UNIT 1

‘LOVE THE ART IN YOURSELVES…’

Task1 – Изучающее чтение: текст ‘About Stanislavsky’

Task 2 – Ознакомительное чтение ‘Stage movement’, ’Fighting on stage’

Task 3 – Беседа на темы ‘My scientific research work/investi-gations’; ‘My translation report’

Лексика: Какие словари использовать для перевода текста?

Полисемия: Policemy/Многозначность английских слов

TASK # 1

П рочитать и перевести приведенный оригинальный текст со словарем. (На экзамене по кандидатскому минимуму аспи-рантам (соискателям) будет предложен текст объемом не ме-нее 2000-2500 печатных знаков). На выполнение подобного задания на экзамене отводится 50-60минут.

TEXT#1 ABOUT STANISLAVSKY

H e was born Konstantin Sergeevich Alekseev on January 5, 1863, in Mos-cow, Russia. His father, Sergei Alekse-ev, was a wealthy Russian merchant. His mother, Elizaveta Vasilevna (nee Yakovleva) was French-Russian and his grandmother was a notable actress in Paris. Young Stanislavsky grew up in a bilingual environment. He was fond of theatre and arts, studied piano and singing, and per-formed amateur plays at home with his elder brother and two sisters. His interests included the circus, the ballet, and puppetry. He studied business and languages at Lasarevsky Institute, the most prestigious private school in Moscow. He did not graduate, instead he continued self-education while traveling in several European countries and studying at libraries and museums. Even-tually Stanislavsky joined his father's company, became a success-ful businessman.

During the 1880s Stanislavsky made a fortune in the international business and trade, he was awarded the Gold Medal at the World's Fair in Paris. At the same time, he was an active patron of arts and theatre in Russia.

In 1885, Stanislavsky briefly studied at the Moscow Theatre School, where students were encouraged to mimic the theatrical tricks and conventions of their tutors. Disappointed by this app-roach, he left after two weeks. Instead, he devoted particular at-tention to the performances of the Mali Theatre, the home of psychological realism in Russia. He took a stage name Stanislav-sky. By the age of 25, Stanislavsky was well known as an amateur actor.

In 1888, he founded the ‘Society for Arts and Literature’ in Mos-cow that would unite amateur and professional actors and artists. The society's school was to offer classes in dramatic art, the history of costume, make-up, drama, Russian literature, aesthetics, fen-cing and dancing. On 22 June 1897, it was Stanislavsky's historic meeting with Vladimir Nemirovich-Danchenko, which lasted 18 hours and after their discussion, they decided to set up the Mos-cow Public Accessible Theatre, which came to be known the Mos-cow Art Theatre. Vladimir Nemirovich-Danchenko was a succes-sful playwright, theatre critic, theatre director and acting teacher. Later the Moscow Art Theatre made a profound influence on thea-trical art all over the world. They opened with staging of ‘Tsar Feodor’, a play by Aleksey Tolstoy then staged ‘The Seagull’ writ-ten by Anton Chekhov especially for the Moscow Art Theatre.

In 1900, Stanislavsky brought the Moscow Art Theatre on tour in Sevastopol and Yalta in Crimea, where he invited Anton Chekhov to see several plays. Chekhov admired the company's stage pro-duction of his plays, and respected the theatrical achievements of Stanislavsky and Vladimir Nemirovich-Danchenko.

Chekhov's legendary collaboration with the Moscow Art Theatre was fruitful for both sides: it resulted in creation of such classics as 'The Seagull', 'Uncle Vanya', 'The Three Sisters', and 'The Cherry Orchard', the four big plays which remained in the repertoire ever since. Stanislavsky described his approach as 'spiritual realism'. He wrote several works, including ‘An Actor Prepares’, ‘An Ac-tor's Work on a Role’, and his autobiography, ‘My Life in Art’.

1) Translate the words and expressions from the text

Expressions	Translation
1) a wealthy merchant
2) a notable actress
3) bilingual environment
4) amateur plays
5) to make a fortune
6) to be an active patron of arts and theatre
7) to be disappointed by the approach
8) to devote attention to
9) to make a profound influence
10) to take a stage name
11) to bring theatre on tour
12) to respect the theatrical achievements
13) to admire the company’s stage productions
14) legendary collaboration
15) ‘spiritual realism’
16) to be fruitful for both sides
2) Answer the following questions

1. What was Stanislavsky’s background? What was he fond of in his childhood?

2. How did Stanislavsky continue his education after Lazarevky Institute?

3. Why did Stanislavsky get the Gold Medal at the World Fair in Paris?

4. Why did Stanislavsky leave the Moscow Theatre School after

two weeks studies?

5. When did Stanislavsky set up the Society for Arts and Litera-ture?

6. What theatre was the home of psychological realism in Russia?

7. What subjects did the actors study at the school of the Society for Arts and Literature?

8. What plays did the Moscow Art Theatre stage at the very beginning?

9. Which four Chekhov’s plays have remained in the repertoire of the Moscow Art Theatre ever since?

10. Where did Stanislavsky bring the theatre on tour in 1900?

11. Why was Chekhov’s collaboration with the Moscow Art Theatre fruitful for both sides?

12. How did Stanislavsky describe his approach?

3) Find the misprints in the following sentences, a letter in a wrong place may change the sense of а sentence

1) Stanislavsky’s father, Sergei Alexeev, was a healthy merchant.

Healthy – wrong, wealthy- correct

2) Stanislavsky was awarded the Good Medal at the World's Fair

in Paris.

________________wrong _____________ correct

3) The students were encouraged to mimic the theatrical trucks

and conventions of their tutors.

________________wrong _____________ correct

4) Stanislavsky was a sun of a rich industrialist.

________________wrong _____________ correct

5) He invited Anton Chekhov to sea several plays.

________________wrong _____________ correct

6) He wrote several works, including ‘An Actor Prepares’, ‘An

Actor's Work on a Hole’, and his autobiography, ‘My Life in

Art’.

________________wrong _____________ correct

7) The Stanislavsky’s historic meeting with Vladimir Nemirovich-

Danchenko was hell on 22 June 1897.

________________wrong _____________ correct

8) ‘My Line in Art’ is an autobiographical book of a great author.

________________wrong _____________ correct

9) One of the characteristics of most one-art plays is that they are

written in a concise manner.

________________wrong _____________ correct

Какие словари использовать для перевода текста?

Для эффективного и быстрого перевода научного текста правильный выбор словаря, отвечающий назначению и степени владения иностранным языком, имеет важное зна-чение. Английская лексикография неимоверно богата; огромное количество всевозможных словарей предлагается нашему вниманию, однако начинающему переводчику следует научиться пользоваться параллельными, т. е. пере-водными словарями. Одним из наиболее полных и ценных словарей является Англо-русский словарь проф.В. К. Мюллера, имеющий более 7000 слов. Словарь дает несколько вариантных значений, из которых нужно выбрать правиль-ное, наиболее подходящее в контексте данного перевода. Помимо приведенного словаря полезным может оказаться Англо-русский Русско-английский театральный словарь Э. Перель, (2005)

Англо-русский и русско-английский словарь ‘ложных дру-зей переводчика’ под ред. В. В. Акуленко (1969),

Работая со словарем:

1) Обращайте внимание на словарные пометы, для определения, какой частью речи является данное слово;

2) Встречая в тексте знакомое слово, которое, на ваш взгляд, ‘не подходит по смыслу’, проверяйте по словарю, не имеет ли оно еще какого-либо другого значения.

TASK #2

П рочитать и пересказать приведенные тексты. (На экзамене по кандидатскому минимуму аспирантам (соискателям) бу-дет предложен текст объемом не менее 1000 печатных зна-ков). На выполнение подобного задания на экзамене отво-дится 10-12 минут.

TEXT #2 STAGE MOVEMENTS

_________________________________________

A ctors not only memorize and speak lines. On stage, they must also demonstrate the action of the play through purposeful stage movement. Every theatrical per-formance will require the actors to learn and repeat their ‘blocking’ or stage movement. Special theatrical circumstances, however, also require specific types of stage movement such as slapstick, mime and stage combat. Blo-cking is a theatre term which refers to the precise movement and positioning of actors on a stage in order to facilitate the perfor-mance of a play, ballet, film or opera. The term ‘blocking’ derives from the practice of the 19th century theatre directors such as Sir W. S. Gilbert who worked out the staging of a scene on a mini-ature stage using blocks to represent each of the actors. In contem-porary theatre, the director usually determines blocking during rehearsal, telling actors where they should move for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene.

4) Answer the following questions

1. What is this text about?

2. In what way must the actors demonstrate the action of the play?

3. What will theatrical performance require the actors to learn?

4. What specific types of stage movement do you know?

5. What is blocking?

6. Where does the term ‘blocking’ derive from?

7. How did Sir W. S. Gilbert work with ‘blocking’?

8. When does the director determine ‘blocking’ in the contemporary theatre?

9) What does the director tell the actors during the rehearsals?

5) Find out which sentences below are true (T) and which are false (F)

1) Actors only memorize and speak lines.

2) In every theatrical performance the actors should learn and

repeat their ‘blocking’ or stage movement.

3) Slapstick, mime and stage combat are specific types of stage

movement.

4) ‘Blocking’ is not a theatre term.

5) Precise movements facilitate the performance of a play,

ballet, film or opera.

6) Sir W. S. Gilbert worked out the staging of a scene on a

miniature stage.

6) Complete the following sentences

1) On stage, actors must demonstrate ________________________ .

2) Special theatrical circumstance require _____________________.

3) Slapstick, mime and stage combat are ______________________.

4) The term ‘blocking’ is ____________________________________.

5) Sir W. S. Gilbert _________________________________________.

