跟讀練習: Embrace the Shake - 通過影片學習英語口語

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Tanya Cushman Reviewer So, when I was in art school,

I developed a shake in my hand, and this was actually the straightest line I could draw.

Now, in hindsight, I'll admit the shake was great for some things, like mixing a can of paint or shaking a Polaroid.

But for me, this was really doomsday.

This was the destruction of my dream of becoming an artist.

This shake developed out of a single -minded pursuit of pointillism, just years of making little tiny dots.

And eventually, the dots went from being perfectly round to looking more like tadpoles because of the shake.

So to compensate, I'd hold the pen tighter, which progressively made the shake worse, so I'd hold the pen tighter still.

And this became a vicious cycle that ended up causing so much pain and joint issues, I had trouble holding anything.

And after spending years perfecting dots, I couldn't imagine being an artist in any other way.

So I left art school, and then I left art completely.

But after a few years, I couldn't stay away from art, and I decided to go to a neurologist about the shake,

and I discovered that I had permanent nerve damage.

And the neurologist took one look at my squiggly line and said, And I said, well, why don't you just embrace the shake?

Okay.

So I did.

I went home.

I grabbed a pencil.

And my slide.

I slide.

And I just started letting my hands shake and shake.

I was embracing it.

And I started making all these scribble pictures.

And even though it wasn't the kind of art that I was ultimately passionate about, it felt great.

And more importantly, once I embraced the shake, I realized that I could still make art.

I just had to find a different approach to making the art that I wanted.

Now, I still enjoy the fragmentation of pointillism, seeing all these little tiny dots come together to create a unified whole.

So I began looking for other ways to fragment images where the shake wouldn't affect the work,

like dipping my feet in paint and walking on a canvas.

Or in a 3D structure consisting of 2x4s, creating a 2D image by burning it with a blowtorch.

I discovered that if I worked on a larger scale and with bigger materials, my hand wouldn't really hurt.

And I went from having a single approach to art to an approach to creativity that has completely changed my artistic horizons.

This was the first time I'd encountered the idea that embracing the limitation could actually drive creativity.

At the time, I was finishing up school, and I was so excited to finally get a real job and afford new art supplies,

because I actually had this really pathetic set of tools,

and I felt that I could do so much more with the supplies I thought an artist was supposed to have.

I actually didn't even have a regular pair of scissors.

I was using these metal shears until I stole a pair from the office that I worked at.

So, I got out of school, I got a job, I got a paycheck, I got myself to the art store,

and I just went nuts buying supplies.

I just bought everything I've ever wanted.

And then when I got home,

I sat down and I set myself to task to really try to create something just completely outside of the box.

And I sat there for hours, and nothing came to mind.

The same thing the next day, and the next, quickly slipping into a creative slump.

I was in a dark place for a long time,

unable to create, and it didn't even make any sense because I was finally able to support my art, and yet I was creatively blank.

but as I searched around the darkness I realized

that I was paralyzed by all the choices that I never had before

and it was then

that I thought back to this limitation of my jittery hands embrace the shake

and I realized if I ever wanted my creativity back I had to quit trying

so hard to think outside of the box and and get back into it.

I wondered, could you become more creative then by looking for limitations?

What if I could only create with a dollar's worth of supplies?

At this point, I was spending a lot of my evenings in Starbucks,

and I know you can always ask for an extra cup if you want one.

So I decided to ask for 50.

Why not, right?

Surprisingly, they just handed them right over.

And then with the pencils I already had, I made this project for only 80 cents.

This became a moment of clarification for me, that we need to first be limited in order to become limitless.

Then, I took this approach of thinking inside the box to my canvas and wondered, what if instead of painting on a canvas,

I could only paint on my chest?

So I painted 30 images, one layer at a time, one on top of another, with each picture representing an influence in my life.

Or what if instead of painting with a brush, I could only paint with karate chops?

So I dipped my hands in paint, and I just attacked the canvas,

and I actually hit so hard that I bruised a joint in my pinky, and it was stuck straight for a couple weeks.

Or what if instead of relying on myself, I had to rely on other people to create the content for the art?

So for six days, I lived in front of a webcam, I slept on the floor and ate takeout,

and I asked people to call me and share a story with me about a life -changing moment.

Their stories became the art as I wrote them onto this giant, revolving canvas.

Or what if, instead of making art to display, as we always do, I destroyed it?

This destruction idea turned into a year -long project that I called Goodbye Art.

Goodbye Art.

And the idea was that each and every piece of art had to be destroyed after its creation.

In the beginning of Goodbye Art, I focused on forced destruction, like this image of Jimi Hendrix.

It's made with over 7 ,000 matches.

Then I opened it up to creating art that was destroyed naturally.

I looked for temporary materials, like spitting out food, using sidewalk chalk,

and even frozen wine the last iteration of destruction was to try to produce something

that didn't actually exist in the first place

so what I did is I organized candles on a table I lit them

and then blew them out then repeated this process over

and over with the same set of candles then I assembled the the videos into the larger image.

So the end image was never visible as a physical whole.

It was destroyed before it ever existed.

In the course of this

Goodbye Art series, I created 23 different pieces with nothing left to display.

What I thought would be the ultimate limitation really turned out to be the ultimate liberation, as each time I created,

the destruction brought me back to a neutral place where I felt refreshed and ready to start the next project.

But it didn't happen overnight.

There were times my projects failed to get off the ground, or even worse, after spending tons of time on a project,

the end image was kind of embarrassing.

But having committed to the process, I continued on, And something surprising came out of this.

