И. Э. Волкова Художественный редактор icon

И. Э. Волкова Художественный редактор



НазваниеИ. Э. Волкова Художественный редактор
страница1/11
Дата конвертации06.06.2012
Размер1.19 Mb.
ТипДокументы
  1   2   3   4   5   6   7   8   9   10   11
1. /english-words-how-to-use-them-theatre-cinema/english-words-how-to-use-them-theatre-cinema.docИ. Э. Волкова Художественный редактор

Л. G. YELISEYEVA, I. A. YERSIIOVA

ENGLISH WORDS

AND HOW TO USE THEM

THE THEATRE AND THE CINEMA

Допущено Министерством высшего и среднего специального образования СССР

в качестве учебного пособия для институтов и факультетов иностранных языков

FOREIGN LANGUAGES PUBLISHING HOUSE Moscow 1960

EDITOR R. DIXON

А. Г. ЕЛИСЕЕВА, И. А. ЕРШОВА

АНГЛИЙСКИЕ СЛОВА И ИХ УПОТРЕБЛЕНИЕ

На английском языке

Издательский редактор И. Э. Волкова

Художественный редактор В. Л. Самсонов

Технический редактор М. И. Натапо»

Подписано к печати 15. IX. 1960 г. Формат 84xlO8Vai.

Бум. л. 4%. Печ. л. 15,17. Уч.-изд. л. 14,02. Заказ Ks 787. Цена 5 руб. 90 коп. С 1/1 1961 г.—59 коп. Тираж 82.000.

Московская типография J*3 8 Мосгорсовнархоэа

ОТ АВТОРОВ

Предлагаемое пособие имеет своей целью помочь изучающим английский язык активно овладеть лексикой по темам театр и кино.

Пособие предназначено для институтов иностранных языков и близких к ним по профилю учебных заведений.

Пособие состоит из двух частей и словаря-приложения. 1-ая часть посвящена театру, 2-ая — кино. Первые уроки, несложные как по языку, так и по содержанию, доступны студентам младших курсов, основная же часть уроков, в особенности такие уроки как №№ 12, 13, 18, 21, рассчитаны на старшие курсы. Кроме того, пособие может быть использовано на вечерних и заочных отделениях, а также лица­ми, самостоятельно повышающими свои знания в области английского языка.

Большинство английских текстов, включенных в книгу, взято из оригинальной английской художественной литературы или статей, посвященных вопросам театра и кино. Тексты уроков №№ 1, 9, 20 написаны Р. Р. Диксоном. Некоторые тексты, как английские так и русские, сокращены, но не адаптированы. Авторы стремились по­добрать тексты, в которых анализируются, главным образом, произве­дения, знакомые учащимся высших учебных заведений. Особо следует отметить, что материалы, включенные в книгу, дают возможность преподавателю работать не только над специальной лексикой театра м кино, но и над общеупотребительной лексикой.

Кроме основного текста, снабженного лексическими коммента­риями, каждый урок включает большое количество упражнений. Все упражнения предполагают тщательную предварительную про­работку соответствующих слов по словарю-приложению.
Цель упраж­нений, включенных в урок, двоякая: разъяснительные упражнения помогают учащимся разобраться в значении тех или иных слов, активизирующие упражнения обеспечивают активное овладение изу­чаемой лексики и опираются на разъяснительные упражнения. Основ­ная часть упражнений как первой, так и второй группы связана не-

3

посредственно с основным текстом урока. Кроме того, в каждом уроке, начиная с 3-го, имеются специальные упражнения, связывающие ранее пройденный материал с новым, углубляя и обобщая его. К изу­чению наиболее важных и трудных по своей семантической структуре слов учащийся возвращается несколько раз на протяжении работы над книгой, что должно помочь ему овладеть данными словами во всей сложности их взаимосвязей г другими словами данной лексико-се-мантической группы.

Пособие снабжено словарем-приложением. Словарь охватывает только специальную лексику театра и кино (но не узко-терминологи­ческую). Все слова тщательно разработаны, каждое значение слова снабжено объяснением на английском языке, а также специальными пометами, раскрывающими особенности данного слова в граммати­ческом и лексическом планах; иллюстративные примеры подобраны таким образом) чтобы показать наиболрр характерные особенности того или иного слова в плане его значения, употребления и сочетае­мости.

