Listen to each other's narrative but don't interrupt except to find out more details.

Sit in a circle. Every alternative person is A and the person on his or her right is B. If you are A, tell the person on your right a story, an experience, a joke or a funny story about a walking tour. If you are B, listen to the story from the person on your left and tell it to the person on your right. And so on round the class until the story comes back to the person who told it first. Was the story you told recognizable on its return? Tell the others how it had changed. Then it's B's turn to tell a story to the person on his or her right. And so on round the circle.

Role-Playing.

Characters:

Mrs. Alia Cordon— a discussion leader. A writer, aged 40, has been a member of various hiking tours, knows their advantag­es and disadvantages.

Mrs. Jane Wilson — a scientific research worker. A lot of time in the library, laboratories. An experienced hiker. Hiking is her hobby

Mrs. Margaret Drew— a teacher, rather advanced in years. Used to be a devoted hiker in her youth.

Mrs. Pauline Jenkins — a librarian, aged 25, a bit shy. Wishes to have a lot of friends. Is a bit tired of her everyday routine. Feels rather lonely.

Miss Ann Thompson — a very experienced psychologist. The­oretically believes that hiking can be of some help to her patients but thinks that it can hardly be regarded as an ideal way of spending a holiday.

Miss Helen Green — a romantic girl of 20. Loves nature. Tries and sees beauty everywhere. Writes poems about nature, sunsets, seasons of the year, birds, flowers, etc. Is not in good health. Thinks hiking can help.

Mrs. Katherine Morrow — a housewife. Has a large family. Is knee-deep in children having four of them. Very busy at home. A bit tired of cooking and the rest of housework.

Miss Diana Hubble — a student, goes on a hike every other weekend. Has been to various places. Is fond of independence and freedom of choice.

Mrs. Morris Cardew— a journalist, travels much by air, by train, by car, by sea. Always pressed for time. Very seldom has a possibility to walk. Doesn't think it necessary.

[1] Mrs. Alia Gordon (opening)

When the people of the future will turn their attention to the twentieth century, they will surely choose the label "legless peo­ple" describing us, people of the 20th century. Don't you think hik­ing is certainly a way out of this dangerous situation and thus a splendid way to have a holiday. People of the 20th century are al­ways in a hurry; they are short of time, travel at high speeds. Very often we are deprived of the use of our eyes. In our hurry we fail to see anything on our way. Hiking seems to be the ideal way to see everything with our own eyes, to touch everything. Certain incon­veniences. Lack of great comfort. Dependence on weather and oth­er things. But a lot of advantages. So, the pleasure one gets from hiking is worth the trouble taken.

2.Mrs. Jane Wilson

1) 20th century people forget how to use their legs. Men, wom­en, children move in cars, buses, etc. from a very early age. In houses— lifts, escalators to prevent people from walking. Hiking — a superb thing in this respect. (Ask for Mrs. Margaret Drew's opinion.)

2) Inconveniences are not great, though they exist. Modern camping sites are well equipped with hot and cold running water, shops, even dance floors. Tents — comfortable. Portable furniture is light. Gas stoves — excellent coffee and tender steaks. (Ask for Pauline Jenkins's opinion.)

3.Mrs. Margaret Drew

1)Hiking — an ideal thing but only for the young. A lot of in­conveniences, significant for those not already young. Mosqui­toes, packing and re-erecting a tent, many heavy things to carry. No real comfort. Is it a kind of a holiday of relaxation to overcome lots of difficulties and inconveniences?

2)Agrees that hiking is cheap. But you get what you pay for. When hiking you don't pay much and you don't get much.

 

4.Mrs. Pauline Jenkins

1)Hotels provide more comfort, greater variety of food. But re­mote strained atmosphere of hotels, cold and unfriendly formal greetings between the residents. Hiking — enormous opportunity to meet different people, share your pleasures, make friends.

