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ТОП 10 на сайтеПриготовление дезинфицирующих растворов различной концентрации
Техника нижней прямой подачи мяча.
Франко-прусская война (причины и последствия)
Организация работы процедурного кабинета
Смысловое и механическое запоминание, их место и роль в усвоении знаний
Коммуникативные барьеры и пути их преодоления
Обработка изделий медицинского назначения многократного применения
Образцы текста публицистического стиля
Четыре типа изменения баланса
Задачи с ответами для Всероссийской олимпиады по праву
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ЗНАЕТЕ ЛИ ВЫ?
Влияние общества на человека
Приготовление дезинфицирующих растворов различной концентрации
Практические работы по географии для 6 класса
Организация работы процедурного кабинета
Изменения в неживой природе осенью
Уборка процедурного кабинета
Сольфеджио. Все правила по сольфеджио
Балочные системы. Определение реакций опор и моментов защемления
Synonyms within the following pairs differ by style. Point out which of them are bookish, colloquial or neutral.
(Consult the context in which they are used in the text.)
picture house — cinema to get on in years — to age to endeavour — to try
to sing (perform) — to render desolate — sad to clap — to applaud
XVI. Go over the text again and try to discuss the following:
1. How does the author describe the music-hall? Point out the contrasting characteristics. What kind of atmosphere is created by the author in the fragment? By what devices is the effect achieved?
2. How does the author make the reader understand that Rosa is a kind-hearted girl, capable of understanding and compassion? Which method of characterization does the author use?
3. Comment on the selection of words in the fragment.
4. Comment on the syntax of the fragment and its stylistic value.
XVII. a) Translate the text into Russian:
It was time to go. Francis Woburn put on his enormous hat, started talking about himself again, and they walked down to the Coliseum. He was much taller than she had supposed him to be — though perhaps it was the absurd hat — and she felt a little dumpy thing, though a nice sensible little dumpy thing, as she trotted along by his side, pretending to listen, but busy all the time telling herself that here she was, Rose Salter, going to the Russian Ballet at the Coliseum, with a tall, superfine, very Londonish young man. It was all very strange indeed.
They climbed to one of the balconies of the gigantic theatre, which seemed to Rose the most splendid and exciting place she had ever seen. Dozens of players down below were tuning up. All round them, superfine persons, not unlike Francis Woburn, were studying their programmes. Then the lights died away, except those that illuminated the curtain so beautifully. The music began, and Francis Woburn stopped talking. Rose instantly forgot his very existence. The music was very strange, not like any she had heard before, and not at all comfortable and friendly and sweet. Rose did not know whether she liked it or not; she could not keep it at a distance to decide about it; she was simply carried away and half drowned by the colossal waves of sound; she was overwhelmed by its insistent beat and clang. The curtain was magically swept away, and the stage blazed at her. She was staring at a new country, a new world. It was as if the last great wave of music had taken her and flung her over the boundaries of this world. The little people in these new countries lived their lives only in movement. Sometimes they were dull. Sometimes they were silly. But at other times they were so beautiful in their energy and grace, so obviously the creatures of another and better world than this, a world all of music and colour, that Rose choked and ached at the sight of them.
People clapped. Francis Woburn clapped. But Rose did not clap. Just putting her hands together, making a silly noise, was not good enough for them. She gave them her heart.
(From "They Walk in the City" by J. B.Priestley)
b) Comment on the following aspects of the fragment:
1. How does the author describe the music? What does he mean by saying that the music was "not at all comfortable and friendly and sweet" ? How do you understand the words "She could not keep it at a distance to decide about it"? Does music ever affect you in the same way? What kind of music does? 2. Explain the words: "The stage blazed at her." "The little people in these new countries lived their lives only in movement." "...the creatures of another and better world than this, a world all of music and colour."
c) Comment on the literary merit and style of the fragment. Do you think that the author has managed to create a vivid and emotionally charged picture of a ballet performaAcet (Give reasons for whatever you say.) Which lines do you consider especially expressive? Why? What stylistic devices can you point out in the extract?
XVIII. Write an essay describing a person's first visit to a ballet (opera, drama) performance or to a symphony concert. Try to imitate the style and manner of the fragment above (you may borrow some phrases from it).
LABORATORY EXERCISES (I)
1. Listen to the text "Rose at the Music-Hall", mark the stresses and tunes. Repeat the text following the model.
Re-word the given sentences, making all the necessary changes.
Extend the following sentences according to the model.
4. Write a spelling-translation test: a) translate the phrases into English; b) check them with the key.
5. Listen to the text "Chaplin" or the story of another famous actor. Pick out the main points from each paragraph, write a summary of the text In not more than 10 sentences. Discuss the text in class.
TEXT A. DRAMA, MUSIC AND BALLETIN BRITAIN
The centre of theatrical activity in Britain is London. There are about 50 principal theatres in professional use in or near the West End and some 20 in the suburbs.
Most of these are let to producing managements on a commercial basis but some of them are permanently occupied by subsidised companies, such as the National Theatre which stages classical and modern plays in its complex of three theatres on the South Bank of the River Thames. The former Old Vic Company, which was Britain's major theatrical touring company, has now taken up residence in the National Theatre, changing its name to the National Theatre Company. In addition the Royal Shakespeare Company presents Shakespearean plays at Stradford-upon-Avon and a mixed repertoire in London.