Слова, включенные в словарь-приложение, выделяются в тексте уроков. При всех английских иллюстративных примерах дан рус­ский перевод, который позволяет уяснить различие контекстуальной реализации значений соответствующих слов в двух языках — в английском и русском.

CONTENTS THE THEATRE

Page

'Lesson One. Going to the Theatre 9,

Lesson Two. Essex at the Bolshoi 18

Lesson Three. The Tennent Company in Moscow 24

Lesson Four. An Amateur Production Rehearsal 34

Lesson Five. Portrait of a Producer 43

Lesson Six. Carrie Steals the Show , , 51

Lesson Seven. Glimpses of Macready 62

Lesson Eight. Gielgud on Tour 72

Lesson Nine. The Kremlin Chimes 82

Lesson Ten. Puppet Theatre 03

Lesson Eleven. Ulanova the Unforgettable 102

Lesson Twelve. The Classic Chinese Theatre 112

Lesson Thirteen. Theatre of Truth 121

THE CINEMA

Lesson Fourteen. Film Acting 133

Lesson Fifteen. The Peculiarities of Film Material 143

Lesson Sixteen. The Debut of a Film Actress 151

Lesson Seventeen. The Preview 159

Lesson Eighteen. Between the Acts 168

Lesson Nineteen. "David Copperfield" Televised 178

Lesson Twenty. Moscow International Film Festival 189

Lesson Twenty-One. "Mother", 1926 201

Vocabulary Notes 213

THE THEATRE

LessonOne

GOING TO THE THEATRE

Going to the theatre is a way of spending an evening which may be at the same time most entertaining and educative.1 Despite competition from the cinema, wireless and television, the theatre still plays an important part in the entertainment of the average Englishman.

In London there are theatres for all tastes: some people prefer musical comedy, and shows of this kind, with their catchy tunes, are very popular. Variety shows, in which actors entertain the audience with sentimental and comic performan­ces or skits on social or political life, also draw full houses and greatly influence the artistic tastes of the public. In this kind of entertainment the role of the master of ceremonies (or chair­man) is very important. He announces the different items on the programme, introduces the actors and maintains the atten­tion and interest of the spectators.

Those who do not care for musical comedy or variety will find other shows to their taste. Some theatres stage modern plays; Shakespeare and other classics are played mostly at Old Vic; the Royal Opera, formerly Covent Garden, shows opera and ballet.

Seats in theatres where dramatic works of real educational1 value are played and where the standard of acting is high are expensive. This makes the theatrical art in Britain more or less the monopoly of the well-to-do and better educated classes.

As a rule, performances start (or begin) at about half past seven and run2 for three hours or more, including about an hour for intervals between acts. There are sometimes matinees in the afternoon, but most spectators prefer evening shows.

Seats are booked (or reserved) beforehand either at the box-office (or booking office) or by phone. If all the seats are not booked up (or so'd out) you can get tickets at the box-office

just before the show begins; otherwise, the sold-out sign3 is posted over the box-office.

The best and most expensive seats in the auditorium (or house) are the orchestra stalls, the boxes, and the dress-circle. From these scats you can get a good view of the stage. The view is not so good from the cheaper seats — the pit and the gallery or "the gods." Spectators are not allowed to stand in the gangway (or aisle) during the performance.

When you arrive at the theatre you leave your hat and coat at the cloakroom, where the attendant can also provide you with opera-glasses, if you wish. An usher shows you to your place and sells you a programme, which tells you the story of the play that is on that evening and gives the names of the actors who will act the different parts (or roles).

NOTES

1. educative — having value or importance in education;
cf. later in the text: educational — having a direct relation
to education; educational is generally used attributively,
educative — predicatively; e. g. an educational film.

The experience was most educative.

  1. to run — said of a single show — to last

  1. the sold-out sign — a notice bearing the words "sold-
    out" posted over the box-office when all tickets are sold —
    аншлаг. But note: Спектакль шел с аншлагами. — The
    show was played to full houses.