6) In contemporary theatre, directors _________________________

7) Directors tell actors ______________________________________

8) The actors should ________________________________________

TEXT # 2A FIGHTING ON STAGE

_______________________________________________________

O f course, real fighting on stage is not advisable, simply because it would be dangerous for the per-formers involved. Theatre creates convincing illusions; combat is no exception to this. Therefore, an entire array of practices has been developed by directors and cho-reographers. Usually, they incorporate actual moves from martial arts or other disciplines, but change them to be less dangerous for the actors involved. These techniques are known as ‘stage com-bat.’ One of the more common types of stage combat is stage fencing. Stage fencing uses many of the moves and techniques common in traditional fencing, but modifies them. For example, a move may be altered so that the sword used does not travel near the actor's face. Stage fencing may incorporate different weapons. Among these are the stage foil, the dagger, and the broadsword. Stage combat moves vary depending on what sword is used; for example, a ra-pier fight will be more ‘nimble’ than one using larger weapons. The swords may either be real or props constructed to look like weapons. The latter, of course, is less dangerous for the actors, but requires more work to seem real. In most productions, the stage fencing is developed by the chore-ographer of the play or musical. For larger scale productions, or for routines involving many intricate techniques, a separate fight choreographer may be used. These choreographers are trained es-pecially in stage combat, and are more skilled in developing flash-ier routines. Stage combat, when executed in the theatre, is highly routine. Although the moves may seem thrilling and immediate, they have been rehearsed time after time at varying speeds.

Improvisation cannot be a part of swordfights on stage, simply be-cause it would be dangerous to introduce an unexpected change when swords are involved. Despite this routine, however, when done well, stage combat can be spectacularly done and extremely convincing.

7) Find these following English phrases and expressions in the text

Expression	Translation
1) быть опасным для исполнителя
2) создать убедительную иллюзию
3) боевое искусство
4) сценический бой
5) различное оружие
6) бутафрская рапира
7) более масштабная постановка
8) сложная техника
9) репетировать сценический бой на разной скорости
10) убедительный сценический бой

8) Answer the following questions

1) Why is not real fighting on stage advisable?

2) Why has entire array of practices been developed by

directors and choreographers at the theatre?

3) Where do the choreographers borrow actual moves for stage

combat?

4) What is one of the more common types of stage combat?

5) What weapons may stage fencing incorporate?

6) What stage weapons are mentioned in the text?

7) Who develops the stage fencing in most productions?

8) What are the choreographers especially trained in?

9) Why have the moves been rehearsed at varying speeds?

10) Why сan’t the improvisation be a part of swordfights on stage?

9) Complete the following sentences

1) Real fighting on stage is not advisable because _______________

2) Theatre creates __________________________________________

3) ‘Stage combat’ is _________________________________________

4) Stage fencing is __________________________________________

5) The stage fencing is developed _____________________________

6) Different weapons may be _________________________________

7) Improvisation cannot be __________________________________

8) Choreographer of a play __________________________________

9) Although the moves may seem thrilling and immediate, ______

10) Improvisation cannot be a part of swordfights on stage,

because _________________________________________________

10) Read the above text and express the main ideas using the following sentences

1) The present text is about _________________________________.

2) The first part of the text is focused on ______________________.

3) Then the author describes (suggests, states that) _____________.

4) After that the author passes on to (description of, statement of,

analysis of ______________________________________________.

5) At the end of the text the author pays attention to the fact that __________________________________________________________.

6) I have read the text with great interest because ______________.

11) Translate the Russian text into English and retell it

Use the following words:

Reason – причина, основание; principal subject- базовая дисциплина; interaction – взаимодействие; background – фон; it’s important – важно; musically educated body-музыкально образованное тело; tricky partner – коварный партнер; carelessness – небрежность; crucial moment-ответственный момент

СЦЕНИЧЕСКОЕ ДВИЖЕНИЕ И МУЗЫКА

_______________________________________________________

Сегодня достаточно оснований считать предмет ‘Сценичес-кое движение’ ведущим в формировании пластической куль-

туры актера. Это базовая дисциплина, освоение которой обес-печивает активное и интересное существование актера на сцене.

Взаимодействие с музыкой на занятиях сценическим движе-нием может быть в трех вариантах: когда музыка - фон для движения; когда движение - фон для музыки; когда движение - это музыка.

Важно, чтобы у актера было музыкально образованное тело, способное не только слышать музыку, но впустить ее в себя и удержать, чтобы вместе с ней эмоционально окрасить движе-ние. Музыка - партнер коварный, не прощающий небрежного вза-имодействия с нею. Небрежность может возникнуть от не-подготовленности актера к работе с музыкой. Поэтому вклю-чение музыки в занятия должно произойти в тот момент, ко-гда для этого есть необходимая готовность.

Начало работы с музыкой - момент ответственный и деликат-ный. Чем интереснее и серьезнее музыка, тем сложнее исполь-зовать ее в занятиях. Использование случайной музыки, вмес-те с неточно поставленной задачей, может разрушить ранее освоенные формы движения.

‘Уроки сценического движения’

Н.Карпов

TASK # 3

П обеседовать с преподавателем на тему о Вашей научной ра-боте и реферате, выполненном в виде перевода с английско-

го на русский язык. Допишите приведенные предложения. Составьте свое сообщение для экзамена.

SOME CONSEPTS ABOUT MY SCIENTIFIC RESEARCH WORK/ SCIENTIFIC INVESTIGATIONS

1) I graduated from ______________________ in ______________

2) I have always been interested in scientific research and______

3) My major point of interest is in the field of ________________

4) The object of my exploration is ___________________________

5) The task of my study is to show __________________________

6) The detailed analysis reveals ____________________________

7) The problem which I am setting is _______________________

8) The method of research depends on ______________________

9) The problem of ________ is one of the most important.

10) The key question is ____________________________________

11) The problem requires a detailed study.

12) It is a very difficult period to study.

13) The topic of my dissertation is currently significant in inter-preting a very important historical period.

14) A fairly wide acquaintance with the literature of ___________

has convinced me of _______________________________________

15) In my dissertation the particular attention is paid to _________________________________________________________

16) Much has been said and written about ____________________

17) Much has been done in the field of_______ but undoubtedly much still remain to be done________________________________

18) Although a number of books exist concerning _______, this is the first paper to be devoted solely to ________________________

19) I work under the guidance of professor ____________________

20) My tutor is a Candidate /Doctor of Science, Head of __________________________________________________________.

21) The research I am doing now is a part of a bigger work _________________________________________________________ .

22) The subject-matter of my scientific research is ______________

_________________________________________________________.

23) My scientific research is devoted to an important problem into which too few scientists have researched until now.

24) Earlier studies of the subject show that the problem has not been properly explored yet.

25) I must say that my theme is closely connected with ________

26) I have already published _______________________________.

27) I have participated in different scientific conferences such

as _____________________________________________________.

28) After my post-graduate course, I intend _________________.

29) The results and conclusions of my thesis may be interesting and useful not only for ________________but also for ________.

SOME CONSEPTS ABOUT MY TRANSLATION REPORT

1) I have translated (the article/ chapter from the book/ report)

_______________ from Russian into English.

2) My translation report concerns _________________________.

3) The English language helps me (doesn’t help) in my research

work because ________________________________________.

4) I begin my translation report with _______________________

5) My translation report covers ____________________________

6) You will learn from my translation report that ____________

7) The book (article, ________________) is a well- written survey.

8) The book (article/ chapter from the book/ report) is written

in a comprehensive style with numerous illustrations ______

9) On the basis of this view, it is possible to ___________________

10) It is generally accepted (acknowledged/ agreed) ___________

11) As everybody knows __________________________________

12) It is a well-known fact that ______________________________

13) The author used a lot of valuable information of ___________

14) As far as I know this event refers to the time when _________

15) In this connection I would like to give some comment on ___

16) Speaking of _____ I would like to make some comment on __

17) It was observed in my translation report __________________

18) It has been stressed throughout the book __________________

SOME SUITABLE EXPRESSIONS TO USE AS SENTENCE STARTERS IN YOUR TOPIC

Expression	Translation
1) It is well begin with a little clarification	Следует начать с небольшого разъяснения
2) From the very start it is nece- sary to point out	C самого начала необходимо отметить
3) The first point to be made is	Прежде всего, необходимо сказать
4)It may be useful first to say	Прежде всего, необходимо сказать
5) This brings us to	Это приводит нас к
6) From this it follows that	Из этого следует
7) We turn now to	Теперь обратимся к
8) The next point concerns	Следующий вопрос касается
9) As it has been mentioned earlier	Как было сказано ранее
10) In my report I have tried to show that	В своем докладе я пытался показать, что
11) In this connection it should be noted that	В этой связи необходимо отметить, что
12) Speaking of _____ I would like to make some comment on	Говоря о ____, я хотел бы сказать несколько слов о
13) It would be interesting to mention that	Интересно было бы упомянуть о
14)I bear in mind that	Я имею в виду, что
15) This may serve as a good example	Это может послужить хорошим примером

LEXICOLOGY: POLYSEMY

А нглийский язык характерен наличием в нем большого количества многозначных слов, другими словами, имеющих более, чем одно значение. Например, глагол run имеет 179 значений: бежать, гнать, спасаться бегством, двигаться, скользить, течь, таять, руководить, скисать и.т.д.

глагол take – 127 значений: брать, овладевать, ловить,

присваивать, отбирать, покупать, выигрывать, доставлять,

взимать, и.т.д.

глагол break – 123 значения: ломать, нарушать, ослаблять, разрушать, дрессировать, расторгать, понижать в звании, и.т.д.

Данная особенность представляет собой определенную трудность для переводчика. Значение многозначного слова

в предложении раскрывается через контекст, ситуацию общения, в которой находится переводчик. Обычно можно догадаться, какое значение имеет слово, прочитав предложе-ние или абзац до конца.

