Luyện nói tiếng Anh bằng Shadowing qua video: Vol 3 - test 10 - section 3

Part 3.

You will hear part of a discussion between two drama students called Charles and Lorna about a songwriting course.

First, you have some time to look at questions 21 to 25.

Now listen carefully and answer questions 21 to 25.

Hi Charles, I'm writing my report on the songwriting course for drama students.

You know, the one-week residential course for drama students from different universities where you learn about writing songs.

You did that course last year, didn't you?

Could you give me some tips for the report?

I'm having a few problems with it.

Yes, it was great.

Well, Lorna, you could start by thinking about what you got out of it.

Hmm, evaluating how useful it was is simple.

The challenge is not to go over length.

Referring to published sources might help.

That would make it more scholarly, too okay i'll go with that

and saying why you did the songwriting course is important some

people just do it as another string to their bow to help with auditions for work

and things i thought it was a good opportunity to try out new techniques for communicating feelings

and emotions i was already confident about singing before I did it.

I thought it was the location of the course which made it special, being held in a country house rather than in a university.

They were doing some building work on part of the house, though, so it wasn't always easy to concentrate.

I enjoyed the workshop most.

How about you?

Well, we were divided into six small groups for the afternoon, each with their own advisor.

That was the best bit for me, having that discussion with an expert.

When we got into pairs to start writing our songs, the idea was to combine people with different levels of knowledge and experience.

But my partner preferred working on her own generally.

And what did you think of the course content?

I hadn't realised before how important the structure of a song is to its success.

Yes.

We learned it's no use writing the most beautiful words and melodies if there's no shape.

And we learned about the importance of a chorus in a song.

I knew about that stuff from my singing classes.

It's a bit obvious, isn't it?

I suppose so.

It was the input on lyrical styles and forms that I found tedious.

You could always look them up on the web.

Anyway, how did you get on with writing your song?

It was tough, and Peggy, my partner, was hard work,

which wasn't funny, and writing was a slow process as a result of our lack of communication.

By the time we finished, I was exhausted.

Writing music from the heart is like that, especially by the end of a course.

Before you hear the rest of the discussion, you have some time to look at questions 26 to 30.

Now listen and answer questions 26 to 30.

Well, that's got the report sorted, thanks.

Have you decided which teachers' workshops you're going to do next term?

I want to do Bob Lacey's.

He's got a brilliant reputation for voice coaching.

You know, getting us to use dialects and different pronunciation and stuff.

He gets you to do things like weed out a newspaper article in character.

It's amazing.

I'm thinking of going to Evelyn Chance's workshop.

Oh, Evelyn.

She's quite a character.

Is she running the stage fights course again?

Yes, fencing and pretend punches and throwing techniques.

She really knows how to help actors use the whole of the space available.

Lots of people like Ted Winter's workshop.

He knows how to deliver.

He's keen on actors conveying emotion through their bodies and faces alone.

It's a great way to reveal complex relationships and situations to an audience without making a speech of any kind.

I'm definitely going to sign up for that one.

If you want to understand a director's ideas, Kevin Gray's workshop would be perfect for you.

He likes telling people what to do, and he's always saying, you can't have a company of actors reading a play any way they want, because they'd end up fighting amongst themselves.

They must listen to the director.

What about Dorothy Thomas?

She's good at activities for getting rid of stress, and, you know, emptying your mind of all thoughts about the past, and that can really help when acting.

Well, I think I'll put my name down for...

That is the end of Part 3.

You now have 30 seconds to check your answers to Part 3.

Thank you.

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Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.

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