2)Hiking provides you with a real change from everyday liv­ing. You get up earlier, go to bed earlier, develop a hearty appe­tite. (Ask for Mrs. Katherine Morrow's opinion.)

 

5Miss Ann Thompson

1)Ideal way of spending a holiday is getting relaxed and away from other people. Camping sites are crowded. Many people go on a hike. You must meet a lot of people, get acquainted with them. Making friends is not an easy task for everybody. Even if a place is beautiful, all the beauty is gone because of the number of people. (Ask Helen Green's opinion.)

2)A person on a hike is quite helpless. Something goes wrong, help is required. Where to go? What to do? (Ask Diana Hubble or the hostess of the discussion.)

 

6.Miss Helen Green

1)Nothing can spoil the beauty of nature. Walking is the best way to enjoy nature. Can explore beautiful distant places which cannot be done in a car, or sitting in front of the "one-eyed" monster — TV set.

Being in the open air is an advantage in itself. You improve your health, you train your body, you develop your senses.

 

7.Mrs. Katherine Morrow

1)Hiking is not a real holiday for the family. No real rest. Wife has to cook, to do washing up under primitive conditions. No change'for her. You sit in front of TV, you see beautiful places, you read a book, you live wonderful lives and you have a real hol­iday. Hotels also provide rest and freedom for everyone in the family.

2)Much depends upon the weather. Rain, drizzle, dull weather, erecting a wet tent are not enjoyment in themselves.

 

8.Miss Diana Hubble

1)Hiking is an ideal way of spending a holiday. You are free to choose. You don't like the place or it is too crowded, you can sim­ply get up and go or stay as long as you like. You're the boss, have tremendous mobility.

2)A person seldom goes on a hike alone, in isolation. Telephone booths, people eager to cooperate. Hiking has other advantages. The cheapest way of spending a holiday. Don't think much about the clothes. Any clothes will do.

 

9.Mrs. Morris Cardew

1)Hiking seems to be ideal, though hardly is. The 20th century is the time of great emotional stress. Trying to escape from crowds, from everyday routine people put themselves into the circum­stances they are not used to. Strain in itself.

2)In the 20th century a lot of information is required. Even on a holiday you must see many things, must move fast, be able to get to many places. Hiking, walking can hardly be of any help.

Unit Two

SPEECH PATTERNS

1. If I were asked to cite a single reason, for your pre­eminence, I would point to your creation of a special world.

If you could have shot this in colour, would you have?

I would certainly give you the number of my room if I had one.

 I wouldn't have gone, if I hadn't made up my mind.

 

2. When I was a child, I suffered from an almost complete lack of words.

The headmaster showed a considerable lack of cooperation with the governing body.

The plants died for lack of water. His lack of wit was quite evident.

3. Was it only the accident of the puppet theatre that sent you the way of theatre rather than of books?

It was a foolish rather than a malicious remark. He relied on his wit rather than his knowledge. She is ignorant rather than stupid.

4. Do you direct it in your head? — In a way.

Did the play impress you? — In a way. The work was well done in a way. He is clever in a way.

5. What I need is to come in contact with others.

What the child needs is punishment. What the fellow needs is self-respect. What I need is advice.

6. My impulse has nothing to do with intellect or symbolism.

It has nothing to do with the original plan.

My decision has nothing to do with your explanation.

The answer has nothing to do with the question

EXERCISES

1. Complete the following sentences using the Speech Patterns:

1. It was... a witty remark. 2. The officer is stubborn.... 3. The family suffered for.... 4. If I were invited to the concert.... 5.... is courage. 6. The article... art. 7. She is known for.... 8.... to go and see for yourself. 9. She is an experienced secretary.... 10. Your re­mark... with the problem under discussion. 11. She should be in­terested.... 12. He spoke ungraciously.... 13. She is poor and al­ways feels.... 14. If Pete had many friends.... 15.... is discretion. 16.... with Adam's arrival. 17. I liked Maurice... until I got to know him. 18. The children were noisy.... 19.... I would say he was right.