Например, значение слова play (в русском языке ему могут соответствовать такие варианты, как – ’игра на сцене’, ‘пьеса’, ‘исполнение’, ‘шутка’, ‘каламбур’, ‘спортивная игра’, ‘деятельность’, ‘свобода, простор’) и в предложении How does the playwright use the narrator in the play? его однозначно следует

перевести, как ‘пьеса’ благодаря наличию в этом предложе-

н ии другого литературного термина playwright (драматург).

При этом отсутствие контекста может компенсироваться

наличием определенной описываемой ситуацией общения,

то же самое слово play в предложении It’s a good play. может

быть также переведено, как спортивная игра, если в тексте, к

примеру, обсуждается футбольный матч.

12) Translate the following sentences containing similar words of different meanings from English into Russian

1) When he was a schoolboy, his aim was to become a professional

theatre and cinema actor.

___________________________________________________________

The hunter is going to aim at the crocodile.

___________________________________________________________

2) Your boyfriend looks like he feels blue. What's wrong with

him?__________________________________ __________

Blue colour flowers are one of the rarest flowers found in the

world

___________________________________________________________

3) The play staged by a young, gifted theatre director has an exce-

llent cast.

___________________________________________________________

The fisherman has cast his net twice but there was not a single

fish in it. ___________________________________________________________

4) Some people prefer to read the last page of the book first.

___________________________________________________________

The whole performance lasts two hours. ___________________________________________________________

5) She showed great character in dealing with the danger.

___________________________________________________________

The leading characters of ‘Romeo and Juliet’are teenagers, who

love each other, but their families are enemies.

___________________________________________________________

6) At this stage of development of the Ancient Greek theatre, all

tragedies were unique pieces written in honour of Dionysus

and played only once.

____________________________________________

All the world's a stage,

And all the men and women merely players.

___________________________________________________________

7) The Minister of Foreign Affairs has delivered a speech at the

United Nations.

__________________________________________________

His wife was a daughter of a minister of a local church.

----------------------------------------------------------------------------------------

8) I heard his band is playing at another party the same night.

____________________________________________

Both red bands are made with leather and cost 20 US doll.

____________________________________________

13) Translate the various expressions with the verb ‘to get’ and insert them into the sentences..

get better	get really cold	get so enthu-siastic	get to the city	get older	get higher	get so angry	get upset	to get to	get

1) I can see your English is ________________________ every day.

Now you are making almost no mistakes.

2) The economy feels so bad; the inflation rate is _______________.

3) Put on something warm. I went outside in the morning – it is

__________________.

4) She __________ when she learned that she hadn’t been invited

to perform in the play.

5) Do you have a map of London? I do not know how _______

Trafalgar Square

6) Tourists can _________ from Great Britain to France by ferry.

7) The teacher was surprised that she _________ about his idea to

play the sketch in English.

8) Many people understand the importance of healthy lifestyle as

they __________ .

9) My boyfriend said he would ___________ by car.

10) She has been ___________ at his lie.

14) Translate the following sentences from English into Russian

1) Never desert your friends in the desert.

______________________________________________________

2) Close the window before the bee gets too close.

______________________________________________________

3) Lead poisoning can lead to health issues.

______________________________________________________

4) Does the deer see the does?

______________________________________________________

5) The dove dove down to its nest.

_______________________________________________________

6) Shut your mouth or fly might fly into it.

_______________________________________________________

7) The building of a Bank was constructed on the bank of a river.

__________________________________________________________

8) The girls with red bows on their hats received the teacher with

bows and smiles.

__________________________________________________________

9) The football fans brought small portable fans to the match as

the afternoon was very humid and hot.

__________________________________________________________

10) A group of students left the classroom, went along the cor-

ridor then turned to the left.

__________________________________________________________

11) The pairs danced with the flowers and the balls in the current

ball season.

_______________________________________________________________________

12) After the exercising the sportsman wiped his sweaty palms

and sat under the palms near the beach.

________________________________________________________

UNIT 2

CONTEMPORARY RUSSIAN DRAMA

Task 1 – Изучающее чтение: текст ‘Contemporary Russian drama: ‘The journey from stagnation to a golden Age’

Task 2 – Ознакомительное чтение: тексты ‘The most promising playwright‘, ‘Psychological gesture’

Task 3 – Беседа на тему ‘The Moscow theatrical life ‘

Грамматика: Infinitive/ Инфинитив

Лексика: Членение и объединение предложений

TASK # 1

П рочитать и перевести приведенный оригинальный текст со словарем. (На экзамене по кандидатскому минимуму аспи-рантам (соискателям) будет предложен текст объемом не ме-нее 2000-2500 печатных знаков). На выполнение подобного задания на экзамене отводится 50-60 минут.

TEXT # 1 CONTEMPORARY RUSSIAN DRAMA: THE JOURNEY FROM STAGNATION TO A GOLDEN AGE

In the first half of the 1990s, ma-ny observers held the opinion that no one in Russia was wri-ting new plays. However, as it became clear during the Liubi-movka new-play festival in 1997, Russian drama was on the verge of what one East European com-mentator recently called ‘the spectacular comeback of Russian drama and theatre to the first league of European theatre.’ Such writers as Nikolai Koliada, Aleksey Kazantsev, Elena Gremina, Olga Mukhina, Maxim Kurochkin, the Presniakov brothers, and others began writing the plays, creating the writing schools, and establishing the new theatres that changed the face of Russian theatre.

Three cities in particular played a crucial role in this development: Yekaterinburg, Moscow, and Togliatti. Each locale produced nu-merous writers whose works came to be known as ‘new drama’—a controversial though popular term that implied a harsh, gritty style of writing that looked closely into the falsehoods, challenges, and pitfalls of contemporary life. What came to be known as the new drama aesthetic can now be said to have been worked out initially by Kolyada and the students he taught at his groundbre-aking playwriting school at the Yekaterinburg State Theatre Insti-tute.

Two of Koliada's pupils, Oleg Bogaev and Vasiliy Sigarev, quickly went on to establish their own international reputations. ‘Moscow was also the city where two influential new theatres were esta-blished: the Playwright and Director Center (1998) and Teatr.doc (2002). Both venues attracted not only new writers, but also a new generation of directors, actors, and, even, spectators. The impact of new drama on a small though important group of writers in the southern Russian city of Togliatti was significant. Inspired by developments in the Russian capital, Vadim Levanov, Yuri Kla-vdiev, and the Durnenkov brothers, Viacheslav and Mikhail formed the backbone of the so-called Togliatti phenomenon in connection with the annual May readings festival. Over the last fifteen years, Russian drama came to embrace a vast array of styles and themes, which spans Klavdiev's poetic violence and the cul-tured hipness of the Presniakov brothers. Kurochkin's eclectic plays and Sigarev's tough portrayals of people on the fringes of society are nothing like Mukhina's sensitive, quirky works. Such diversity was unthinkable prior to that summer in 1997 when a community of Russian writers stood poised to change the status quo—a time, it was said, when no one was writing plays of any interest.

1)Translate the following expressions from the text

1) It became clear
2) to establish a new theatre
3) to play a crucial role
4) harsh, gritty style of writing
5) to establish international reputation
6) the impact of new drama
7) venue
8) to form the backbone
9) new generation of directors, actors, spectators
10) to embrace a vast array of styles and themes
11) tough portrayals of people on the fringes of society
12) a play of any interest

2) Answer the following questions

1) What opinion did many observers hold in first half of the 1990s?

2) What did it become clear during the Liubimovka new-play

festival in 1997?

3) What writers started establishing the new theatres that changed

the face of Russian theatre?

4) What cities played a crucial role in the development of a new

theatre?

5) What did each locale produce?

6) What playwright worked out a new drama aesthetic?

7) Which of the Koliada’s students went on to establish their own

international reputations?

8) What festival made the notion of new drama a brand name?

9) What influential new theatres were established in Moscow?

10) Who formed the backbone of the so-called Togliatti pheno-

menon in connection with the annual May readings festival?

11) What styles did the Russian drama come to embrace over the

last fifty years?

12) When did the Russian writers change the status quo?

3) Compose the sentences with the following pairs of words

1) Observers – hold the opinion

2) Three cities – play a crucial role

3) Kolyada - teaches

4) Vasiliy Sigarev - establishes

5) Venues - attract

6) The impact of new drama – to be

7) Russian drama -embraces

8) Diversity – to be unthinkable

4) Choose the correct ending to complete the sentences

1) In the first half of the 1990s, many observers held the opinion that ___________________________________________________.

a) no one in Russia was creating new plays

b) everyone in Russia started to write new plays

c) the playwrights stopped to make plays

2) After the Lyubimovka new- play festival, one East European commentator recently said that Russian drama and theatre ________________________________________________________.

a) started to revive

b) became as progressive as the European drama and theatre

c) noticed the spectacular comeback of Russian drama and theatre to the first league of European theatre

3) A new generation of young playwrights

_________________________________________________________

a) moved to the West

b) began establishing the new theatres that changed the face of Russian theatre

c) started to rewrite classic play

4) Oleg Bogaev and Vasiliy Sigarev, quickly went on to establish

_________________________________________________________

a) became famous in Yekaterinburg

b) international reputation

c) popularity all over the world

5) Moscow was also the city where __________________________

a) new theatres started to appear

b) no theatres originated in Moscow

c) two influential new theatres were established: the Playwright and Director Centre and Teatr.doc

6) Such diversity was unthinkable prior to that summer in 1997 when ___________________________________________________

a) Russian writers changed the status quo—a time when no one was writing plays of any interest

b) Russian writers opened a new era in playwrighting

c) Russian writers changed the opinion about Russian theatre

GRAMMAR: THE INFINITIVE

Инфинитив - это неличная глагольная форма, которая только называет действие и выполняет функции как гла-гола, так и существительного. Инфинитив отвечает на вопрос что делать? что сделать? To read – читать, прочесть To play – играть, исполнить Инфинитив не имеет специального окончания; формаль-ным признаком инфинитива является частица to, которая стоит перед ним, хотя в некоторых случаях она опускается. Отрицательная форма инфинитива образуется при помощи частицы not, которая ставится перед ним: Try not to use bad language! Постарайся не употреблять плохих слов. It's difficult not to pay a Трудно удержаться от компли- compliment to the actress. ментов в адрес этой актрисы. В русском языке инфинитив чаще называют неопределён-ной формой глагола. Именно инфинитив приводится в словарях, как начальная форма глагола. В отличие от русско-го языка, где инфинитив имеет одну форму (неопределен-ная форма глагола), в английском языке их у инфинитива шесть: четыре в действительном залоге (Active) и две в страдательном (Passive). Из них только одна Indefinite Infi-nitive - простая, а остальные – сложные.

