跟读练习: The Art of Storytelling in the News World | Palki Sharma Upadhyay | TEDxMICA - 通过YouTube学习英语口语
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Transcriber: André Ribeiro Reviewer: Robert Tucker Hello, everyone, and thank you TEDxMica for having me here.
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127 句
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Transcriber: André Ribeiro Reviewer: Robert Tucker Hello, everyone, and thank you TEDxMica for having me here.
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The subject of today’s talk is “Mind the Gap”.
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And the first thought that comes to mind is the metro train, and its constant advice to mind the gap that we don’t really dwell on once we’re off the train.
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But “Mind the Gap” can and does have a more profound meaning.
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Today, I’m telling you about the gaps that I grappled with, and how I tried to fill them in my own way.
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This is my story, and before I begin it, I have a question for you.
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What is your story?
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When you grow up and talk to your grandchildren, what’s the story that you want to tell?
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Will your story be even more exciting than your CV?
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Or will you say you woke up, went to work, completed projects, met deadlines and targets, got promoted every other year, basically went through the motions of life, did not drop too many balls, but did not disrupt very much either.
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Think of the story you want to tell a few decades from now, and then start writing it today.
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Because our world today is essentially a grand storytelling competition.
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We’re all striving to present our own national, cultural, and personal stories in the most persuasive manner.
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I remember reading somewhere that in the olden times we said, “If you want to poison a people, you must poison their wells.” But in this day and age, as novelist Ben Okri said, “If you want to poison a people, poison their stories.” Because stories sway people; they change the course of policies, politics, and indeed the world.
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I’ll give you an example.
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During the Second World War, America had a list of Japanese cities that it wanted to bomb with the atom bomb.
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The city of Kyoto was on that list, but it was removed by the Secretary of War, American Secretary of War, Henry Stimson.
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Instead, they put Nagasaki.
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Why do you think he removed Kyoto?
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Because he'd gone there for his honeymoon, he’d seen Kyoto’s beauty and culture, and he did not want to see it destroyed.
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You could say Kyoto story saved it.
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And that's why it's very important to be in control of your story, to actively shape it.
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And this is the first gap I encountered in my career as a journalist.
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We are a country of 1.4 billion people, we have hundreds of channels, a very aware and politically engaged audience, but we did not have a single news channel or newspaper that told our story to the world.
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“The New York Times” writes something about India, and it becomes a Twitter trend.
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You may trash it, but you're still consuming it and reacting to it.
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“The Economist” weighs in on an Indian election, and it becomes part of the political debate.
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We are letting the foreign press shape our self-image.
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Which Indian newspaper triggers a similar response in the West?
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If there is disturbance in Kashmir, the world learns about it from the BBC or Al Jazeera.
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They use their own lens, their own editorial biases, and for the moment, that’s besides the point.
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The argument I am making is very simple: Why can’t India, the land of epics like the Mahabharat and Ramayana, tell its own story in its own words?
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This gap was filled by WION, India’s first international news channel, of which I am a part.
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Gap number two: You have a story, but why should anyone listen to it?
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There are multiple channels with heavyweight anchors, all discussing the same story, with the same guests, the same graphics, the same visuals, and the same decibel levels.
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We're like that song: “I’m just a copy of a copy of a copy.” We all kept looking at each other, and perhaps forgot the viewer.
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We wanted to do what someone else was doing bigger, bolder, brighter, but not necessarily better.
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If you have 10 windows, I’ll have 12.
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But we forgot to ask what the viewer wants.
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Do you want to see so many talking heads?
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Do you want an endless and, frankly, useless shouting match every day?
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And if you want to see a good stunt, will you watch “Avengers” or anchors.
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In this clutter, how do you become different?
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What sets you apart is the way you tell the story, and that brings me to the concept of the katha and the kathakar.”r If you have a child, or a niece or a nephew, you would have noticed something.
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They all ask for the same story to be told over and over again.
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We did the same with our grandparents.
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We know the story from beginning to end, but we want to hear it again.
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Why do we like the same story retold?
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Because what is pulling us is not the katha, the story, but the kathakar, the storyteller, the manner in which that story is told.