As I destroyed each project, I was really learning to let go.

Let go of outcomes, let go of failures, and let go of imperfections.

And in return, I found a process of creating art that was perpetual and unencumbered by results.

I found myself in a state of constant creation, thinking only of what's next, and coming up with more ideas than ever.

100

When I think back to those three years away from art, away from my dream, just going through the motions,

101

instead of looking for a different way to continue that dream, I just quit.

102

I gave up.

103

And what if I didn't embrace the shake?

104

Because embracing the shake for me it wasn't just about art and having art skills.

105

It was about life and having life skills.

106

Because ultimately, most of what we do takes place here, inside the box, with limited resources.

107

Learning to be creative within the confines of our limitations is the best hope we have to transform ourselves

108

and collectively transform our world.

109

Amen.

110

Looking at limitations as a source of creativity changed the course of my life.

111

Now when I run into a barrier or I find myself creatively stumped, I sometimes still struggle.

112

But I continue to show up for the process and remind myself of the possibilities, like using hundreds of real live worms to make an image,

113

using a pushpin to tattoo a banana.

114

or painting a picture using hamburger grease.

115

Limitations may be the most unlikely of places to harness creativity, but perhaps one of the best ways to get ourselves out of ruts,

116

rethink categories, and challenge accepted norms, and instead of telling each other to seize the day,

117

Maybe we can remind ourselves every day to seize the limitation.

118

Thank you.

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本課的詞彙與口語要點

這節口語課以影片“Embrace the Shake”為素材。影片中反覆出現的詞有：shake, limitation, image, project, instead。這段影片共有 118 個句子、1579 個單詞可供跟讀。講話部分時長為 11:00。說話人語速平穩，每分鐘約 143 個詞，很適合跟讀。只有 77% 的單詞屬於英語最常用的 3,000 詞，詞彙難度較高。

影片中的重點詞彙

影片中 15 個值得學習的單詞，附發音和釋義：

單詞	發音	釋義
shake 動詞	/ˈʃeɪk/	搖 /搖
limitation 名詞	/lɪmɪˈteɪʃən/	限制
embrace 動詞	/ɛmˈbɹes/	擁抱 /擁抱, 摟抱 /摟抱
destruction 名詞	/dɪsˈtɹʌkʃən/	毀滅 /毀滅, 破壞 /破壞
creativity 名詞	/kri.eɪˈtɪv.ᵻ.ti/	創造力 /創造力, 創造性 /創造性
canvas 名詞	/ˈkæn.vəs/	帆布
skill 名詞	/skɪl/	技巧, 技能
discover 動詞	/dɪˈskʌvə/	發現 /發現, 發覺 /發覺
remind 動詞	/ɹəˈmaɪnd/	提醒
slide 名詞	/ˈslaɪ̯d/	滑梯
rely 動詞	/ɹɪˈlaɪ/	依賴 /依賴, 依靠
transform 動詞	/tɹænsˈfɔɹm/	變換 /變換, 變形 /變形
pencil 名詞	/ˈpɛnsəl/	鉛筆 /鉛筆
candle 名詞	/ˈkæn.dəl/	蠟燭 /蠟燭, 蠟 /蠟
seize 動詞	/ˈsiːz/	抓獲 /抓獲, 攫取

影片中出現的短語動詞

單詞	釋義
come up with 動詞	想出, 提出
end up 動詞	到達
give up 動詞	投案, 自首
go through 動詞	通過 /通過
sit down 動詞	坐下, 坐

值得反覆跟讀的句子

影片中簡短而完整的句子，可以直接用在日常對話裡：

I just bought everything I've ever wanted.
I wondered, could you become more creative then by looking for limitations?
What if I could only create with a dollar's worth of supplies?
I could only paint on my chest?
And what if I didn't embrace the shake?

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	was paralyzed · be destroyed · was destroyed
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	has completely changed · I've ever wanted

需要注意的發音

說話人用了 17 次縮略和弱讀形式，例如 didn't, I'd, couldn't。請按聽到的簡短形式來說。

“th” 音: pathetic /pəˈθɛtɪk/, rethink /ɹiːˈθɪŋk/
“sh” 和 “zh” 音: shake /ˈʃeɪk/, limitation /lɪmɪˈteɪʃən/, destruction /dɪsˈtɹʌkʃən/, brush /bɹʌʃ/, passionate /ˈpæʃənɪt/
長單詞——注意重音位置: limitation /lɪmɪˈteɪʃən/, creativity /kri.eɪˈtɪv.ᵻ.ti/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, temporary /ˈtɛmp(əˌɹ)ɛɹi/, importantly /ɪmˈpɔɹ.tənt.li/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: creativity /kri.eɪˈtɪv.ᵻ.ti/, canvas /ˈkæn.vəs/, discover /dɪˈskʌvə/, visible /ˈvɪzɪb(ə)l/, nerve /nɝv/
詞尾子音 — 要讀清楚，後面不要加母音: shake /ˈʃeɪk/, embrace /ɛmˈbɹes/, canvas /ˈkæn.vəs/, dot /dɑt/, remind /ɹəˈmaɪnd/
/r/ 和 /l/ 的區別: rely /ɹɪˈlaɪ/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, neutral /ˈnuː.tɹəl/, importantly /ɪmˈpɔɹ.tənt.li/, surprisingly /səˈpɹaɪzɪŋli/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
用正常速度逐句跟讀，每句重複到你的節奏與說話人一致為止。
錄下自己的聲音並與原聲對比，特別注意 shake, limitation, embrace 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: Embrace the Shake - 通過影片學習英語口語

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