Function	Example	Translation
1) Подлежащее (инфинитив стоит в начале предложения)	To read is a pleasure. To play on stage is difficult.	Читать – это удо-вольствие. Играть на сцене – трудно.
2) Именная часть составного сказуeмого (инфи-нитив стоит за глаголом-связкой to be)	Our task is to do the work well. Th The point is to achieve th the aim.	Наша задача со-стоит в том, чтобы сделать эту работу хорошо. Главное-достичь цель.
3) Часть составного глагольного сказуе-мого (с модальными глаголами can, must should, might) без частицы to; исключе-ние: ought to	He can play the piano. You must learn this sonnet. You ought to call him.	Он умеет играть на пианино. Вы должны выу-чить этот сонет. Вам следует по-звонить ему.
4) Дополнение (инфинитив стоит после сказуемого)	She began to talk. He promised to come back.	Он заговорил. Он обещал вер-нутьcя.
5) Определение (инфинитив стоит после определяемого слова)	Не expressed a desire to help me. Give me something to eat.	Он выразил жела-ние помочь мне. Дай мне что-нибудь поесть.
6) Обстоятельство цели и следствия (отвечает на вопрос: для чего?)	He stopped to talk to Mary. I went to the library to get the book.	Он остановился, чтобы поговорить с Мэри. Я пошел в библи-отеку взять книгу.

THE INFINITIVE: SIX FUNCTIONS IN A SENTENCE

THE INFINITIVE WITH PARTICIPLE TO

Инфинитив, как правило, употребляется с частицей to, которая является его грамматическим признаком. Однако частица to иногда опускается. 1) После вспомогательных и модальных глаголов: can, could, must, may, might, will, shall, would, should. She can dance. Она умеет танцевать. I must see him now. Я должен увидеть ее сейчас. 2) После выражений had better – лучше бы ,would better– предпочитаю You had better help me. Ты бы лучше помог мне. I would rather go by train. Я предпочитаю поезд. 3) В инфинитивном объективном обороте (Complex Object) после глаголов: а) выражающих восприятие при помощи органов чувств to feel, to hear, to notice, to see I saw him jump. Я увидел, как он прыгает. I heard the clock strike. Я слышал, как бьют часы. b) после глаголов to make – заставлять, to let- разрешать What makes you think so? Что заставляет вас так думать? Let me do it myself. Позвольте мне сделать это. с) после глагола to help – помогать частица to может либо употребляться, либо нет – оба варианта допустимы. He helped her to write an essay. Он помог ей написать эссе. Could you help me (to) open the Не могли бы вы помочь box. открыть коробку. Если в предложении есть два инфинитива, соединенных союзом and или or, частица to ставится только перед первым инфинитивом. I want to come and see you. Я хочу приехать и увидеть тебя.

5) Learn the following set expressions and sentences with infinitive, often used as parenthetical words

Phrase or sentence	Translation
1) to cut a long story short	короче говоря
2) to tell you the truth	сказать по правде
3) to say nothing of	не говоря уже о
4) to put it mildly	мягко выражаясь
5) to begin with	начнем с того, что
6) The book leaves much to be desired	книга оставляет желать лучшего
7) He is difficult to deal with	с ним трудно иметь дело
8) He is hard to please	ему трудно угодить
9) She is pleasant to look at	на нее приятно смотреть
10) to be quite frank	честно говоря
11) needless to say	не стоит и говорить
12) to say the least	без всякого преувеличения

6) Translate the following sentences using the set expressions with infinitive

1) Для начала, я хочу поблагодарить всех членов команды за работу.

__________________________________________________________

2) Мы все были рады, не говоря уже о продюсере постановки, что наш спектакль получил премию.

___________________________________________________________

3) Мягко выражаясь, нашему режиссеру трудно угодить.

___________________________________________________________

4) Не стоит и говорить, что работа режиссера творческая и интересная.

___________________________________________________________

5) Сказать по правде, я еще не посмотрел ни одного диплом-ного спектакля студентов 4 курса.

___________________________________________________________

6) Позвольте мне прочитать сонет Шекспира.

__________________________________________________________

7) Это вечеринка не была хорошей, без всякого преувеличе-ния.

________________________________________________________

8) Грустная сцена в последнем акте заставила меня заплакать.

________________________________________________________

8) Insert participle ‘to’ after the verb where it is necessary

1) I would like _____ read the last plays by Nikolay Kolyada.

2) The director made the actress ______ recite the lines of the poem once again.

3) You had better ______go home.

4) I wanted _____ talk to Nick, but I couldn’t ______ recollect his telephone number.

5) I think I can ____solve the problem.

6) I would rather _____borrow these books in the library.

7) I heard the orchestra ______play in the lobby.

8) Could you help me _____ find seat 10 in the 8^th row?

9) This actor can _____do this thing professionally.

10) Не expressed a desire_____ help me.

TASK # 2

П рочитать и пересказать приведенные тексты. (На экзамене по кандидатскому минимуму аспирантам (соискателям) будет предложен текст объемом не менее 1000 печатных знаков) На выполнение подобного задания на экзамене отводится 10-12 минут.

TEXT #2 THE MOST PROMISING

PLAYWRIGHT

__________________________________________________________

Born in 1977, in Sverdlovsk region, Vasiliy Sigarev is a Russian playwright, screenwriter and film director. His plays ‘Plasticine’, ’Black Milk’and ‘Ladybird’ were first staged in the West by the Royal Court Theatre, London in 2002, 2003 and 2004, respectively. In 2002, Vasiliy Sigarev was named the winner of the Charles Wintour Award for Most Promising Playwright given out by the ‘Evening Standard’ for ‘Plasticine’. He studied at the Nizhniy Tagil Pedagogical Institute and graduated from the Yekaterinburg Theatre Institute.

Asked Vasiliy Sigarev, how he became a writer, he said that he did it alone ‘like a weed’. His father was an electrician, and his mother was a collective-farm worker. As a teenager, impressed by the hor-ror novels by Stephen King, he showed his mother a story he had written about one of his friends committing a murder and noted with satisfaction that it made her cry.

Nikolay Kolyada, a playwright and teacher whose theatre has made this industrial region, a centre of modern drama, recalled Sigarev as watchful and silent, sitting in the back row with his arms folded.

‘He was quiet’ – ‘No, yes, no, yes’, Nikolay Kolyada recalled. ‘I asked him, ‘You came from Nizhniy Tagil on the commuter train, right? What did you read on the way?’And he named the author I had never heard in my life, and I said, ‘OK, I’ll take you’. Three years ago, Vasiliy Sigarev's debut film ‘Volchok’ won a clutch of festival awards. His follow-up ‘Living’, which has won the best film and international critics’ awards at Wiesbaden's East festival of Central and Eastern European films, confirms his emergence as a talent.

These days Vasliy Sigarev has no shortage of opportunities. The government has financed his films, and he receives repeated in-vitations in Russia to direct blockbusters of other authors, but he refuses them.

‘The main thing for my reputation is not to do something to be ashamed of later,’ he said, As for what people say or think of me, I don’t care less’.

9) Answer the following questions

1) When and where was Vasiliy Sigarev born?

2) What Western theatre produced Vasiliy Sigarev’s plays first?

3) When was Vasiliy Sigarev named the winner of the Charles Wintour Award for Most Promising Playwright?

4) How did Vasiliy Sigarev become a writer?

5) What author was Vasiliy Sigarev impressed by, as a teenager?

6) How did Nikolay Kolyada recall Vasiliy Sigarev as an appli-

cant to a theatrical school?

7) Why did Nikolay Kolyada decide to take Vasiliy Sigarev to his

course?

8) What Sigarev’s film won a clutch of festival awards?

9) How does Vasiliy Sigarev describe the main thing for his repu-

tаtion?

10) Does he care for what people say or think of him?

10) Complete the following sentences

1) The ‘Evening Standard’ gave out __________________________.

2) Vasiliy Sigarev said that he _______________________________.

3) He was impressed by ____________________________________.

4) He noted with satisfaction that ____________________________.

5) Nikolay Kolyada’s theatre has made _______________________.

6) Nikolay Kolyada recalled _________________________________.

7) Sigarev said that the main thing for his reputation ___________.

TEXT #2A THE PSYCHOLOGICAL GESTURE

___________________________________________________________

M ichael Chekhov (1891-1955) is considered to be one of the most talented and widely recognized students of Konstantin Stani-slavsky. He was the nephew of the play-wright Anton Chekhov. Michael trained as an actor and performed especially notably at the Moscow Art Theatre’s First Studio, and later at the Art Theatre itself under Stanislavsky’s direction. His Khlestakov in Gogol’s ‘The Government Inspector’ in 1921 was particularly ac-claimed. In 1928, he emigrated to the West where he did much teaching of acting and developed his own system. This clearly owed much to Stanislavsky, but also depended on a number of original ideas. One of the best known of this was the Psychological Gesture.