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That’s what holds the magic.
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How do we create this magic in news?
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Well, I was introduced to the life changing concept called “Orbit Shift”.
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It’s a very simple concept.
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You all know what a gravitational pull is: In the simplest of terms, it keeps you grounded.
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But it also prevents you from flying.
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As professionals, and individuals, we’re saddled with many levels of gravity.
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Number one is personal gravity: this is what I can do, this is what I cannot do, there is self-doubt, and there are limitations that your mind sets for you.
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Number two is company gravity.
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This cannot be done in our organization, because you lack cross-functional support, or because यहाँ ऐसा ही काम होता है, [the way it is here] we’ve all heard this and accepted it.
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Number three is industry gravity.
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How can you do a 9 PM show without guests? It doesn’t happen anywhere.
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How can you not take a break in the middle of the show?
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This is the industry practice, and soon it becomes industry gravity and we do not challenge it.
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Number four is a social or cultural gravity.
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Prejudice, preconceptions.
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In India, we flaunt the Jugaad.
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We do not want a long-term plan because we believe in figuring something out at the last moment with Jugaad.
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Now, think of the number of times when you’ve had to struggle with this cumulative gravity.
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It is the biggest hurdle in the path of innovation.
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It kills ideas, and you rationalize all of it in the name of practicality.
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But sometimes you have to be impractical.
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You have to throw yourself [in] at the deep end, and burn the bridge to safety, to come up with something that is really transformative.
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And that is what is called an orbit shift.
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And that’s what we did with Gravitas, or we hope we did.
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We created a prime-time news and views show, minus multiple guests.
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We went back to the drawing board to focus on tight scripts on relevant subjects, research, analysis, fact checks, basic things really, which should ideally be SOP for all news, but they were not.
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Gap number three, or should I say challenge?
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Who watches TV news anymore?
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There is an explosion of content around you.
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Television is already the second screen; the mobile phone has taken the top spot.
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So, my news story is competing with the WhatsApp forward, an Instagram reel, a YouTube spoof, and what have you.
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One editor famously said, “My competition is not other news shows; my competition at 9 o’clock is ‘Big Boss’ or ‘Kapil Sharma’.” Another one asked for fizz, and said, "Do not do water journalism, colourless, flavourless, odourless." This is the age of coke, find your flavour.
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Well, what should that flavour be?
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Inform without making a fuss.
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"Give your viewer value for time".
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That’s the flavour we decided on.
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Use the old playbook of Aristotle to make your story compelling.
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He gave us five elements of a good story, some 2,000 years ago.
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And these are the five elements.
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Ethos: authority and character, which comes with credibility and commitment to the issues that you raise in your broadcast.
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Do people trust you?
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Do they see you as an authority on a subject?
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If they do, they will listen to you.
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Number two.
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Logos: That is reason, which involves making a logical appeal, using data and facts to make a rational argument, because you cannot make an assertion with no basis in fact or logic.
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Number three is pathos.
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Emotion - and this is different from drama.
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It’s a genuine connect with the audience through honest and effective communication.
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Number four is metaphor, which helps the viewer process complex issues.
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When you give them relatable parallels, it makes you more memorable.
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And number five is brevity, using short sentences, punchy lines, informative tag-outs.
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And finally, the gap that is common to all human stories, the gap that I continue to try to fill: The question of purpose.
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What is the purpose of what you're doing?
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What do you really want to do?
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And to what end?
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It’s like the dreaded interview question: Where do you see yourself five years from now?
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Where do you see yourself at the end of this journey you've embarked on?
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Honestly, I've not been able to answer this question, so I gave myself another one: Which is the one story that changed your life?
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If that sounds too dramatic, the one story that profoundly impacted you, or just stayed with you.
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For me, that story was the story of the ugly duckling.
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It's a nursery tale, you may remember it.
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A duck lays some eggs, they hatch, all ducklings look similar, except one.
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He is bigger, awkward, doesn’t have webbed feet.
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He feels sad about not fitting in.
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Until he sees a flock of swans, and realizes he was never even a duck in the first place; he was a swan, bracketed with ducks by mistake.