2. Paraphrase the following sentences using the Speech Patterns:

1. He is not concerned with their accommodation. 2. I think the room was not so cold, it was very damp. 3. The girl said she liked hiking, though she disliked certain things. 4. I can't accept her ex­planation, but at least I can understand it. 5. I wish you hadn't made an appointment with the lady, but I am not in your place. 6. The girl wasn't plain. She was clumsy. 7. I have no dealings with the papers. 8. He showed that he was unable to find words with which to express his thanks. 9. I think the group requires some extra help. 10. He is a boring person. I don't find him amusing. 11. She has no relationship with the Browns. 12. Everybody knows that she has little wisdom. 13. She requires a good rest. 14. The good-natured March girls managed to lead interesting lives de­spite the family's reduced circumstances. 15. "Tell me all about it, Jo. I must know everything."

3. Translate the following sentences into English:

1. Он скорее мудрый человек, нежели хитрый. 2. Безусловно, ваши предложения по-своему значимы, но они не затрагивают глу­бины процесса. 3. Его речь характеризуется недостатком такта. 4. Если не будет удушающей жары, мы отправимся в путешествие уже завтра утром. 5. Отсутствие сплетен — вот, что вам необходимо. 6. Ко мне это не имеет никакого отношения. 7. Мы согласны, что это скорее допустимое решение проблемы, а не разумный выход из по­ложения. 8. Этот художник по-своему талантлив, но мне его картины не нравятся. 9. Недостаток времени не позволил молодому ученому завершить эксперимент. 10. Ваши замечания не затрагивают суще­ства ее работы. 11. Спокойный, надежный человек для руководства отделом— вот, что им нужно. 12. Если бы ты не положила столько соли в воду, огурцы бы не горчили. 13. Я бы охарактеризовала его скорее как опытного педагога, а не как талантливого учителя. 14. За­труднительное материальное положение в семье не помешало ей по­лучить высшее образование.

4. Make up two sentences of your own on each pattern.

5. Make up a dialogue using the Speech Patterns and act it out.

TEXT TWO

ENCOUNTERING DIRECTORS

By Ch.Samuels

Interviewing Ingmar Bergman

(Extract)

Ingmar Bergman — a famous Swedish film director, writer and theatre pro­ducer was born in 1918. His psychological films are well known all over the world. Crisis (1945), Smiles of Summer Night (1956), Seventh Seal (1957), Wild Strawber­ries (1958), The Silence (1963), Autumn Sonata (1978) are only a few films made by him. I.Bergman himself wrote the scripts for most of his films and won awards for many of them. In the focus of his attention people's fates are put. The people usu­ally have a lot of problems. Bergman focuses attention on the fate of individuals, on their problems and their search for life's meaning. Many of his»characters are isolated people who suffer from the harsh realities of the cruel world in which they live. It is difficult to understand the majority of Bergman's films since the distinc­tion between reality and the world of the imagination is blurred.

Samuels: Mr. Bergman, I'd like to start with a rather general question: If I were asked to cite a single reason for your pre-emi­nence among film directors, I would point to your creation of a spe­cial world. You are, in fact, very much like a writer. Why didn't you become one?

Bergman: When I was a child, I suffered from an almost com­plete lack of words. My education was very rigid; my father was a priest. As a result, I lived in a private world of my own dreams. I played with my puppet theatre.

S.: And —

B.: Excuse me. I had very few contacts with reality or channels to it. I was afraid of my father, my mother, my elder brother — eve­rything. Playing with this puppet theatre and a projection device I had was my only form of self-expression. I had great difficulty with fiction and reality; as a small child I mixed them up so much that my family always said I was a liar.

S.: I want to interrupt you for just a moment. This description of your childhood resembles one classic description of the genesis of a writer. Was it only the acqident of the puppet theatre that sent you the way of theatre rather than of books?