The Psychological Gesture (PG) is the key to the actor’s will, what drives his creativity. It is essentially a strong, well shaped but sim-ple movement – a gesture, which uses the whole body. The actor thinks about the character in detail – the super objective, the events the character participates in, his desires, actions, rhythm – and finds a movement to express all this. The movement is repe- ated several times. It embodies the quintessence of the character.

Michael Chekhov recommended that the actor should start to make PG with hand only, to discover how it might express the character’s essence – a grasping movement, perhaps, or a clen-ching of the fist, a droopy movement or a stretching out. This is then extending to include both hands and arms, the torso, and finally the whole body. The PG must be strong, clear and clean: it should partake of the nature of an archetypal gesture or move-ment.

Michael Chekhov further suggested that a PG could be made not just for the character in the whole play, but also for specific scenes or even parts of the scenes.

11) Answer the following questions

1) Where in Moscow did Michael Chekhov play especially

notably?

2) What Michael Chekhov’s role was particularly acclaimed in

1921?

3) When did Michael Chekhov immigrate to the West?

4) What was one of the best-known Michael Chekhov’s original

ideas?

5) Who developed an amaing acting tool called ‘the Psychological Gesture’?

6) How does the actor form the Psychological Gesture?

7) How should the actor start to make PG?

8) What were Michael Chekhov’s further advice?

12) Read the above text and find main ideas using the following expressions

1) The text is about ________________________________________

2) The first part of the text is focused on ______________________

3) Then the author describes smth (suggests, states that) ________

4) After that, the author passes on to (description of, statement of,

analysis of ________________________________________

5) At the end of the text, the author pays attention to the fact_____

6) I agree/disagree with the author’s statements ________________

7) I have read the text with great interest because _______________

13) Translate the Russian text into English and retell it

Use the following words:

Big tour – большие гастроли, ‘Into the Whirlwind’-‘Крутой маршрут’, great success – грандиозный успех, recreation centre – развлекательный центр, ‘Three comrades ‘– ‘Три товарища’, Israeli playwright – израильский драматург,

‘Sweet Bird of Youth’ -‘Сладкоголосая птица юности’

МОСКОВСКИЙ ТЕАТР ‘СОВРЕМЕННИК’ ОТПРАВИЛСЯ НА

ГАСТРОЛИ ТЕАТРА ‘СОВРЕМЕННИК’ В США

_______________________________________________________

Это уже пятые большие гастроли театра в США. Первые из них состоялись 14 лет назад, когда ‘Современник’ был при-

глашен в Сиэтл и показал спектакли ‘Крутой маршрут’ и ‘Три сестры’.

Адресом второго и третьего приезда ‘Современника’ в США стал Нью-Йорк. Оба раза - и в 1996, и в 1997 годах - театр иг-рал на Бродвее. ‘Современник’ стал первым русским театром, получившим для показа драматических спектаклей бродвей-скую сцену. Тогда московская труппа с грандиозным успехом сыграла ‘Три сестры’, ‘Вишневый сад’. Результатом этих гас-тролей стало присуждение ‘Современнику’ национальной премии США в области драматического театра, которой впер-вые за всю историю существования этой награды был отмечен иностранный театр.

В прошлом году в свой четвертый приезд в США театр играл в развлекательном центре, находящемся под Нью-Йорком. В афише ‘Современника’ было два названия –‘Три товарища’ по Ремарку и пьеса израильского драматурга Йосефа Бар-Йосе-фа ‘Трудные люди’. Их увидели более семи тысяч зрителей.

Теперь театр покажет американцам пьесу их ‘родного’ автора Теннесси Уильямса ‘Сладкоголосая птица юности’ в постанов-ке молодого, но уже очень известного в России режиссера Ки-рилла Серебренникова и спектакль ‘Пигмалион’ в постановке Галины Волчек.

TASK # 3

П обеседовать с преподавателем на тему о театре. Театраль-ная жизнь в Москве наполнена интересными событиями. Расскажите, в какие театры вы ходите, какие спектакли вам нравятся. Допишите данные предложения. Составьте устное сообщение для экзамена.

1) For decades Moscow has had a reputation of a_______________.

(cultural centre/ heart of theatrical life/theatrical capital).

2) Coming to Moscow for the first time, tourists ________________.

(attend drama theatres/ buy theatre tickets beforehand/ choose the best performance)

3) Moscow is the centre of _______ (well-known/famous/ greatest) theatres such as the Bolshoi theatre, the Vakhtangov

theatre, the Moscow Art theatre.

4)The Bolshoi theatre in Moscow was founded in 1776 and has got more than 30 operas and _______ (drama/ballet/musical) perfor-mances.

5) The Moscow Art theatre has become one of the influential theatres in the world because at the beginning of the 20^th century

_______________ (Stanistlavsky/Tairov/Meyerhold) who was a father of a realistic approach to acting, directed the performances in it.

6) In 1898, Anton Pavlovich Chekhov read his _____ (play/book/ poem) ‘Seagull’ to the cast of the Moscow Art theatre during their first rehearsal.

7) I have recently had a truly wonderful evening in the _______

where I watched the performance _________. It made a lasting impression on me.

8) An amazingly talented ____________ (actress/director/ actor) played the character of ______________ in the performance.

9) The plot of the play referred to ________________________.

10) This would be a great play for _________________ (kids/ teen-agers/adult people).

11) The performance is based on ___________________________.

12) I highly recommend watching __________________________.

13) I rarely find myself shedding a tear at a theatre performance.

14) This play made me think about ___________ (present day/ my childhood/ the history of my family).

15) ________ (Theatre/Circus/Cinema) is a place where people could go to ask themselves difficult questions about life.

16) I like going to the theatre because _______________________.

WOULD YOU CONSIDER YOURSELF TO BE A THEATRE BUFF? IF SO, LEARN SOME EXPRESSIONS

1) Theatre helps me learn life lessons.

2) It gives me life.

3) It makes life more fun.

4) It takes me into a world of make believe.

5) It helps me teach other people life lessons.

6) It gives me powerful music and stories.

7) It opens my heart and break down barriers.

8) Wildest dreams can become a reality.

9) Anything can be expressed with a song.

10) Theatre teaches us about the past.

11) In these days music is not a luxury, it's a necessity; not simply because it is therapeutic, nor because it is the universal language.

12) It's one of the few things in life that brings people from all different backgrounds together.

14) Find the right definition of the following theatre terms in right column

Theatre term	Definitions
1) aisle	a) an author of a play, a playwright
2) amateur theatre	b) a seat from which a spectator can see only part of the stage
3) dramatist	c) the performance as it will be on an ope- ning night
4) premier performance	d) a passage through the seating area
5) blind seat	e) theatre company whose participants work without salary
6) encore	f) a practice session to prepare a production for public performance
7) lead	g) part of the act in a play
8) usherette	h) the printed text of a dramatic work
9) master of ceremonies	i) dramatic actor (after Thespis, the father of the Greek tragedy)
10) rehearsal	j) the area in front of the stage in which the orchestra sits
11) scene	k)someone who sits in the wings and prompts the actors if they forget their line
12) script	l) a principle role; also an actor who plays the principle role
13) thespian	m) the person who announces the various parts of a program
14) pit	o) person who sells playbills
15) prompter	p) a call of the audience, a French word means ‘again’

SOME USEFUL WORDS AND WORD COMBINATIONS FOR YOUR TOPIC

Expression	Translation
1) to have a reputation of	быть известным как
2) to attend a theatre	посещать театр
3) to be founded	быть основанным
4) to be an influential theatre	быть авторитетным, влияя-тельным
5) realistic approach to acting	реалистичный подход к актерской игре
6) to have a truly wonderful evening	провести истинно прекрасный вечер
7) to make lasting impression on smb	произвести незабываемое впечатление на кого-то
8) to be amazingly talented	быть удивительно талант-ливым
9) to be a great play for	эта пьеса подходит для
10) to make smb think about	заставить думать о
11) to recommend highly to watch the play	настоятельно советовать посмотреть пьесу
12) to shed a tear at a theatre performance	уронить слезу на спектакле
13) to be based on	быть основанным на
14) the best shows and plays on now	лучшие представления и пьесы, идущие в настоящее время
15) upcoming theatrical event	грядущее театральное событие

LEXICOLOGY: HOW TO TRANSLATE

A LONG SENTENCE CLEARLY

Нередко в силу некоторых причин при переводе одно ан-глийское предложение приходится разделять на два или не-сколько. Подобное изменение нередко используется, когда предложение переполнено информацией или если его струк-тура сложна для восприятия.

Рассмотрим одно из предложений из текста # 1 урока и пере-ведем его.

‘However, as it became clear during the Liubimovka new-play festival in 1997, Russian drama was on the verge of what one East European commentator recently called ‘the spectacular comeback of Russian drama and theatre to the first league of European theatre.’

Перевод этого предложения может выглядеть таким образом:

Однако, как стало очевидным после проведенного в 1997 году в Лю-бимовке фестиваля молодой драматургии, русская драма вышла на такой высокий уровень, который, по мнению одного восточно- евро-пейского театрального критика, стал «ярким возвратом русской драмы в первые ряды Европейского театра».

Для упрощения структуры длинного предложения при пере-воде правильнее разделить его на два самостоятельных предложения.

1) Однако, как стало очевидным после проведенного в 1997 году в Любимовке фестиваля молодой драматургии, русская драма вышла на высокий уровень.

2) Один восточноевропейский критик назвал это явление ‘ярким возвратом русской драмы в первые ряды Европейского театра’.

15) Translate the following sentences into Russian by two separate sentences

1) A 12-men Russian delegation of the theatre directors arrived at London airport last night to start a three-week visit at the invita-tion of the Department for Culture.