EXERCISES

Exercise I. Answer the following questions:

  1. What is your usual way of spending a free evening?

  2. What kind of entertainment do you prefer: going to the
    cinema, the theatre, a concert, listening to music on the radio
    or watching television?

  3. Do you care for opera, or do you prefer ballet? What do
    they show at the Bolshoi in Moscow? Where are opera and
    ballet shown in London?

  4. Name some theatres you know and say which kind of
    entertainment they stage.

It)

  1. Do you like variety and do you ever watch variety shows
    on television?

  2. Are you fond of musical comedy, or do you not care for
    this genre? In which Moscow theatre (or theatre in your home
    town) can you see musical comedy? Which musical comedies
    are most popular with Soviet music-lovers?

  3. Are there special theatres in Moscow staging only modern
    plays and others playing only classics?

  4. Which is your favourite modern play? Who is it by?
    At which theatre did you see it?

  5. Why is the theatrical art more or less the monopoly of
    the well-to-do classes in Britain?




  1. At what time do performances begin at the Moscow
    theatres? For how many hours do plays run as a rule? Are there
    intervals after every act? At what time do shows end?

  2. Which seats do you prefer at the Bolshoi? at the Mos­
    cow Art Theatre?

  3. How do you book your seats (or buy your tickets) for
    the theatre: by going to the box-office or by phone? When is
    the sold-out sign posted up over the box-office? Is it easy to
    get tickets for the Moscow theatres just before the perform­
    ance begins?

  4. Where do you leave your coat and hat when you enter
    the theatre? Who takes your coat and hat? Who provides you
    with opera-glasses? Who shows you to your seat? Who can you
    buy a programme from? What does the programme tell you?

  5. Which do you prefer, matinees or evening perform­
    ances? (Give your reasons.)

  6. In what kind of entertainment is the role of the master
    of ceremonies very important and why? What is the job of a
    master of ceremonies?

Exercise II. Give the English equivalents for the following Russian words and phrases and use them in sen­tences of your own:

эстрада, эстрадный концерт, оперетта, пародия, конфе­рансье, партер, ложа, спектакль, во время спектакля, днев­ной спектакль, антракт, бинокль, касса, заказать билеты по телефону, развлечение, билетер, провести на место, ан­шлаг, проход, играть на сцене, игра (актера), гардероб,

сдать пальто в гардероб, смотреть (передачу) по телевиде­нию, номер программы.

Exercise III.

  1. Give verbs corresponding to the following nouns: show,
    stage, play, entertainment, acting, introduction;

  2. Give adjectives corresponding to the following nouns:
    theatre, drama, artist, education, entertainment.

Exercise IV. Use auditorium or house (or both) according to the meaning:

  1. What do we call the part of a theatre in which the audi­
    ence sits? We call it... .

  2. When there are no tickets at the box-office we say ... is
    sold out.

  3. By 7.15 ... was almost full.

  4. Smoking is not permitted in ... .

  5. The play had just begun and the whisper in the half-
    lit ... had not died out.

  6. This play inevitably draws full ... .

  7. He hurried upstairs towards... .

  8. The curtain fell and ... went wild.

  9. Which are the best seats in ... ?

10. The actor failed to make himself heard in every part of ... .

Exercise V. Use play or performance according to the meaning:

  1. We managed to get seats just on the day of ... .

  2. "The Three Sisters" is my favourite ... by Chekhov.

  3. I got two stalls a quarter of an hour before ... began.

  4. He offered me two seats for the first ... of ... .

  5. Although we had to wait almost twenty minutes for the
    bus, we were not late for ....

  6. At what time do ... start at the circus?

  7. A matinee is ... given in the afternoon.

8. Spectators are not allowed to stand in the aisle during ....
Soviet theatres are very comfortable. There is nothing to

disturb the actors in getting ready for ... . After ... they have a chance to rest, which is not the case in England, where a lot of people usually come backstage after ... . It is not because the Moscow audiences are not eager to express their apprecia­tion of ... , but rules are rules.