B.: No. When I began writing I liked it very much. But I never felt that writing was my cup of tea. And I always lacked words; it has always been very difficult for me to find the word I want. I have always felt suspicious both of what I say and what others say to me. I always feel something has been left out. When I read a book, I read very slowly. It takes me a lot of time to read a play.

S.: Do you direct it in your head?

B.: In a way. I have to translate the words into speeches, flesh and blood. I have an enormous need for contact with an audience, with other people. For me, words are not satisfying.

S.: With a book, the reader is elsewhere.

B.: When you read, words have to pass through your conscious mind to reach your emotions and your soul. In film and theatre, things go directly to the emotions. What I need is to come in con­tact with others.

S.: I see that, but it raises a problem I'm sure you've often dis­cussed. Your films have emotional impact, but since they are also the most intellectually difficult of contemporary films, isn't there sometimes a contradiction between the two effects? How do you react when I say that while I watched "The Rite", my feelings were interfered with by my baffled effort at comprehension?

B.: Your approach is wrong. I never asked you to understand, I ask only that you feel.

S.: And the film asks me to understand. The film continuously makes us wonder what the spectacle means.

B.: But that's you.

S.: It's not the film?

B.: No. "The Rite" merely expresses my resentment against the critics, audience, and government, with which I was in constant battle while I ran the theatre. A year after my resignation from the post, I sat down and wrote the script in five days. The picture is just a game.

S.: To puzzle the audience?

B.: Exactly. I liked writing it very much and even more making it. We had a lot of fun while we were shooting. My purpose was just to amuse myself and the audience. Do you understand what I mean?

S.: I understand, but certain members of the audience can't re­sist pointing out that Bergman is sending messages, he thinks, but what are they and why?

B.: You must realize — this is very important! — I never ask people to understand what I have made. Stravinsky once said, "I have never understood a piece of music in my life. I always only feel."

S.: But Stravinsky was a composer. By its nature, music is non- discursive; we don't have to understand it. Films, plays, poems, novels all make propositions or observations, embody ideas or be­liefs, and we go to these forms —

B.: But you must understand that your view is distorted. You be­long to a small minority that tries to understand. I never try to un­derstand. Music, films, plays always work directly on the emotions.

S.: I must disagree. I'm afraid I didn't make myself clear —

B.: I must tell you before we go on to more complicated things: I make my pictures for use! They are made to put me in contact with other human beings. My impulse has nothing to do with intel­lect or symbolism: it has only to do with dreams and longing, with hope and desire, with passion.

S.: Does it bother you when critics interpret you through these items?

B.: Not at all. And let me tell you, I learn more from critics who honestly criticize my pictures than from those who are devout. And they influence me. They help me change things. You know that ac­tors often change a film, for better or worse.

S.: May I ask you how "The Touch" differs from the one you in­tended?

B.: I intended to paint a portrait of an ordinary woman, for whom everything around was a reflection. Bibi Anderson is a close friend of mine — a lovely and extremely talented actress. She is to­tally oriented towards reality, always needing motives for what she does. I admire her and love her. But she changed the film. What Bibi Anderson did made the film more comprehensible for ordi­nary people and more immediately powerful. I agreed with all her changes.

S.: You use music less and less in your films. Why?

B.: Because I think that film itself is music, and I can't put music in music.

S.: If you could have shot all your films in colour, would you have?

B.: No. Because it is more fascinating to shoot in black and white and force people to imagine the colours.

S.: Do you work in colour now— to any degree — because you feel that the audience demands it?

B.: No. I like it. At the beginning, it was painful, but now I like it.

S.: Why do you use so much dialogue in your films?

B.: Because human communication occurs through words. I tried once to eliminate language, in "The Silence", and I feel that picture is excessive.

S.: It's too abstract.

B.: Yes.

S.: Some people have criticized your films for being too theatri­cal — particularly — the early ones. How do you answer this charge?

B.: I am a director —

S.: But aren't the two forms different?