1)______________________________________________________

2) ______________________________________________________

2) The Russian film directors will be among other cinema experts meeting at Cannes Film Festival to discuss new European films.

1) ______________________________________________________

2) ______________________________________________________

3) The 88th Academy Awards ceremony, presented by the Acade-my of Motion Picture Arts and Sciences, will honor the best Eng-lish language films of 2015 and is scheduled to take place on February 28, 2016, at California at 5:30 p.m.

1) ________________________________________________________

2) ________________________________________________________

4) Tennessee Williams has brought us a superb drama, ‘A Street-car Named Desire’, which was acted at the Ethel Barrymore theatre last evening.

1) ________________________________________________________

2)_________________________________________________________

5) Oscar Wilde’s fourth West End hit 'The Importance of Being Earnest' premiered on St Valentine's Day 1895 at the St James's Theatre.

1) ________________________________________________________

2) ________________________________________________________

6) My friends have warned me to be in my seat at eight o’clock as it was the custom at the Moscow Art Theatre to close the doors at that hour and allow no one in the auditorium after the play has begun.

1) _______________________________________________________

2) _______________________________________________________

7) On 22 June 1897, it was Stanislavsky's historic meeting with Vladimir Nemirovich-Danchenko, which lasted 18 hours and after their discussion, they decided to set up the Moscow Art Theatre.

1) ________________________________________________________ 2) ________________________________________________________

8) To compare Russian and American theatre we can state that literary culture in Russia is very strong but it is hard to imagine playwrights discussed on TV shows in the United States or Great Britain, like it’s done here.

1)________________________________________________________ 2)________________________________________________________

9) In Moscow, the audience is used to theatrical performances; but for the provincial spectators, who are not so spoilt for choice; each performance is an extraordinary event that is considered like ‘must-see’.

1) ________________________________________________________ 2) ________________________________________________________

UNIT 3

T

Task 1 – Изучающее чтение: текст ‘Dance in the 17^th century’

Task 2 – Ознакомительное чтение: тексты ‘Ballet in Britain’, ‘Alexey Ratmansky’

Task 3 – Беседа на тему ‘The Broadway theatres’

Грамматика: Passive voice/Страдательный залог

Лексикология: Ложные друзья переводчика

HE ART OF BALLET

UNIT 3

TASK # 1

П рочитать и перевести приведенный оригинальный текст со словарем. (На экзамене по кандидатскому минимуму аспи-рантам (соискателям) будет предложен текст объемом не ме-нее 2000-2500 печатных знаков). На выполнение подобного задания на экзамене отводится 50-60 минут.

TEXT # 1 DANCE IN THE 17^TH CENTURY

Ballet and opera began in the 17th century, with the elaborate spectacles devised at European courts. These were flamboyant entertainments used to cele-brate marriages or show the wealth and

C ostume Design for a Drummer power of the ruler. The performances

in a French Ballet, 1625 were a mixture of spoken word, mu-

sic, dance and pantomime. They contained ceremonial processions with spectacular technical effects and extravagant costumes. The stories were inspired by the myths of ancient Greece and Rome or were based on themes such as the four seasons, the natural world or foreign lands. Costumes were imaginative and fantastical, deco-rated with symbols that helped the audience to recognize the cha-racters in the story. Movement was often limited by the size of these costumes. Originally, the court ballets were performed by the aristocracy and royalty in the rooms and gardens of their pa-laces. Dances were based on the social dances of the royal courts with graceful arm and upper body movements and elaborate floor patterns. These huge spectacles helped keep courtiers amused - court life could be monotonous and boring, and being able to dance was a necessary social accomplishment. King Louis XIV of France was by all accounts a passionate dancer. He was known as the Sun King. He had appeared as the Sun god, Apollo in Le Ballet de la Nuit (The Ballet of the Night), at the age of 15. Apollo was the Greek god of peace and arts. The Sun, a heavenly body which gave life to all things was seen as the perfect symbol for the young king.

Eventually, it became impossible for amateur dancers to reach the standards demanded by the dancing masters and composers. The two separate traditions of ballet and opera began to develop independently and in 1661 the Académie Royale de Danse, was established in France. Here the first professional the-atre dancers were trained and dance moved from the court into the public theatres. The ballet La Princesse d'Elide was part of a seven-day fête held in May 1664 at the Palace of Versailles. The festivities celebrated the birth of a son to Louise de La Vallière, mistress of the French king, Louis XIV. Versailles had no theatre, so tempo-rary stages were set up around the palace and in the gardens. Here the stage had been set up in the grounds with the palace it-self visible in the background. Such lavish celebrations helped impress foreign dignitaries and reinforced Louis' image as abso-lute ruler. Louis and his courtiers often took part in the festivities. In some ways, Louis' whole life was a performance, played out on the stage of Versailles: people even watched him get up in a mor-ning and go to bed.

	1) Find the sentences with these expressions in the text and translate them
	1) flamboyant entertainments
	2) wealth and power of the ruler
	3) spectacular technical effects
	4) the first professional the- atre dancers
	5) temporary stages
	6) imaginative and fantastical costumes

7) a passionate dancer
8) graceful arm and upper body movements
9) to reach the standards
10) to develop indepen- dently

2) Find the sentences with the following phrases in the text

	Expression	Translation
	1) a mixture of spoken word, music, dance and panto- mime	сочетание устного слова, музыки, танца и пантомимы
	2) to be based on themes such as the four seasons, the na- ral world or foreign lands	основываться на та-ких темах, как време-на года, природа и дальние страны
	3) the myths of ancient Greece and Rome	мифы древней Греции и древнего Рима
	4) to emuse monotonous and boring court life	оживить однообраз-ную и скучную жизнь при дворе
	5) a social accomplishment	необходимое светское воспитание
	6) Greek god of peace and arts	греческий бог света и покровитель искусств
	7) to set up a temporary stage	устанавливать временную сцену
	8) lavish celebrations	пышные праздники
3) Answer the following questions

1) Where were the elaborate ballet and opera spectacles played in

the 17^th century?

2) What did the entertainments celebrate?

3) What did the performances contain?

4) What were the stories of the ballet inspired by?

5) What were the stories based on?

6) What did the symbols on the costumes help the audience to re-

cognize?

7) What were the dances based on?

8) Why was King Louis known as the Sun King?

9) In what performance did 15 year old King Louis appear?

10) Why was the dance a special social accomplishment at the

court?

11) When was The Royal Academy of Dance established in

France?

12) When did the dance move from the court to the public thea-

tres?

13) What festivities were celebrated at the Palace of Versailles in

May, 1664?

14) Why were the temporary stages set up in the grounds around

the Palace of Versailles?

15) What impressed the foreign dignitaries and reinforced Louis'

image?

16) What was King Louis' whole life in some way?

4) Mark the sentences in Active and Passive voices

Examples:

Pyotr Ilyich Tchaykovsky composed music for the ballet ‘The Sleeping Beauty’. (Active)

Music for ballet The Sleeping Beauty was composed by Pyotr Ilyich Tchaykovsky.(Passive)

_________________________________________________________

1) The stories were inspired by the myths.

2) The performances were a mixture of spoken word, music,

dance and pantomime.

3) Movement was often limited.

4) Costumes were imaginative and fantastical.

5) Dances were based on the social dances.

6) These huge spectacles helped keep courtiers amused.

7) The sun was seen as the perfect symbol.

8) The Académie Royale de Danse was established.

9) The first professional theatre dancers were trained.

10) The temporary stages were set up.

11) Eventually, it became impossible for amateur dancers.

12) He was known as the Sun King.

13) His nickname ‘The Sun King’ came from his performance as

Apollo, the Greek god of the sun, in the Ballet de la Nuit in

1653.

14) The King Louis' whole life was played out as a performance

on the stage of Versailles.

GRAMMAR: PASSIVE VOICE

С традательный (пассивный) залог широко употребляется в современном английском языке в устной и письменной речи. Его используют, когда нет необходимости называть исполни-теля действия, который подразумевается из контекста, или же, если не имеет значения, кто выполняет действие, и важен только результат этого действия. Он образуется при помощи глагола to be (в соответствующем времени) и причастия про-шедшего времени.

Времена Present Perfect Continuous, Future Continuous, Past Perfect Continuous в страдательном залоге не используются.

Tense	Active Voice	Passive Voice
Present Simple	They show the ballet at 5.00.	The ballet is shown at 5.00.
Present Continuous	They are showing the ballet now.	The ballet is being shown now.
Past Simple	They showed the ballet at 5.00.	The ballet was shown at 5.00
Past Continuous	They were showing the ballet.	The ballet was being shown.
Future Simple	They will show the ballet.	The ballet will be shown.
Present Perfect	They have shown the ballet.	The ballet has been shown.
Past Perfect	They had shown the ballet.	The ballet had been shown.
Future Perfect	They will have shown the ballet.	The ballet will have been shown.

VERBS WITH PARTICIPLE IN

PASSIVE VOICE

В английском языке насчитывается множество глаголов (фра-зовые глаголы), которые употребляются с дополнением, вы-раженным частицей. В этом случае, в страдательном залоге важно не пропустить частицу, она ставится сразу после гла-гола.

1) The doctor was sent for. - За доктором послали. 2)The lecturer was listened to Лектора слушали с

with great attention. большим вниманием. 3)The weather is often spoken about. О погоде часто говорят. Why is he always laughed at? Почему над ним всегда

смеются?

Сравните два следующих предложения: The letter was sent. — Письмо послали. The letter was sent for. — За письмом послали.

письмом послали.