12

Exercise VI. Translate the Russian words into English and insert them in the sentences below as re­quired:

  1. The bell rang and (зрители) went back to their (места).

  2. They were sitting in (партер) almost directly below us.

  3. We could get a very good view of (сцена) from our
    (места).

  4. I'm an actress, and the job of an actress is (играть на
    сцене).

  5. She was critical of her (игра) and wished that she could
    play certain scenes over again.

  6. When we arrived at the theatre we saw (аншлаг) posted
    over (касса).

  7. This is the best scene in (акт) One.

  8. Englishmen often call (галерея) in a theatre "the gods."

  9. He took up his (бинокль) for a long look round (зал).




  1. I had my seat just off (проход).

  2. No one knew what the next (номер программы) was.

  3. When I go to the Bolshoi I like to have my seat in
    (бель-этаж).

  4. We (купили) our seats at the box-office of the theatre.

  5. He always plays (драматические) roles.

  6. (пародия) was the item on the programme I liked
    best.

  7. The success of (эстрадный концерт) depends largely on
    the resourcefulness of (конферансье).

  8. I remember the scene well; it used (приводить зри­
    телей в восторг).

. 18. When does the (театральный) season begin in Moscow?

  1. What do you think of (игра актеров)?

  2. Her fine sense of style in (игра) astonished the audi­
    ence last night.

Exercise VII. Insert the missing words:

  1. I found the play most ... and educative.

  2. ... isn't over till 10.45.

  1. I like ... my seats beforehand, long before the night
    of ... .

  1. The ... was packed, there was not an empty seat.

  2. This play is both ... and a lasting work of art.

13

  1. I'll leave two tickets in your name with ....

  2. The best seats in the Moscow Art Theatre are ...

  1. Let's go and have some refreshment at the buffet, ...
    will last another ten minutes.

  2. The curtain went up and the audience watched ..., anx­
    ious not to miss a thing going on on ... .




  1. Where do you prefer to be seated, in the middle of
    a row, or just off ... ?

  2. The cheapest seats are in ... .

  3. Most of the seats had been ... through ... agencies.

  4. Theatre should be an integral part of the cultural lifp
    of a people, not only ... .

  5. ... won't be on sale until April 10th.

  6. There was great applause after each ....

Exercise VIII. Paraphrase the italicized words and phrases finding substitutes in the text:

  1. We might go and see "Uncle Vanya" to-morrow if you
    can get tickets.

  2. I prefer evening shows to afternoon ones.

  3. They're giving "Anna Karenina" to-night.

  4. When this play is on, the house is always full.

  5. We reserved our seats beforehand at the booking office.

  6. Shows begin at half past seven and go on for three hour's
    or more.

  7. All the seats were sold out.




  1. This kind of entertainment is known as variety.

  1. Shakespeare and other classics are played at Old Vic
    and the Phoenix.




  1. At what time did the show end?

  2. The theatre was packed.

  3. Are you fond of musical comedy?

  4. Seat 22 is just off the aisle.

  5. The house went wild when the clown did his act.

  6. He played the part with great naturalness.

Exercise IX.

  1. Read the passage given below and pick out all the
    words formed from act.

  2. Look up the words in the Vocabulary Notes and discuss
    their meanings.

  1. Give Russian equivalents for: longs to act; love of
    acting; the urge to act; acting ability; childish acting; act­
    ing game; will make an actor; the art of acting.

  2. Comment on the syntactical function of acting in:
    acting game, the art of acting, childish acting, acting ability.

WITHOUT AN AUDIENCE

Every child longs to act: a love of acting reveals itself from the earliest age.

The urge to act underlies most children's games, where they show power of observation, of imagination and of ex­pression that grown-up actors envy.

Little girls show remarkable acting ability as they put their dolls to bed, take them to the doctor and scold them for being naughty.

If you ever manage to get into a children's game, which is not an easy thing for a grown-up to do, you will be aston­ished by the power of a child's imagination.

I, of course, went through this phase of pure, childish acting. And to this day I remember many games of my ear­liest years; I remember not only what they were about, but also the inner truth of what I acted.

But, however truthfully and well children may perform in their acting games, and generally speaking they act very well indeed, there is not one of them you can be sure will make an actor, that is a person who can preserve his inner seriousness and belief in the truth of his acting in the pres­ence of an audience. Only in the presence of the spectator does the art of acting achieve its full meaning.