B.: Completely. In my earlier pictures, it was very difficult for me to go from directing in the theatre to directing films. I had al­ways felt technically crippled — insecure with the crew, the camer­as, the sound equipment — everything. Sometimes a film succeed­ed, but I never got what I wanted to get. But in "Summer Interlude", I suddenly felt that I knew my profession.

S.: Do you have any idea why?

B.: I don't know, but for heaven's sake a day must always come along when finally one succeeds in understanding his profession! I'm so impressed by young directors now who know how to make a film from the first moment.

S.: But they have nothing to say. (Bergman laughs.)

ESSENTIAL VOCABULARY

Vocabulary Notes

1. point n 1) the sharp end., tip, as the point of a pin (needle, knife, stick, pen, pencil, weapon, tool, etc.); 2) a small dot or a full stop, as 4.6 (four point six); 3) the essential thing, part, the most important thing in a speech, story, action, etc., e. g. The point is that it is no ordinary case. I don't see your point. You've missed the whole point, to the point relevant to the subject, as to come (to stick, to be) to the point, e. g. I wish he would come to the point, to speak (to stick, to keep, to be) to the point, e. fir. Your answer is not to the point, ant. to be off the point, e. g. Your answer is off the point, to make a point of doing smth. to regard smth. as essential, e. g. He made a point of reading English every day. 4) a single item; to agree (or disagree) on some points, e. g. We disagreed on several points. 5) special quality, as one's weak (strong) point, e. g. Singing is not his strong point. 6) purpose, use, e. g. What's your point in coming? There is no (not much) point in doing that. His remarks lack point. 7) a precise or particular moment, as a turning point in one's life, e. g. At this point in his reflections he paused. When it came to the point (when the moment for action came), he refused to help, to be on the point of doing smth. to be about to do smth., e. g. He was on the point of leaving. 8) a stage or degree, as the boiling (freezing, melting) point; 9) a unit measuring gain or loss, e. g. He scored 23 points. 10) a position from which something is viewed, as a point of view, e. g. My point of view is different.

point vt/i 1) to call attention to, e. g. He pointed to a large building. 2) to point out. to show, e. g. The teacher pointed out several mistakes in the composition (to the student).

pointless adj without aim or purpose, meaningless, as pointless questions, remarks.

2.dream n 1) thoughts or images passing through the mind during sleep, as to have bad dreams, to awake from a dream, e. g. I had a funny dream last night. 2) something imagined, e. g. She had dreams of being an actress.

dream vi 1) to imagine, fancy, e. g. Don't waste time dreaming. I never dreamt of suspecting him. 2) to have dreams, see in a dream, e. g. He often dreams. Stop dreaming and get on with your work.

dreamy adj given to reverie, fanciful, vague, as dreamy eyes, e. g. John lay listening to the dreamy music.

dreamer n one who dreams; one who has impractical or romantic ideas or plans.

3.mix vt/i 1) to make or prepare by putting together, e. g. Mix the eggs with milk before you fry them. Oil and water will not mix. 2) to mix up to confuse, e. g. Don't mix up these two words. She mixes up these two sounds. 3) to be mixed up in smth. to be involved in smth., e. g. I won't be mixed up in this affair.

mixer n 1) a kitchen utensil or an electric appliance having one or more beaters and used in mixing, beating, blending, etc. foodstuffs. 2) one who associates with others in society, e. g. He is a good mixer.

mixed adj 1) consisting of different things of the same general kind, as a mixed school, mixed feelings, e. g. We were a mixed company. 2) confused, as to get mixed, e. g. Everything has got mixed in my head. You are getting mixed.