V ERBS NOT USED IN PASSIVE VOICE

Глаголы, обозначающие не действие или процесс, а состоя-

ние лица или предмета, не употребляются в страдательном залоге. В этот список входят такие глаголы, как:

have – иметь; resemble - быть похожим; become- становиться

fit – соответствовать; suit- подходить; lack- недоставать и другие

Далее приведены предложения, составленные в действитель-ном залоге, употребить страдательный залог в их случае невозможно.

I resemble my mum. Я похожа на свою маму.

He has become an actor. Он стал актером.

T

-

HE WAYS OF TRANSLATION OF PASSIVE VOICE INTO RUSSIAN

Перевод английских страдательных оборотов на русский

язык часто представляет существенные трудности. В то

время, как в английском языке имеется только один способ выражения страдательного залога, в русском языке существует три варианта его передачи:

1) При помощи глагола ‘быть’ и краткой формы причас-

тия страдательного залога:

(Этот способ похож на способ выражения страдательного залога в английском языке.) Глагол ‘быть’ в настоящем времени не употребляется.

Дом построен, дом был построен, дом будет построен

2) Глаголами, оканчивающимися на – ся.

Дом строится, дом строился, дом будет строиться

3) неопределенно-личным оборотом с глаголом в дейcтви-тельном залоге в 3-м лице мн. числа.

Дом строят, дом строили, дом будут строить

Иногда английский страдательный оборот можно пере-

вести двумя или даже всеми тремя способами в зависи-

мости от соответствующего русского глагола и контекста.

1) I was invited to the concert.	a) Я был приглашен на концерт. b)Меня пригласили на концерт.
2)The exam was passed yesterday.	a)Экзамен был сдан вчера. b)Экзамен сдавали вчера. c) Экзамен сдавался вчера.
5) Write the sentences in passive voice (in different tenses)

Present Simple Passive

(As a rule)

1) The scientific journals (to read)______________ every day.

2) The e-mails from partness (to read) ____________in the morning.

3) Our vocal class (to finish) ______________at 12.30.

4) The premier performance (to show) _____________at 7 p.m.

5) The lecturer (to listen to) ______________ with great interest.

6) The morning rehearsals (to hold) ___________ every day.

Past Simple Passive

(Some time ago)

1) The history exam (to pass) _____________.

2) The film (to see) ____________in the cinema house.

3) The students (to invite) _____________________to the theatre.

4) The lecturer (to ask) _______________an awkward question.

5) The mobile phone (to present) _________________for birthday.

6) The poem (to recite) _________________________ by the actress.

Future Simple Passive

(Tomorrow)

1) The play (to perform) ______ at the Studio Theatre.

2) The rehearsal (to appoint) _________________ in a due time.

3) The students (to be happy) __________________after the exam.

4) The book (to publish) _______________in this publishing house.

5) The concert program ________________ (to revise).

6) Rewrite the following sentences in passive voice

1) I guess the actress of the Mali theatre has played the leading role in the movie.

The leading role in this movie____________________________

2) They were using a vacuum cleaner to tidy up the stage after the show.

The vacuum-cleaner ____________________________________

3) They are presenting a new thriller at the central cinema house.

A new thriller__________________________________________

4) My friends invited me to the ballet performance yesterday.

I ______________________________________________________

5) I have not visited the Metropolitan Museum in New York yet.

The Metropolitan Museum ________________________________

6) They watch the TV programs on politics every day.

The TV programs on politics ______________________________

7) Write these sentences in negative and interrogative forms

1) This famous poem is written by William Blake.

2) The first rehearsal was finished at 10 p.m.

3) Your proposal will be supported by the fellow students.

4) The plan of the rehearsal has been fulfilled.

5) The conference about Shakespeare is being held now.

6) The concert of classic music must be finished soon.

7) The bestseller was written with eighteen months.

8) The Bolshoi theatre was reconstructed many times.

8) Translate the sentences into English using verbs in Present Simple Active, Present Simple Passive

1) Я уважаю своих друзей.

__________________________________________________________

2) Меня уважают мои родители.

__________________________________________________________

3) Он каждый день рассказывает нам что-нибудь интересное.

__________________________________________________________

4) Ему не каждый день рассказывают что-нибудь интересное. ________________________________________________________

5) Он часто дарит своей девушке цветы.

__________________________________________________________

6) Девушке часто дарят цветы.

__________________________________________________________

7) Собаки любят играть.

__________________________________________________________

8) Собак любят во многих семьях.

___________________________________________________________

9) Меня не часто приглашают в театр.

___________________________________________________________

10) Актрису часто приглашают играть в кино.

___________________________________________________________

11) Где хранят костюмы в нашем театре?

___________________________________________________________

12) Где учат актеров театра и кино?

___________________________________________________________

13) Я люблю читать сонеты Шекспира.

___________________________________________________________

14) Сонеты Шекспира любят все.

___________________________________________________________

15) Я всегда читаю пьесы Теннесси Уильямса с большим интересом.

___________________________________________________________

16) Пьесы Теннесси Уильямса быстро раскупаются.

___________________________________________________________

TASK # 2

П рочитать и пересказать тексты ‘Ballet in Britain’, 'Alexey Ratmansky’. (На экзамене кандидатского минимума аспиран-там (соискателям) будет предложен текст объемом не менее 1000 печатных знаков) На выполнение подобного задания на экзамене отводится 10-12 минут.

TEXT #2 BALLET IN BRITAIN

_____________________________

B allet in Britain was established by two for-mer Diaghilev dancers, Marie Rambert (a Po-lish-Jewish dancer and dance teacher who exerted a great influence on British ballet, both as a dancer and teacher) and Ninette de Valois (an Irish-born British dancer, teacher, choreo-

Marie Rambert LambertLambert

grapher and a director of classical ballet).

They ensured that ballet was a viable career for British dancers and challenged the myth that the British could not dance. Marie Rambert

f

Dame Ninette de Valois

ormed the Ballet Club later to be known as Ballet Rambert. Ninette de Valois started the Vic-Wells Ballet which later become The

Royal Ballet Company. These two companies made a major contri-bution to the development of British Ballet.

Opportunities for ballet dancers in the early 1930s were limited. Neither Ballet Rambert nor the Vic-Wells Ballet performed every night. To make ends meet many dancers appeared with both com-panies and also performed in revue and pantomime. By 1935, de Valois could offer a year-long contract at the Vic–Wells Ballet. Marie Rambert couldn’t compete and there are stories about Ram-bert waiting outside Sadler’s Wells to try to woo her dancers back. By the end of the decade Rambert too offered full-time contracts and ballet became a realistic career for British dancers.

‘The New York Times’

June 29, 2016

9) Answer the following questions

1) Who established ballet in Britain?

2) What did Marie Rambert and Ninette de Valois have to do with

Sergey Dyagilev?

3) What myth about British people did Marie Rambert and Ninette

de Valois challenge?

4) What was the name of the ballet company that Marie Rambert

formed?

5) Who started the Royal Ballet Company?

6) Did the ballet companies perform every night in the 1930s?

7) What did the ballet dancers do to make ends meet?

8) When did ballet become a realistic career for British dancers?

10) Translate the sentences from Russian into English

1) Британский балет был основан балеринами ‘Русского балета’ Сергея Дягилева.

__________________________________________________________

2) Большое влияние на британский балет было оказано балериной Мэри Ламберт.

__________________________________________________________

3) Труппа ‘Вик Уэлс Балле’ была создана Нинетт де Валуа.

___________________________________________________________

4) Годовой контракт был предложен артистам балета в 1935 году.

___________________________________________________________

5) В начале 1930 годов возможности балетных артистов Великобритании были ограничены.

___________________________________________________________

TEXT #2 ALEXEI RATMANSKY. THE CHOREOGRAPHER WHO LEAPS EVER HIGHER

Steadily since his 2008 move to the West and especially in the last two years, the choreogra-pher Alexei Ratmansky has been reaching higher peaks of achievement. The 20th century ended in gloom for the future of ballet choreography. Most devotees can now name at least three ballet cho-reographers under 50 whom they admire. Most of them will agree that Mr. Ratmansky is one. Two of his recent ballets, ‘Pictures at an Exhibition’ (New York City Ballet, 2014) and ‘Serenade After Plato’s Symposium’ (American Ballet Theatre, 2016), feel not just like new works; they open up new genres.

‘Pictures’ looks like a children’s wild game and ‘Serenade,’ as its men discuss love, becomes a picture of pluralism, civilized and philosophical.

Mr. Ratmansky is also a serious scholar who has started taking custody of the 19th-century dance classics and changing our ideas of them, with his productions of the 1890-1910 St. Petersburg versions of ‘The Sleeping Beauty’ (American Ballet Theatre, 2015; revived this season) and ‘Swan Lake’ (Zurich Ballet; at La Scalain Milan, June 30 to July 15).

Most remarkably, he schools his dancers to believe in his research of rediscovery of ballet tradition. Mr. Ratmansky has been artist in residence at American Ballet Theatre in New York since 2009. Since early 2015, a new fusion has occurred: Ballet Theatre’s dan-cers now work in deeper harmony with his ideas. He has made five works from 2006 to 2014 for New York City Ballet. May 2017 brings a sixth, along with three Ratmansky revivals.

New York Times

Alastair Macaulay June 29, 2016

11) Answer the following questions

1) When did Alexei Ratmansky reach higher peaks of achievement

in choreography?

2) How did the 20th century end for the ballet choreography?

3) What ballet performances has Alexei Ratmansky recently staged

in New York?

4) What the 19th-century dance classics did Ratmansky stage in

the West in 2015-2016?

5) What does Alexei Ratmansky school his dancers to believe?

6) How many ballet performances did he create from 2006 until 2016 for New York City Ballet?

12) Read the above text and find main ideas using the following expressions

1) The text is about _________________________________________.

2) The first part of the text is focused on ______________________.

3) Then the author describes smth (suggests, states that) ________.

4) After that the author passes on to (description of, statement of, analysis of ________________________________________________.