Exercise 'X. Learn by heart and practise in dialogue form. Tell "At the Cloak-room" as a narrative.

AT THE BOX-OFFICE

A. Have you got any seats for Sunday?

B. Matinee or evening performance?

A. Matinee, please. I want two stalls, if you've got any.

B. Yes, you can have two in the middle of Row 12.

/5

A. Thank you. I think they'll do very well. How much
are they?

B. Twelve-and-six each ,,. that's twenty-five shillings.

AT THE CLOAK-ROOM

A. We'd better hurry up. The bell is ringing. There is
nothing more unpleasant than to have to disturb people sit­
ting in their seats.

B. But we've got plenty of time. It's only 7.15. It must
be the first bell. Look, there are lots of people in the cloak­
room and no one seems to be in a hurry.

A. All the better. I hate arriving after the curtain has
gone up.

B. Let's get a pair of opera-glasses; our seats are rather
a long way from the stage, so we shall need them.

ATTENDANT. May I see your tickets, please. Dress-circle, Row 4, seats 9 and 10. This way, please. Would you like a programme?

B. Yes, please. How much?

ATTENDANT. One rouble. Thank you.

A. How full the house is tonight. Not a single vacant seat.

(After Brush Up Your English)

Exercise XI. Translate into English:

1. А. Ну, что мы будем делать в воскресенье?

Б. Хорошо бы пойти куда-нибудь в театр или на кон­церт, только как достать билеты?

А. Знаешь, сестра мне говорила, что у нее есть билеты в оперетту на «Сильву»*, на воскресенье, но сама она будет занята. Может быть, пойдем?

Б. Вот хорошо. Мне давно хотелось посмотреть. Днев­ной или вечерний спектакль?

А. Кажется, дневной.

Б. Вот это жаль. Я ужасно не люблю ходить в театр днем, — весь день разбивается.** А места хорошие?

А. Я не помню точно. Кажется, десятый ряд партера. Если хочешь, я узнаю точно.

* Silva ** It cuts the day up so.

16

Б. Нет, не надо. Я давно не была в оперетте и с удоволь­ствием пойду с тобой в воскресенье. А вечером пойдем на каток.

2. Москва — центр театральной жизни нашей страны. В Москве не менее тридцати различных театров. Каждый вечер тысячи людей заполняют их залы. В половине восьмого в театре поднимается занавес и начинается спектакль. Зрители, сидящие в зале, с интересом и волне­нием следят за тем, что происходит на сцене.

На площади Свердлова в Москве стоит известный всему .миру Большой театр. В Большом театре москвичи и приез­жие каждый день смотрят балет или оперу. Зал Большого театра всегда переполнен.

Рядом с Большим театром расположен и старейший драматический театр Москвы — Малый театр. Театр был открыт в 1824 г. Величайшие русские актеры Щепкин и Мочалов играли на сцене этого театра.

Крупнейший русский драматург А. Н. Островский все свои пьесы писал для актеров Малого театра, и поэтому Малый театр часто называют домом Островского.

Lesson Two

ESSEX AT THE BOLSHOL

"Are you going to the Red Army Theatre?" Essex asked.

"I put that off," Katherine said. "I'm going to the Bol-shoi to see 'Giselle.'"1

"You had better hurry."

"I shan't be late," Katherine said. "I'm never late."

They were not late for the ballet, but they were still in the marble foyer when the bell rang. An attendant hurried them into a box and locked it behind them.

"It's a pity to waste such a beautiful theatre on ballet," Essex murmured as the overture started. He had been sur­prised at the Bolshoi from the moment he entered it. He had thought that the Bolsheviks would spoil it, but he recognized here the atmosphere of a well-run2 theatre. They had not taken away its rich red furnishings,3 and all the gilt facings4 were freshly painted right to the high ceiling. The theatre was packed to its six tiers,5 and below in the parterre8 there was not an empty seat.

Essex forgot his prejudice about ballet in the first act of "Giselle," and at the entr'acte7 he said to her: "This is the best of their culture, no doubt."

"By no means," she cried as they joined a large circle of people who were walking round in the large upstairs foyer. "Their music and drama are quite as good. Their opera is better than you will see in London—and far more frequent. In fact, there is no place quite like Moscow for theatre and music, so don't be grudging8 about it."

