- •Unit five
- •I speech patterns
- •Exercises
- •I. Paraphrase the following using Patterns 1-3:
- •II. Make the following sentences emphatic using Pattern 4 as in the example:
- •III. Translate these sentences into English:
- •IV. Answer the questions: use would or used to.
- •V. Make up short situations (no more than two or three sentences) or dialogues to illustrate Patterns 1-4 text. A freshman's experience From "Daddy Long-Legs" by Jean Webster
- •Vocabulary notes
- •I. Read the text and do the following
- •II. Answer the following questions:
- •III. Explain (in English) what is meant by and give Russian equivalents of:
- •IV. Paraphrase the following sentences:
- •V. A) Write 20 questions about the second part of the text of Unit Five using the following words and phrases:
- •B) Ask your fellow-students to give their responses.
- •VI. Translate the following sentences into English:
- •IX. Revise Essential Vocabulary (I) and translate the following:
- •X. Compose 20 sentences about the text, using modal verbs must, can, may, ought, might with the perfect infinitive:
- •XI. Translate the text into Russian:
- •Topic: education
- •Text a. Higher education and teacher training in great britain
- •Text b. Dialogue
- •Text с. How to get a degree
- •Essential vocabulary (II) Words and Word Combinations
- •Exercises
- •I. Study Text a and write English equivalents of the following words and phrases. Transcribe them:
- •II. Write 15 questions on Text a, using new words and expressions in each question. Ask your classmates to reply them. Summarize what you have learned about the British system of higher education.
- •III. Study Texts в and с and write English equivalents of the following words and phrases:
- •IV. Ask your fellow-students:
- •V. Retell Text в in indirect speech using new words and word combinations.
- •VI. Fill in prepositions. Ask the others to give their responses to the given sentences so as to make up micro-dialogues:
- •VII. Make up dialogues, using Essential Vocabulary on the topic Suggested situations:
- •VIII. A) Read and translate into Russian: Oxford
- •B) Argue the pros and cons of: 1. Tutorial system. 2. Students' uniform. 3. Residential colleges.
- •IX. Read the text. Comment on its content: Students in Tents
- •Unit nine
- •I. Speech patterns
- •Exercises
- •I. Change the sentences, using the patterns:
- •II. Think of a situation. Suggest a beginning matching up the end. Use the proper pattern:
- •III. Translate the following into English. Use the patterns:
- •IV. Respond to the following statements and questions, using the patterns:
- •V. Write 12 questions suggesting answers with these patterns. (The questions in Ex. IV may serve as a model.) text. Rose at the music-hall From "They Walk in the City" by j. B. Priestley
- •Vocabulary notes
- •Essential vocabulary (I) Words
- •Word Combinations
- •Exercises
- •VII. Translate these sentences into English, using the word way.
- •VIII. Insert prepositions or adverbs where necessary:
- •Iх. Make up a story, using the words and phrases from Essential Vocabulary I.
- •X. Translate the following sentences into English:
- •XI. Test on synonymy.
- •1. Prove that the following words are (or are not) synonyms:
- •2. Synonyms within the following pairs differ by style. Point out which of them are bookish, colloquial or neutral.
- •XII. Go over the text again and try to discuss the following:
- •XIII. A) Translate the text into Russian:
- •B) Comment on the following aspects of the fragment:
- •Text b. At the box-office
- •Text с. Pantomimes
- •I. Answer the following questions:
- •II. Learn Text в by heart. Act out this dialogue.
- •III. Retell Text с in your own words.
- •IV. Translate the following into English:
- •V. Read the following and either agree or disagree with the statements.
- •VI. A) Describe your impressions of a play (opera, ballet) you have seen. Follow the plan below:
- •B) Make up dialogues discussing the points above.
- •VII. A) Supply articles where necessary:
- •VIII. Give a free translation of the following passage. Make use of the English phrases given at the end:
- •IX. A) Read Sir Laurence Olivier's answers given by him in a newspaper interview:
- •X. Translate the following fragments into Russian (in writing)!
- •Хi. Speak individually or arrange a discussion on the following:
- •Studies of written english
B) Make up dialogues discussing the points above.
VII. A) Supply articles where necessary:
Chekhov's play "... Sea-gull" was first staged in ... Alexan-drinsky Theatre in... Petersburg. It was ... complete failure.... play was ruined by ... dull and ... clumsy production. It was staged in ... "good old traditions" whereas ... Chekhov's plays were quite unlike any other plays written before and demanded ... new forms and devices.... Petersburg audience did not understand "... Sea-gull." There was ... laughter in most poetical scenes and many of... audience left long before ... end of ... play. It was ... cruel blow to Chekhov. However, in... Moscow Art Theatre, which was not ... year old then (it was in 1898), ... same play directed by K. S. Stanislavsky was ... tremendous success.... Stanislavsky's production of "... Sea-gull" opened ... new epoch in ... history of ... theatre and symbolized... triumph of... new and ... progressive forms over ... old ones.
In ... memory of that event... white sea-gull spreads its wings on ... curtain of ... Moscow Art Theatre.
VIII. Give a free translation of the following passage. Make use of the English phrases given at the end:
Обстоятельства, при которых ставилась «Чайка», были сложны и тяжелы. Дело в том, что Антон Павлович Чехов серьезно заболел. У него произошло осложнение туберкулезного процесса. При этом душевное состояние его было таково, что он не перенес бы вторичного провала «Чайки», подобного тому, какой произошел при первой ее постановке в Петербурге. Неуспех спектакля мог оказаться гибельным для самого писателя. Об этом нас предупреждала его до слез взволнованная сестра Мария Павловна, умолявшая нас об отмене спектакля. Между тем, он был нам до зарезу необходим, так как материальные дела театра шли плохо и для поднятия сборов требовалась новая постановка. Предоставляю читателю судить о том состоянии, с которым мы, артисты, выходили играть пьесу на премьере, собравшей далеко не полный зал. Стоя на сцене, мы прислушивались к внутреннему голосу, который шептал нам: «Играйте хорошо, великолепно, добейтесь успеха, триумфа. А если вы его не добьетесь, то знайте, что по получении телеграммы любимый вами писатель умрет, казненный вашими руками. Вы станете его палачами».
Как мы играли — не помню. Первый акт кончился при гробовом молчании зрительного зала. Одна из артисток упала в обморок, я сам едва держался на ногах от отчаяния. Но вдруг, после долгой паузы, в публике поднялся рёв, треск, бешеные аплодисменты. Занавес пошел ... раздвинулся ... опять задвинулся, а мы стояли, как обалделые. Потом снова рев ... и снова занавес ... Мы все стояли неподвижно, не соображая, что нам надо раскланиваться. Наконец, мы почувствовали успех и, неимоверно взволнованные, стали обнимать друг друга. М. А. Лялиной, которая играла Машу и своими заключительными словами пробила лед в сердцах зрителей, мы устроили овацию. Успех рос с каждым актом и окончился триумфом. Чехову была послана подробная телеграмма.
(Станиславский К. С. Моя жизнь в искусстве)
Use the following:
the circumstances ... were complicated and painful, his deep depression, he might have not survived another failure, implored us to cancel the performance, we badly needed it, to raise the box office returns, the inner voice, murdered by your own hands, the first act concluded amid death-like silence, to faint, I was on my last legs, there was an uproar, a crash, a storm of applause, the curtain went up ... then down again, we were standing stunned, we were supposed to take the curtain-calls, melted the ice, to cheer, each act heightened the success.