Outside London there are many non-repertory theatres which present all kinds of drama and also put on variety shows and other entertainments. Recently there has been a growth in the activity of repertory companies which receive financial support from the Arts Council and the local authorities. These companies employ leading producers, designers and actors, and the standard of productions is generally high. Some companies have their own theatres, while others rent from the local authorities.
Music of all kinds — "pop" music, folk music, jazz, light music and brass bands — is an important part of British cultural life. The large audiences at orchestral concerts and at performances of opera, ballet and chamber music reflect the widespread interest in classical music.
The Royal Opera House, Covent Garden, London, which receives financial assistance from the Arts Council, gives regular seasons of opera and ballet. It has its own orchestra which plays for the Royal Opera and the Royal Ballet. Both companies have a high international reputation. The English National Opera which performs in the London Coliseum gives seasons of opera and operetta in English. It also tours the provinces.
In 1998 the Government announced the formation of the Young Music Trust to develop the musical skills of the young with some money from the National Lottery, and donations from music charities and companies involved in music business. The national youth orchestras of Great Britain have established high standards.
There are several thousand amateur dramatic societies in Britain. Most universities have thriving amateur drama clubs and societies. Every year an International Festival of University Theatre is held.
TEXT B. AT THE BOX-OFFICE
— I want four seats for Sunday, please.
— Matinee or evening performance?
— Evening, please.
— Well, you can have very good seats in the stalls. Row F.
— Oh, no! It's near the orchestra-pit. My wife can't stand loud music.
— Then I could find you some seats in the pit.
— I'm afraid that won't do either. My father-in-law is terribly short-sighted. He wouldn't see much from the pit, would he?
— Hm... Perhaps, you'd care to take a box?
— Certainly not! It's too expensive. I can't afford it. — Dress-circle then?
— I don't like to sit in the dress-circle.
— I'm afraid the only thing that remains is the gallery.
— How can you suggest such a thing! My mother-in-law is a stout woman with a weak heart. We couldn't dream of letting her walk up four flights of stairs, could we?
— I find, sir, that there isn't a single seat in the house that would suit you.
— There isn't, is there? Well, I think we'd much better go to the movies. As for me, I don't care much for this theatre-going business. Good day!
TEXT С. PANTOMIMES
Sally: Tony, there's an advertisement in the local paper saying that the theatre in the High Street is putting on "Cinderella". I haven't seen a pantomime for years and years. Do you fancy going?
Tony: Yeh, that sounds good. I don't think I've seen one since I was about fourteen — except for one on ice when I was crazy about skating, and that's not quite the same thing, is it?
Sally: No. Ice shows don't have all the wonderful traditional scenery and that gorgeous theatre atmosphere.
Tony: Pantomimes are awfully old, if you think about it, aren't they? I mean with a girl playing the part of the principal boy, all dressed up in tights and tunic ...
Sally: Mm, and the dame parts taken by men. I've never seen "Cinderella". I suppose the stepmother and the ugly sisters are the men's parts in that.
Tony: Aladdin used to be my favourite, when a comedian played the Widow Twankey. And when Aladdin rubbed the magic lamp an enormous genie appeared ...
Sally: And the audience booing the wicked uncle, and joining in the singing of the popular songs they always manage to get into the play somehow.
Tony: Yes! I wonder how on earth they manage to fit today's pop songs into pantomime stories?
Sally: Well, why don't we get tickets and find out?
Tony: Yes, OK. Come on, then.
ESSENTIAL VOCABULARY (II)
act υ gallery n properties acting n
interval n (props) n balcony n lighting n
repertoire n box n matinee n row n
cast n orchestra-pit n stage-manager n company n
pit n stalls n costumes n produce υ
(theatre-) house n director n producer n treatment n
dress-circle n production n
professional theatre the setting of a scene repertory company
light and sound effects amateur theatre to produce a play
I. Answer the following questions:
A. 1. What is the centre of theatrical activity in Great Britain? 2. Which theatrical companies receive financial support from Arts Council? 3. What is meant by a repertory theatre? 4. What do you know about the Royal Shakespeare Company? 5. What kind of performances are staged in the Royal Opera House? 6. Are there many theatres in or near the West (East) End of London? 7. What kind of music is popular in England? 8. Are there any amateur theatres in Great Britain? 9. What leading actors of the British theatre do you know? 10. How are the British Arts Councils going to celebrate approach of the millennium?
B. 1. How is the Russian theatre organized? 2. What Russian theatres are best known in Russia and abroad? 3. Is attendance at our theatres high? 4. How many times a month (a year) do you go to the theatre? 5. Are there any amateur theatres in Russia?
II. Try your band at teaching:
A. Preparation, a) Find picture representing a theatre-house, b) Study the footnotes on p. 327 describing a theatre-house and its parts, c) Write questions to provoke answers containing all the new words.
B. Work in class. Ask your questions, listen to the an- -swers and correct the student's mistakes.
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