When they had seen the ballet through,9 she said: "Have you ever seen anything like it?" as they waited at the counter10 to gather their coats.11

"I don't believe I have," Essex said. "Not in ballet, anyway."

(James Aldridge, The Diplomat)

NOTES

1. I'm going to the Bolshoi to see "Giselle."—Note the use of "to see" in English; cf. Я иду в Большой театр на «Жизель».

is

  1. well-run — well organized, well managed

  2. furnishings— обстановка, украшения




  1. facings — облицовка, отделка .

  2. tier — ряд, ярус

  3. parterre — orchestra stalls and pit

  4. entr'acte — interval

  5. to be grudging — to show reluctance in giving or
    praising

  6. they had seen the ballet through—they had watched
    the ballet till the end

10, the counter — the partition over which coats and hats
are handed out in the cloakroom—by analogy with the count­
er (прилавок) in a shop

11. to gather their coats—to collect or to get their coats

EXERCISES

Exercise I. Answer the questions:

  1. Which theatre did Essex and Katherine go to?

  2. What were they going to see there?

  1. Were they late for the ballet, or did they arrive in
    time?

  1. Where were Essex and Katherine when the bell rang?

  2. Where did they leave their coats?

  3. Where were their seats? (Where did they sit?)

  1. Who did they show their tickets to when they entered
    the theatre? Who showed them to their places?

  2. Why do you think Essex thought the Bolshoi would
    have been spoilt?

  1. How did the theatre impress Essex?




  1. Was the theatre packed, or were there many empty
    seats in the house?

  2. What effect did the first act of "Giselle" have
    upon the English diplomat? Was he enthusiastic over
    the performance or was he grudging in his appreciation
    of it?

  3. Was this Essex's first acquaintance with Soviet bal­
    let art?

  4. Had Essex seen anything like Soviet ballet in London?

  5. How did Soviet art impress Katherine?

19

Exercise II. Make up sentences of your own using the follow­ing words and phrases:

seat, box, foyer,- attendant, cloakroom, opera, ballet, drama, overture, act, to go to see a play, to collect one's coat.

Exercise III. Paraphrase the following sentences, giving sub­stitutes for the italicized parts:

  1. The theatre was full to its six tiers, and below in the
    parterre there was not an empty seat.

  2. The music and theatre are quite as good.

  3. We waited at the counter to gather our coats.

  4. They were not late for the performance.

5. They missed the overture.

  1. At the entr'acte she said to him: "This is the best opera
    I've ever seen."

  2. An attendant showed them to their seats.

  3. Where did you sit?

  4. What play was given at the Moscow Art Theatre that
    night?




  1. I've bought two seats for "Giselle."

  2. Our seats were just off the aisle.

Exercise IV. Tell "Essex at the Bolshoi" in more colloquial language (see the Notes).

Exercise V. Use ticket or seat or both as allowed by the mean­ing:

  1. When I arrived home I suddenly missed the ... for
    "Winter's Tale."

  2. Although the bell was ringing, two-thirds of the ...
    were still empty.

  3. The ... were uncomfortably narrow.

  4. He had reserved ... for a play that was opening the
    following Sunday.

  5. What are ... usually made of? As a rule they are made
    of paper or cardboard.

  6. Are the ... at the Moscow Art Theatre upholstered or
    not?

  7. The best ... in the theatre are very expensive.

  8. Where are the ... ? — They are in my handbag.

26

9. Our ... were in Row 6, just off the aisle.

  1. I have bought two ... for Chekhov's "Uncle Vanya."

  2. Book me two ... for tonight, please.

  3. All ... are sold at the box-office or through theatre
    agencies.

Exercise VI. Use the theatre or a theatre as required:

  1. There used to be ... in Atkins Street.

  2. On the nights she played ... was always "packed.

  3. She told me she had seen you at ... some days before.

  4. Many of the spectators left ... before the end of the
    performance.

  5. There is nothing like ... for me.

  6. The company were playing in ... smallish... seating 900.

  7. ... is a true communal art.

