跟读练习: CAM 20 | IELTS LISTENING TEST | TEST 3 - SECTION 3 #english #listeningpractice #ielts #education - 通过视频学习英语口语
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Part 3 You will hear two Theatre Studies students, Maya and Finn, discussing their project on theatre programmes.
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First, you have some time to look at questions 21 to 26.
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Thank you.
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Now listen carefully and answer questions 21 to 26.
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So, Finn, I've done as much as I can for our project on theatre programmes.
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How's your research coming along?
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OK, Maya.
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I didn't know theatre programmes are called playbills in the USA till I started looking into the topic.
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Even though I struggled to find many useful websites, I'm glad we picked this subject.
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No one else on the course is doing the same as us, although it is one of the research areas of the module convener.
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That might actually put some people off.
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I suppose so.
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Anyway, I hadn't realised there are actually companies specialising in creating theatre programmes.
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Yes, they're quite common nowadays.
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Contrary to what many people think, theatres don't hire people to do the programmes.
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In fact, companies buy the rights to publish programmes on the theatre's behalf
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and then make their money selling advertising space within the programme booklet.
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It must be easier for theatres to do it that way.
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Yes.
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I remember reading something about programmes in early British theatre.
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It said that the cast was always very important.
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Yeah, audiences were very familiar with leading actors and big names would draw huge crowds.
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But I hadn't realised that if the programme named a famous actor, that's who the public expected to perform.
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And if that didn't happen, people accused the theatre of breaking their agreement with the audience.
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They would demand refunds and if they didn't get them, there were riots.
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Outrageous!
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That'd never happen now.
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No, people are too polite, even when they're disappointed if the star of the show misses a performance.
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We should definitely include that information about early audiences in our project.
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I also think it's important to mention that lots of ordinary people at that time were illiterate,
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so theatre programmes were of limited value in advertising plays.
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When a company of actors arrived in a town, they'd parade around the streets in their costumes, beating drums and announcing their upcoming performances.
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Interesting.
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I couldn't imagine that happening now either.
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There's also an interesting comparison to make between 18th and 19th century programmes.
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Wasn't it in the 19th century that theatre programmes started to resemble programmes today?
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Yes, and unlike programmes from the 18th century, they always used colour.
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And there was a greater variety of designs.
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But personally, I think 18th century programmes were superior because they told the theatre-goers so many things, including about the actors.
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And about the writer, the plot, and sometimes the history of the play.
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That's right.
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What should we say about theatre programmes in the 20th century?
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I reckon the most important thing is the dramatic change they underwent during World War II.
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When the government imposed restrictions on the use of paper.
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Yeah, but that was only in the UK.
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In the USA, programmes, or rather playbills, continued to be published in the same format.
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While here in the UK, programmes became merely a single sheet of paper folded to create four pages for text.
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What I don't really get is
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that after the war they didn't go back to being more than one sheet
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or change in any way for over 25 years.
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I know there were paper shortages after the war, but only for 5 or 10 years.
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Hmm, strange.
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Before you hear the rest of the discussion, you have some time to look at questions 27 to 30.
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Now listen and answer questions 27 to 30.
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I've got some pictures of programmes we could include on the slides for our presentation.
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I found a couple too, Maya.
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Let's go through and see what we think.
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Um, oh, this is an old one for a play called Rui Blass.
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Never heard of that, but the programme looks very decorative.
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Good enough to put in a frame on the wall.
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The images are just beautiful.
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Finn, what did you find?
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I've got some pages from a programme for Man of La Mancha.
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I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company.
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So we can learn how the production was created and the thoughts and feelings of the cast.
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Good.
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I've got a copy of a programme that's now in a museum.
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It's for The Tragedy of Jane Shaw, and it's said to be the earliest surviving document to have been printed on Australia's first printing press.
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Fantastic!
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Another programme to talk about is for the Sailors Festival.
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It comes from the British Library's digitised collection of programmes that was started a few years ago.
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It already comprises over 200,000 programmes, which is amazing!
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Huh!
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Wish I'd known about it while I was doing my research!
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That is the end of part three.
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You now have 30 seconds to check your answers to part 3.
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you
关于本课
在本课中，您将练习与戏剧相关的英语听力与口语表达。通过收听两个戏剧研究学生之间的对话，您将更深入地了解戏剧节目（或称为剧单）的背景、历史变迁以及相关的文化特色。本次练习的重点在于提升您的听力理解能力和口语流畅度，使您在与他人讨论类似主题时更加自信。
关键词汇和短语
- 戏剧节目 (theatre programmes)
- 剧单 (playbills)
- 广告空间 (advertising space)
- 退票 (refunds)
- 历史变迁 (historical changes)
- 观众 (audiences)
- 文盲 (illiterate)
- 文化特色 (cultural characteristics)
练习技巧
在进行雅思口语练习时，您可以尝试“影子跟读”方法，以加深对听力内容的理解并提升发音准确性。在收听这段对话时，请注意语速与语调。可以选择暂停视频，先重复一句，再听原文，以确认您是否正确模仿了语音语调。在实际操作时，建议您分段进行，先对照影子跟读，达到自然流畅的效果。
此外，请留意对话中的文化内容，思考这些背景知识如何能丰富您的英语学习。在练习时，您可以尝试用自己的话复述对话内容，结合“看YouTube学英语”的方式，在享受学习过程的同时，增强对戏剧节目的理解。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。