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He realizes he’s beautiful and not ugly, and he flies away.
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And I find the story very powerful because it is simple and relatable, it talks to me.
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I think at some point in our lives, we’ve all been the ugly duckling, under immense pressure to fit in and beating ourselves up for not being able to.
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I'm sure all of you have sad stories.
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You read them, or saw them, and then the penny dropped - or: "This is what this is about"> And these stories shaped us.
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Where do you find them?
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In books, in movies and TV shows, cartoons, basically mass media.
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And if mass media has such a profound impact on minds, my purpose, I believed, as a cog in the wheel of mass media, should be to find and tell such stories that inspire, that motivate, or at the very least, that trigger ideas and conversations.
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So, that, I would say, became my purpose: to shape ideas, to make sense of the news, to empower you to form your own opinion, because you're intelligent, intelligent enough to choose.
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I'm going to wrap with that.
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All the very best.
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Thank you.
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关于本课
本次学习课程基于Palki Sharma Upadhyay在TEDxMICA所做的演讲《新闻世界中的叙事艺术》。演讲探讨了讲故事的重要性，尤其是在新闻报道中如何通过讲述故事来打动观众。在此课程中，学习者将练习与“叙事”相关的词汇和短语，掌握表达个人故事的语法模式，并通过模拟讲述自己故事的场景来提升口语能力。这将对雅思口语考试和日常英语口语练习有很大帮助。
重要词汇和短语
- mind the gap - 注意缝隙；常用于指示人们在某些情况下要留意的缺口或差距。
- storytelling - 讲故事的艺术；在传播信息或娱乐中使用故事的技巧。
- self-image - 自我形象；一个人对自己以及外界对自己的看法的综合印象。
- cultural narratives - 文化叙事；描述和解释特定文化故事和传统的方式。
- katha and kathakar - 故事与讲述者；强调故事本身和讲述方式的重要性。
本视频练习技巧
在进行本次英语口语练习时，建议以适中的语速跟读视频内容，以确保每个单词都能被清晰发音。注意练习标准的美式或英式发音，并尝试模仿演讲者的情感和语调，以提高发音练习和流利度。此外，由于演讲内容涉及较复杂的主题，对话题的理解可能有一定难度，因此可以分阶段进行练习，从简单的故事叙述开始，逐步过渡到更复杂的论点表达。这将有助于加强英语口语能力，特别是在雅思口语部分表现出色。
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。
如何在ShadowingEnglish上有效练习
- 选择您的视频： 挑选一段语音清晰、自然的YouTube视频。TED演讲，BBC新闻，电影片段，播客或雅思口语范例都很好。将URL粘贴到搜索栏中。从较短的视频（短于5分钟）以及您真正感兴趣的内容开始——兴趣是最重要的导师。
- 先听，理解上下文： 第一次听的时候，将速度保持在1倍速并仅仅倾听。还不要尝试重复。专注于理解其含义，收集新词汇，并注意讲话人如何强调单词，连读声音及使用停顿。
- 设置跟读模式：
- 等待模式：选择
+3s或+5s——在每句话播放完毕后，视频会自动暂停以便您有时间大声重复它。如果您想完全控制并在每次重复后由您自己点击下一步，请选择手动。 - 字幕同步：YouTube字幕有时会在音频前或后略微出现。使用
±100ms使它们完美对齐以助您准确跟读。
- 等待模式：选择
- 大声跟读（核心练习）： 这是真正发生改变的一步。当一个句子播放出来立刻——或在暂停期间——大声、清晰且自信地重复出来。千万不要只是张张嘴：要模仿说话者的准确节奏、重音、音高和连读。力求听上去就像说话者的影子，而不仅是逐字背诵。使用重复功能多次练习同一个句子，直到感觉自然为止。
- 提高难度： 当练习段落变得相对舒适后，就去挑战自我。将速度增加至 <code>1.25x</code> 或甚至 <code>1.5x</code> 以训练高速语言反射。或者将等待模式调整为 <code>关闭</code> 以进行连续跟读——这是最进阶同样收益最大的模式。持续的每日15–30分钟的练习将可以在几周内产生可见的效果。