  8. Have you ever been in ... when no play was being
    performed?

  9. There's no place quite like Moscow for ... .




  1. Do you care for ... ?

  2. The heat in ... was stifling.

  3. All those who had the good fortuneto see Yermolova
    even once on the stage left ... with an indelible memory.

Exercise VII. Insert the missing words, giving several vari­ants where possible:

  1. I'm going to the Moscow Art Theatre ... Chekhov's
    "The Three Sisters."

  2. We ... for the opera and missed the overture.

  3. I have bought two ... for the theatre.

  4. What do you think of the play? Have you ever seen
    anything ... it?

  5. Let's have some refreshments during the ... .

  6. We had very good ... in the very middle of Row 3 in
    the stalls.

  7. Let's wait in the foyer, the cloakroom is ... .

  8. The attendant ... us to our seats.

  9. Although I'm very fond of music, I don't ... for opera.




  1. When do performances at the Moscow theatres ... ?

  2. They are waiting in the cloakroom to ... their coats.

  3. The ... asked us to show him our tickets.

  4. What's ... at the Maly tonight?

21

  1. Many masterpieces of world ... have been shown at
    the Moscow Art Theatre.

  2. He was detained at the University and joined us in
    our box when ... Two had already begun.

Exercise VIII. Learn by heart and practise in dialogue form:

ABOUT THE THEATRE

Mrs. S, Charles, we've been in London over a week and we

haven't done any shows yet! Don't you think it's

time we went to one? Mr. S. Certainly, my dear. What would you like to see?

Opera, musical comedy, review, variety show, or

a comedy? Mrs. S. Well I think that as the opera season will soon be

over we might go and see "Carmen" tomorrow if

you can get scats. Mr. S. What part of the house do you prefer? Gallery, pit,

upper circle, dress-circle, stalls, or a box? Mrs. S. Well, if you can get dress-circle seats that will do

nicely. I suppose they're fairly expensive? Mr. S. I should say they are. All theatres are expensive

nowadays. I'll phone for seats. Mrs. S. I do hope you'll be able to get them. "Carmen" is

my favourite opera.

(After Brush Up Your English)

Exercise IX. A. Translate the following questions into Eng­lish and answer them:

  1. Часто ли вы ходите в театр?

  1. Были ли вы когда-нибудь в Малом оперном театре в
    Ленинграде и как он вам поправился?

  1. Вы были вчера на «Красном цветке», не правда ли?

  2. Что вы больше любите, оперу или балет?

  3. Какая ваша любимая опера (балет)?

  1. На каких местах вы больше всего любите сидеть в
    Большом театре?

  2. Что вы обычно делаете во время антрактов, остаетесь
    ли вы на своем месте или выходите в фойе?

22

  1. Кто помогает нам найти свое место, когда мы опаз­
    дываем на спектакль?

  2. Где мы раздеваемся в театре?

10. Приносите ли вы в театр свой бинокль или вы берете бинокль у гардеробщика?

В. Translate into English:

A. Я слышал, что ты вчера ходила в театр.

B. Да, я была в Большом театре.

A. На чем?

B. На «Ромео и Джульетте».

A. А кто танцевал Джульетту?

B. Уланова.

A. Вот счастливая! Я сам давно мечтаю посмотреть
«Ромео и Джульетту» с Улановой, но все как-то не полу­
чается.* Один раз у меня были билеты, но из-за болезни
Улановой спектакль был отменен. С кем ты ходила, и
какие у вас были места?

B. Мы ходили с братом. Места у нас были очень хоро­
шие — десятый ряд партера, так что было очень хорошо
видно.

A. Ну, ты, конечно, получила огромное удовольствие.

B. Еще бы. Я ничего подобного в жизни не видала.
Уланова в роли Джульетты просто изумительна.

A. А я-то думал, что ты не любишь балета; мне всегда
казалось, что тебе больше нравится опера.

B. Да что ты! Ничего подобного.** Я, конечно, люблю
оперу, но все-таки для меня нет ничего лучше балета.

Exercise X. A. Describe a visit to the theatre.

В. Make up a dialogue based on the text "Essex at the Bolshoi."

* Somehow I never manage. ** Oh, no! By no means!

