- •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
IX. A) Read Sir Laurence Olivier's answers given by him in a newspaper interview:
Question: How has television affected the theatre?
Answer: Well, its popularity means that millions of people take drama for granted. With hours and hours every week, the viewer can have a bellyful of drama. If you're going to attract a man and his wife away from their TV set on a winter's night, and hold them to a play in a theatre, you've got to grip them and keep them gripped.
Now, you do have certain advantages in the theatre. The telly is perfect for the things that have been specially built for it. But the TV screen cannot give you the peculiar condition of the theatre, where we are allowed to get back to life-size people in relation.
Q.: Is there any particular hobby-horse that you ride in your work as actor and director?
A.: I rely greatly on rhythm. I think that is one thing I understand — the exploitation of rhythm, change of speed of speech, change of time, change of expression, change of pace in crossing the stage. Keep the audience surprised, shout when they're not expecting it, keep them on their toes — change from minute to minute.
What is the main problem of the actor? It is to keep the audience awake.
O.: How true is it that an actor should identify with a role?
A.: I don't know. I can only speak for myself. And in my case it's not 'should', it's 'must'. I just do. I can't help it. In my case I feel I am who I am playing. And I think, though I speak only from my own experience, that the actor must identify to some extent with his part.
In "Othello" the passage from the handkerchief scene through to flinging the money in Emilia's face is, pound by pound, the heaviest burden I know that has been laid upon me yet by a dramatist.
And Macbeth. Do you know what is the first thing to learn about playing Macbeth? To get through the performance without losing your voice. (From
X. Translate the following fragments into Russian (in writing)!
A. There are many people whom the theatre fills with an excitement which no familiarity can stale. It is to them a world of mystery and delight; it gives them entry into a realm of the imagination which increases their joy in life, and its illusion colours the ordinariness of their daily round with the golden shimmer of romance. W. S. Maugham
B. In the Theatre we are proud to serve, ideas merely play like summer lightning over, a deep lake of feeling; the intellect may be quickened there, but what is more important is that the imagination of the spectator begins to be haunted, so that long after he has left the play-house the actors are still with him, still telling him of their despair and their hope. J. B. Priestley
Хi. Speak individually or arrange a discussion on the following:
1. Why is it that people go to the theatre? What do they look for there?
2. What is your favourite theatre and why?
3. The fragment above (Ex. XII B) describes the case when "the imagination of the spectator begins to be haunted so that long after he has left the play-house the actors are still with him..." Is the experience familiar to you? After what play did you have it last time?
4. What is the romantic side of the theatre?
5. What is the educational role of the theatre? Do you agree with Priestley (see the fragment in Ex. XII B) that the theatrical art appeals rather to the spectator's imagination and feelings than to his intellect? Give your reasons.