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  1. And to balance it a photograph of Roger, their son.
  2. Emblazoned on the doors. Julia got in.
  3. You would have thought his observation had taken a weight off her mind.
  4. Michael to a glass of dry white wine, and he left the room.
  5. The boy gulped down what was left in his cup and Julia rose from the table.
  6. She gave him another sort of smile, just a trifle roguish; she lowered her
  7. She had an impulse to look at some of her old photographs. Michael was a
  8. Which was fortunate, for he was a bad actor.
  9. Two, when he sent them home to learn their parts and rest before the evening's
  10. Her own career had been singularly lacking in hardship. She was born in
  11. Made deliberate that wonderful sense of timing which Julia had by instinct
  12. Critic. I've lived in the theatre since I was a kid just out of a board school, and
  13. Nora in The Doll's House, Ann in Man and Superman, and Hedda Gabler.
  14. Langton and then go to London.
  15. It gave Julia a good deal of satisfaction to discover that Michael's father was a
  16. Months, and you know what the public is, unless they see you all the time they
  17. She did everything to seduce him except slip into bed with him, and she only
  18. Strong parts. There's no doubt in my mind that it would be much easier to
  19. Years had been content to work in his garden and play bridge at his club.
  20. Ingenuous girl who had lived a quiet country life.
  21. The idea of his going on the stage; you see, on both sides of the family, we're
  22. Mrs. Gosselyn told her about India, how strange it was to have all those
  23. He was too honourable to take advantage of her.
  24. Was a burden or a responsibility. He might desert her for a game of golf, or to
  25. Able to live on fifty dollars a week at the outside, they say the Americans are
  26. And Julia knew that he had not made good.
  27. America, they all called me a tight-wad but I just let them talk, I've brought
  28. Unattractive as all that? It's so humiliating to have to beg for love. Misery,
  29. Acting, and she could not resist what might very well be his dying request.
  30. Breezy manner and military carriage he looked every inch a soldier.
  31. He pressed his mouth to hers. She was filled on a sudden with a faint disgust.
  32. Born. Until all that's over and done with I'm going to make you sleep by
  33. Who was interested not in him but in Julia.
  34. When Michael went away to the war Dolly pressed her to come and live in her
  35. Dolly liked him much, and as for supposing she was in love with him — why,
  36. She sat on the bed and took Julia's hand.
  37. Penny a pound cheaper than elsewhere.
  38. Look at her without suspecting that she had a high blood pressure.
  39. And he felt that he could more profitably spend his evenings, when Julia was
  40. Love had died she felt that life had cheated her. She sighed.
  41. Evie was Julia's dresser and maid. She had come to her first at Middlepool
  42. Paper, and Julia, stripped, while the masseuse rubbed her long slim legs and
  43. Them copy her clothes. She was always beautifully dressed.
  44. Julia felt a slight sickness in the pit of her stomach; she remembered now who
  45. But Charles Tamerley knew that his wife had deliberately tried to humiliate
  46. Owed it. She knew that he had fallen in love with her some time before he
  47. She heard Michael come in and called out to him.
  48. She persuaded him that she had a duty to Michael, and then there was the
  49. Her she was conscious of their glances.
  50. When she arrived at the house and had paid off the taxi she suddenly


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Which was fortunate, for he was a bad actor.



 

He could not subdue (он не мог подавить) his natural flamboyance (свою

природную: «натуральную» чрезмерную пышность /манер/), and every part he

played (и каждую роль, которую он играл), though he studied it with care (хотя

он и изучал ее тщательно; with care — с заботой, тщательно, осторожно)

and gave it thought (и обдумывал ее), he turned into a grotesque (он превращал:

«поворачивал» в гротеск). He broadened every gesture (он утрировал:

«расширял» каждое движение), he exaggerated every intonation (он

преувеличивал каждую интонацию). But it was a very different matter (но /это


 

Мультиязыковой проект Ильи Франка www.franklang.ru


 



 

 

было/ совершенно другое дело) when he rehearsed his cast (когда он

репетировал со своим актерским составом; cast — театр. распределение

ролей, список действующих лиц и исполнителей); then he would suffer nothing

artificial (тогда он не терпел ничего фальшивого; to suffer — страдать,

испытывать, терпеть, artificial — искусственный, поддельный). His ear was

perfect (у него был совершенный слух), and though he could not produce the

right intonation himself (и, хотя он не мог воспроизвести правильную

интонацию сам) he would never let a false one pass (он никогда не позволял

фальшивой /интонации/ проскользнуть; to pass — идти, проходить,

проезжать) in anyone else (у кого-либо еще).

"Don't be natural (не будьте естественными; natural — природный,

натуральный, прирожденный)," he told his company (говорил он своей

труппе). "The stage isn't the place for that (на сцене этому не место: «сцена не

место для этого»). The stage is make-believe (сцена — это фантазия; make-

believe — притворство, выдумка, «понарошку»). But seem natural (но

кажитесь естественными)."

 

subdue [sqb'dju:] flamboyance [flxm'bOIqns] grotesque [grqV'tesk]

gesture ['dZestSq] artificial ["Q:tI'fIS(q)l]

 

He could not subdue his natural flamboyance, and every part he played,

Though he studied it with care and gave it thought, he turned into a grotesque.

He broadened every gesture, he exaggerated every intonation. But it was a

Very different matter when he rehearsed his cast; then he would suffer

Nothing artificial. His ear was perfect, and though he could not produce the

Right intonation himself he would never let a false one pass in anyone else.

"Don't be natural," he told his company. "The stage isn't the place for that.

The stage is make-believe. But seem natural."


 

 

Мультиязыковой проект Ильи Франка www.franklang.ru


 

 



 

He worked his company hard (он заставлял своих актеров изнурительно

работать; to work hard — тяжело, изнурительно работать). They rehearsed

every morning (они репетировали каждое утро) from ten till two (с десяти до

двух часов), when he sent them home (когда он распускал их по домам:

«отсылал домой») to learn their parts (учить их роли) and rest before the

evening's performance (и отдохнуть перед вечерним представлением). He

bullied them (он грубо с ними обращался; to bully — издеваться, запугивать,

стращать), he screamed at them (он кричал на них), he mocked them (он

насмехался над ними). He underpaid them (он недоплачивал им). But if they

played a moving scene well (но если они играли волнующую сцену хорошо) he

cried like a child (он плакал, как ребенок), and when they said an amusing line (и

когда они говорили забавную реплику: «строчку»; amusing — смешной,

занимательный; to amuse — забавлять) as he wanted it said (как он хотел,

чтобы она была сказана) he bellowed with laughter (он ревел со смехом = от

смеха; to bellow — мычать, реветь, орать). He would skip about the stage on

one leg (он прыгал по сцене на одной ноге; to skip — прыгать, скакать,

бежать вприпрыжку) if he was pleased (если он был доволен), and if he was

angry (а если он был сердит) would throw the script down (швырял сценарий на

пол: «вниз») and stamp on it (и топал по нему ногами; to stamp —

штамповать, маркировать, топать ногами) while tears of rage (пока слезы

гнева) ran down his cheeks (лились: «бежали вниз» по его щекам).

 

performance [pq'fO:mqns] bully ['bVlI] laughter ['lQ:ftq]

 

He worked his company hard. They rehearsed every morning from ten till



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