Lesson Three

THE TENNENT COMPANY IN MOSCOW

In December 1955, Moscow theatre-goers saw "Hamlet" played by an English company under the direction of pro­ducer Peter Brook. The performances were given at the Mos­cow Art Theatre. The troupe was formed especially for the staging of "Hamlet" by the Tennent TheatreCompany found­ed by H. Beaumont in 1942.

Theatre organization in England is such that only a few theatres have their own permanent company. Troupes are formed for a season, sometimes for a single play, the director inviting from various places the actors whom he considers most suitable to appear in the
  1   2   3   4   5   6   7   8   9   10   11



Похожие:

И. Э. Волкова Художественный редактор iconСодержание стр. Предисловие 3 I. Дипломатические отношения и международное право 11
Редактор А. В. Гусляев. Художественный редактор Л. М. Воронцова. Технический редактор М. Г. Чацкая. Корректоры Т. В. Болдырева, Н....
И. Э. Волкова Художественный редактор iconАппаратные средства
Главный редактор Заведующий редакцией Руководитеть проекта Научный редактор Литературный редактор Художник Иллюстрации Корректоры...
И. Э. Волкова Художественный редактор iconПоздравляем Волкова Дмитрия, ученика 7а класса с удачным выступлением на областной конференции "Отечество" в секции "Литературное краеведение" с работой "Как путешествовал Пушкин" (руководитель Волкова Т. А.). Дима награждён диплом
Поздравляем Волкова Дмитрия, ученика 7а класса с удачным выступлением на областной конференции "Отечество" в секции "Литературное...
И. Э. Волкова Художественный редактор iconТ. С. от 2008 г. Зам директора по увр программа
Одной из задач современной школы является обеспечение вхождения учащихся в информационное общество, овладение каждым школьником новыми...
И. Э. Волкова Художественный редактор iconС мейерхольдом к сожалению, здесь представлена только одна глава: школа «Художественный театр»
«Художественный театр»— замедленно и благоговейно произносила моя сестра-курсистка, приехавшая из Москвы, или любая провинциальная...
И. Э. Волкова Художественный редактор iconViii международная научная конференция «Художественный текст: балто-славянские связи» (Вильнюс)
Приглашаем принять участие в VIII международной научной конференции «Художественный текст: балто-славянские связи», которая состоится...
И. Э. Волкова Художественный редактор iconСмотрите в кинотеатре «Художественный» и в других кинотеатрах гуп «Московское кино» с 11 ноября художественный фильм совместного производства Германии, России, Великобритании «последнее воскресение»
В ролях: Кристофер Пламмер Лев Толстой, Хелен Миррен Софья Толстая, Aнна-Мари Дафф Саша Толстая, Пол Джиаматти Владимир Чертков,...
И. Э. Волкова Художественный редактор iconУрок квн «Путешествие в волшебную страну» по книге А. М. Волкова «Волшебник Изумрудного города»
«Путешествие в волшебную страну» по книге А. М. Волкова «Волшебник Изумрудного города»
И. Э. Волкова Художественный редактор iconА. А. редактор газеты «Экология Балтики» идетского экологического журнала «у лукоморья». 15. 30 15. 45 презентация
Роль сми в сохранении природного и культурного наследия в Ладожском регионе – Гайдаш А. А. редактор газеты «Экология Балтики» и детского...
И. Э. Волкова Художественный редактор iconДокументы
1. /открытый урок Текстовый редактор/Обобщение по теме Текстовый редактор.doc
2.
И. Э. Волкова Художественный редактор iconСогласовано» «Согласовано» Учредитель и главный редактор Директор лагеря Координатор газеты «Безнең юл». Председатель клуба «Шарыкъ» г. Казани Союза Татарской Молодежи «Азатлык» «Танбатыр» Шайхутдинов Д. И. Р. З. Юлдашев С. Закиров
«Согласовано» «Согласовано» «Согласовано» Учредитель и главный редактор Директор лагеря Координатор
Разместите кнопку на своём сайте:
Документы


База данных защищена авторским правом ©podelise.ru 2000-2014
При копировании материала обязательно указание активной ссылки открытой для индексации.
обратиться к администрации
Документы