4.suspicion n a feeling of doubt or distrust, as to arouse suspicion, e. g. His manner aroused suspicion, above suspicion, e. g. He is above suspicion, on suspicion, e. g. He was arrested on suspicion of murder, under suspicion, e. g. He is under suspicion.

suspicious adj 1) causing suspicion, e. g. A suspicious-looking man was seen in the street. 2) feeling or showing suspicion, to be (to get, to feel) suspicious of smb. about smth. e. g. The people were at first suspicious of the newcomer.

suspect vt 1) to believe in the possible or probable guilt of smb.; to suspect smb. of smth., e. g. He was suspected of theft. 2) to think likely, to suppose, e. g. I suspected that she was insincere.

5.conscious adj 1) feeling, realizing, as to be conscious of one's mistakes, guilt, faults, danger, smb.'s presence, a pain, etc.; syn. aware; ant. unconscious, unaware; 2) having the power to know that one can think and feel, e. g. Man is a conscious being. He spoke with conscious superiority. 3) (predic.) having possession of one's senses, e. g. The old man was conscious to the last. ant. unconscious, e. g. She lay unconscious until the doctor gave her an injection, self-conscious too keenly aware of one's own manners and appearance, e. g. She is too self-conscious to feel at ease among strangers.

consciousness n the state of being conscious; to lose consciousness to faint, e. g. The blow caused him to lose consciousness, to recover (regain) consciousness to come to, e. g. He did not recover (regain) consciousness until two hours after the accident.

6.interfere vi 1) to meddle, as to interfere in a matter (in an argument, in one's affairs); 2) to hinder, to bother, as to interfere with one's independence, e. g. Don't interfere with me. Something always interferes. I hope I'm not interfering?

interfering adj meddling, trying to get involved in other people's affairs or to give them advice, as interfering people.

interference n interfering, e. g. He hated interference.

7.constant adj 1) going on all the time; frequently recurring, as constant complaints, e. g. He suffered from constant sleeplessness. 2) firm, faithful, unchanging, as a constant friend, e. g. He has been constant in his devotion to scientific studies, syn. permanent; ant. temporary.

constantly adv continuously, frequently, e. g. His name is constantly mentioned in the gossip column.

8.resist vt 1) to oppose, to use force against in order to prevent the advance (of), as to resist the enemy (attack, authority, police), e. g. The man was killed resisting arrest. 2) to try not to yield to, to keep oneself back from, as resist temptation, e. g. He could resist no longer. She can't resist chocolates (to resist is often used in the negative). He couldn't resist her suggestion (will, charm, fascination), one cannot resist doing smth. one cannot keep from doing smth., e. g. She couldn't resist making jokes about his boldness.

resistance n 1) power of resisting, as to break down the enemy's resistance, to make (offer) no (little) resistance; 2) opposing force, as wrinkle-resistance fabric, e. g. An aircraft has to overcome the resistance of the air. She baked the pie in a heat-resistant dish, the line of least resistance direction in which a force meets least opposition, e. g. At the beginning of his career Andrew Manson never followed the line of least resistance.

irresistible adj too strong, convincing, delightful, etc. to be resisted, as irresistible desires (temptation, fascination), e. g. On this hot day the sea was irresistible.

9.reflect vt/i 1) to throw back (light, heat or sound); to give back an image, e. g. The mirror reflected her face. 2) to cause, to be ascribed to, e. g. His behavior reflects his upbringing. His success reflects credit on his trainer. 3) to think back, to ponder, to meditate, to consider fully, e. g. The old man reflected on his past. I must reflect upon what answer to make.

reflection n 1) the act of reflecting, as the reflection of light;

2. profound thinking or consideration, e. g. He was lost in reflection, on reflection after consideration, e. g. On reflection he agreed with our plan.

3. an opinion arrived at after consideration, e. g. We are waiting to hear his reflections on the book's merits.

10.admire vt to look at with pleasure (satisfaction, respedt or wonder), as to admire smb.'s presence of mind (smb. for his courage); to admire a picture (a statue, etc.).

admirable ['aedmsrabl] adj very good indeed, e. g. I think it would be an admirable opportunity.

admiration n wonder excited by beauty or excellence, as to have (to feel) admiration for smb., to win (to arouse) smb.'s admiration.