationUniversity StudentsWorking Adults
B21
383 ประโยค
Don't Write Past the Punchline: Deadpool Screenwriter's Rule for Lines That Land
Business EnglishDaily ConversationUniversity Students
B24
56 ประโยค
Dwight's Big Speech! - The Office US
American AccentBusiness EnglishDaily ConversationUniversity Students
B22
373 ประโยค
‘The Odyssey’ Stars Robert Pattinson, Matt Damon & Tom Holland Have an Epic Conversation
Daily ConversationUniversity StudentsWorking Adults
B23
237 ประโยค
Rating Good and Terrible American Accents by British Actors
Daily ConversationUniversity StudentsWorking Adults
B21
76 ประโยค
Good Will Hunting: Imperfections (HD CLIP)
Daily ConversationUniversity StudentsWorking Adults
B25
236 ประโยค
ENGLISH SPEECH | YASH: Set Scary Goals (English Subtitles)
Business EnglishDaily ConversationUniversity Students
B21
207 ประโยค
Top 10 Most Epic Movie Scenes of All Time
Daily ConversationWorking Adults
คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้
บทเรียนฝึกพูดระดับ B2 นี้ใช้วิดีโอ “Best Dialogue of All Time” เป็นสื่อ วิดีโอนี้มี 286 ประโยค และ 2978 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 14:06 ผู้พูดพูดเร็ว ประมาณ 211 คำต่อนาที จึงมีการเชื่อมเสียงและลดเสียงค่อนข้างมาก มีเพียง 79% ของคำที่อยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ คำศัพท์จึงค่อนข้างยาก
คำศัพท์สำคัญในวิดีโอนี้
คำที่ยากที่สุด 15 คำในวิดีโอ พร้อมคำอ่านและความหมาย:
| คำศัพท์ | คำอ่าน | ความหมาย |
|---|---|---|
| hamburger คำนาม | /ˈhæmˌbɜɹ.ɡɚ/ | แฮมเบอร์เกอร์ |
| scribe คำนาม | /skɹaɪb/ | อาลักษณ์ |
| ambiguous คำคุณศัพท์ | /æmˈbɪɡ.ju.əs/ | คลุมเครือ, กำกวม |
| linguistic คำคุณศัพท์ | /lɪŋˈɡwɪstɪk/ | ภาษา |
| threaten คำกริยา | /ˈθɹɛt.n̩/ | ขู่ |
| soup คำนาม | /sup/ | ซุป |
| aerobics คำนาม | /əˈɹoʊbɪks/ | แอโรบิค |
| cracker คำนาม | /ˈkɹækə(ɹ)/ | แคร็กเกอร์, ขนมปังกรอบ |
| brandy คำนาม | /ˈbɹændi/ | บรั่นดี |
| conceal คำกริยา | /kənˈsil/ | ปิดบัง, ปกปิด |
| screenplay คำนาม | /ˈskɹiːnˌpleɪ/ | บทละคร |
| expire คำกริยา | /ɪkˈspaɪə(ɹ)/ | หมดอายุ, หมดเขต |
| claw คำนาม | /klɔ/ | เล็บ, กรงเล็บ |
| feather คำนาม | /ˈfɛðə/ | ขนนก, ขน |
| vulnerability คำนาม | /ˌvʌln(ə)ɹəˈbɪlɪti/ | ช่องโหว่ |
กริยาวลีที่คุณจะได้ยิน
| คำศัพท์ | ความหมาย |
|---|---|
| pass away คำกริยา | เสียชีวิต |
ประโยคที่ควรฝึกพูดซ้ำ
ประโยคสั้น ๆ ที่สมบูรณ์จากวิดีโอ ซึ่งนำไปใช้ในบทสนทนาประจำวันได้:
- Hey, what is my kindest for the horse?
- No, no, no, no, no, where'd you get them?
- Who likes you except for me?
- Did he leave you any money?
- Why then is my pump well plowed?
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | be made · is even physicalized · can be filled |
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | have taken · I've seen · they've done |
การออกเสียงที่ควรระวัง
ผู้พูดใช้รูปย่อและรูปลดเสียง 65 ครั้ง เช่น I'm, we're, didn't ให้พูดแบบสั้นตามที่ได้ยิน
- เสียง “th”: threaten /ˈθɹɛt.n̩/, underneath /ˌʌndɚˈniθ/, deathbed /ˈdɛθˌbɛd/, feather /ˈfɛðə/, filthy /ˈfɪlθi/
- เสียง “sh” และ “zh”: conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/, benchmark /ˈbɛn(t)ʃmɑːk/, homage /(h)oʊˈmɑʒ/, reconciliation /ˌɹɛkənˌsɪliˈeɪʃ(ə)n/, negotiation /nɪˌɡəʊ.ʃiˈeɪ.ʃən/
- คำยาว — ลงเสียงหนักให้ถูกพยางค์: musicality /ˌmju.zɪˈkæ.lɪ.ti/, ambiguous /æmˈbɪɡ.ju.əs/, desperately /ˈdɛs.p(ə.)ɹət.li/, articulately /ɑɹˈtɪk.jə.lət.li/, conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/
เสียงที่คนไทยมักออกเสียงยาก:
- เสียงท้ายคำ — ออกเสียงให้ครบ ไม่เปลี่ยนเป็นตัวสะกดแบบไทย: verbal /ˈvɜː.bəl/, ambiguous /æmˈbɪɡ.ju.əs/, underneath /ˌʌndɚˈniθ/, handful /ˈhæn(d)fʊl/, aerobics /əˈɹoʊbɪks/
- /v/ — ไม่ใช่ /w/ ให้ฟันบนแตะริมฝีปากล่าง: verbal /ˈvɜː.bəl/, cleverness /ˈklɛvɚnəs/, conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/, vow /vaʊ/, vulnerability /ˌvʌln(ə)ɹəˈbɪlɪti/
- /z/ — เสียงก้อง ไม่ใช่ /s/: musicality /ˌmju.zɪˈkæ.lɪ.ti/, cheeseburger /ˈtʃizˌbɝ.ɡɚ/, lads /lædz/, compromise /ˈkɑmpɹəˌmaɪz/, apologize /əˈpɑləˌd͡ʒaɪz/
วิธีฝึกกับวิดีโอนี้
- ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
- เริ่มที่ความเร็ว 0.75× พูดตามทีละประโยค แล้วกลับไปใช้ความเร็วปกติเมื่อเริ่มคล่อง
- อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง hamburger, scribe, ambiguous เป็นพิเศษ
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