5) At the end of the text, the author pays attention to the fact that__.

6) I have read the text with great interest because ______________.

13) Translate the Russian text into English and retell it

Use the following words:

Official visit – официальный визит, to develop cultural relationship- развивать культурные отношения, at a high level- на высоком уровне, financial matters – финансовые вопросы, the largest playhouse – крупнейший театр

БАЛЕТ БОЛЬШОГО ТЕАТРА. ТРИУМФАЛЬНЫЕ ГАСТРОЛИ 1956 ГОДА.

__________________________________________________________

В 1956 году состоялись первые зарубежные гастроли Большого театра. В этом году Великобританию с официальным визитом посетил Никита Хрущев. Хрущеву Лондон понравилась, и культурные отношения двух стран было решено развивать. ‘Первые гастроли Большого Театра в 1956 году были органи-зованы на самом высоком уровне, одним государством для другого государства. Королевский балет отправился в Москву, а Большой театр приехал в Лондон, - вспоминает Лилиан Хоч-хаузер, одна из организаторов гастролей. Все финансовые во-просы решались министерствами культуры Великобритании и СССР. В Лондон отправилось около 250 артистов. Было ре-шено, что гастроли продлятся две недели, всего будет 15 пред-ставлений. Большой театр повез балеты ‘Ромео и Джульетту’ Сергея Прокофьева в постановке Леонида Лавровского, ‘Жизель’ и ‘Бахчисарайский фонтан’. Большой показывал спектакли в Ковент Гарден - крупнейшем оперном театре в Англии, одним из самых уважаемых и интересных музыкальных театров мира.

T ASK # 3

Побеседовать с преподавателем о том, любите ли вы балет, есть ли у Вас любимые артисты балета. Допишите данные предложения. На основании данного материала составьте свое сообщение по теме для экзамена.

1) Ballet is a formalized type of performance dance, which _______ (come from/was born/originated) in the Renaissance courts of the 15th century, and which was further developed in France, En-gland, and Russia.

2) This type of ________ (dancing/performing/acting) is very hard to achieve and takes much practice to master.

3) Ballet is a French word which has its _______ (origin/ begin-ning/start) in Italian ‘balletto’, which comes from Latin ‘ballo’, ‘ballare’, meaning ‘to dance’.

4) My_______ ( favourite /beloved/popular) ballerina is Galina Ulanova.

5) Galina Sergéyevna Ulanova is frequently cited as being one of the __________ (greatest/the most popular/the most professio-nal) ballerinas of the 20th century.

6) Galina Ulanova was born in Saint Petersburg, Russia, where she _________ (studied/worked/danced) under Agrippina Vaganova and her own mother, a ballerina of the Imperial Russian Ballet.

7) In 1928, she joined the Mariinski Theatre in Saint Petersburg.

8) They say that Konstantin Stanislavsky was fascinated with her acting style, _____________ (implored/asked/wanted) her to take part in his stage productions.

9) In 1944 she______( was transferred/was sent/ moved) to the Bolshoi Theatre where she would be the prima ballerina assoluta for 16 years.

10) She _______ (performed/acted/danced) the title role in the world premiere of Sergei Prokofiev's ‘Cinderella’.

11) Ulanova was a great actress as well as a dancer; British papers _______ (wrote/informed/stated) that ‘Galina Ulanova in London knew the greatest triumph of any individual dancer since Anna Pavlova’.

12) Galina Ulanova died in 1998 in Moscow, aged 88, and is buried in the cemetery of the Novodevichy Convent.

13) Ulanova's apartment on the Kotelnicheskaya Embankment Building_______ is (preserved/used/opened) now as a memorial museum. Monuments to Ulanova were erected in Saint Petersburg and Stockholm.

14) I think that Galina Ulanova is the genius of the Russian ballet.

SOME USEFUL WORDS AND WORD COMBINATIONS FOR YOUR TOPIC

Expression	Translation
1) to have a reputation of	быть известным как
2) to require extreme discipline and concentration.	требуется строгая дисциплина и собранность
3) to have a leading part on a world stage	играть главную роль на мировой сцене
4) prima ballerina assoluta	прима баллерина ассолюта
5) choreographer	хореограф
6) ballet production	балетная постановка
7) to make lasting impression on smb	произвести незабываемое впечатление на кого-то
8) to be amazingly talented	быть поразительно талантливым
9) music score	музыка для балета
10) to dance on points	танцевать на пуантах
11) to recommend highly to watch the ballet	настоятельно советовать посмотреть балет
12) classic ballet contemporary ballet	классический балет современный балет
13) ordinary member of the audience	простой зритель
14) impression in words is impossible	впечатление непередаваемое словами
15) great art never fades	настоящее искусство никогда не умирает

LEXICOLOGY:‘LES FAUX AMIS’

Ложный эквивалент – это слово полностью или частично совпадающее по звуковой или графической форме с ино-странным словом, но имеющее другое значение при смы-словой близости.

Примерами могут служить следующие пары английских и русских слов:

E nglish Artist – человек искус-ства, деятель искусства, художник вообще	Russian Артист – обобщенно озна-чающее ‘актер любого вида театра’
Pathos –трагизм, щемящая грусть, печаль, чувство	Пафос – страстное воду-шевление, эмоциональ-ный подъем

Ложные друзья переводчика могут приводить к неправиль-ному пониманию и переводу текста. Часть из них образо-валась из-за того, что после заимствования значение слова в одном языке изменилось, в других случаях заимствования вообще не было, а слова происходят из одного корня в каком- то древнем языке, но имеют разные значения, иногда созву-чие бывает чисто случайным. Термин «ложные друзья» был введен М.Кесслером и Ж. Дерокиньи в своей работе ‘ou les trahisons du vocabulaire anglais’ в 1928 году.

A LIST OF ‘LES FAUX AMIS’

TRANSLATOR’S FALSE FRIENDS

Word	Correct translation	Wrong translation
1) accurate	точный, правильный	аккуратный
2) actual	фактический, действующий	актуальный
3) aspirant	претендент, кандидат	аспирант
4) biscuit	печенье	бисквит
5) camera	фото-видео- камера	тюремная камера
6) data	данные, факты	дата
7) extra	дополнительный	экстра класса
8) fabric	ткань	фабрика
9) intelligent	умный, понятливый	интеллигентный
10) list	список	лист
11) mark	метка, знак, оценка	марка
12) obligation	обязательство, гарантия, долг	облигация
13) principal	главный, основной	принципиальный
14) scenery	пейзаж, декорация	сценарий
15) trace	след	трасса
16) valet	камердинер, лакей,	валет
17) virtuous	добродетельный	виртуозный

14) Translate the following sentences from Russian into English using the words given in a list of ‘les faux amis’

1) Точный письменный перевод важен для выполнения пер-

вого задания экзамена.

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2) Аспирантам потребуется дополнительная литература, что-

бы написать статью о современном театре.

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3) Список книг, необходимых для подготовки к экзамену, вы

можете получить у преподавателя.

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4) Декорации к спектаклю были по-настоящему прекрасны.

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5) Слуга пригласил гостей пройти в зрительный зал.

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6) Это главная дорога между двумя городами.

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7) Мой фактический адрес указан в анкете.

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8) Основное обязательство правительства страны – закончить

войну.

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9) Если вы хотите сфотографировать достопримечательности

Лондона, не забудьте фотокамеру.

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10) Умные и талантливые студенты учатся в нашем Универ-

ситете.

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UNIT 4

WHAT DOES A THEATRE PRODUCER MEAN IN A THEATRICAL PROCESS?

Task1 – Изучающее чтение: Текст ‘What does a theatre pro-ducer mean in a theatrical process? ‘

Task2 – Ознакомительное чтение: тексты ‘The role of a ma-nager’, ‘Arts management’

Task3 – Беседа с преподавателем o жанрах игрового кино и любимых актерах

Грамматика: The inversion / Инверсия

Лексика: Synonyms/Синонимы

TASK # 1

Прочитать и перевести данный оригинальный текст со сло-

варем. (На экзамене по кандидатскому минимуму аспиран-

там (соискателям) будет предложен текст объемом не менее

2000-2500 печатных знаков). На выполнение подобного за-

дания на экзамене отводится 50-60 минут.

TEXT#1 WHAT A THEATRE PRODUCER ACTUALLY DOES

Everyone knows a theatre producer, but do we really know what they do? Three successful practitioners explain what a theatre producer really means in a theatrical process.

J ulius Green, an author of ‘How to Produce a West End Show’

Roxanne Peak-Payne, a UK theatrical producer, Mark Cartwright, a UK freelance producer have participated in the discussion.

AN OVERVIEW FROM START TO FINISH

‘I don’t like the term creative producing,’ says Julius Green, ‘be-cause all producers are creative by definition: they create the piece of theatre from the ground up. The producer puts together the te-am of directors, designers and actors, books the theatre, issues the contracts, raises the finance and builds the budget. ’ No two jobs are the same,’ says Roxanne Peak-Payne. ‘Every time I start a new job as a producer, I ask them what exactly it is that they expect be-cause it’s always different. In very loose terms, it’s an overview of the whole production, from start to finish, across all areas.’

LOOKING AFTER THE MONEY

‘In the subsidized sector, the producer budgets for a deficit, ho-ping to attract funding, while in the commercial sector you budget for a profit, hoping to attract investment,’ argues Julius Green. ‘Don’t be scared of money. Money is the fuel that we need to make it all work.’ Never tell anyone what the full budget is,’ advises Ro-xanne. ‘If I am doing something for myself, I always build in a con-tingency – of time and money – that noone else knows about. However strict you are, something completely unpredictable always pops up.’

BRINGING PEOPLE TOGETHER

‘The ability to get on with people is hugely important,’ says Mark Cartwright. ‘Your job, as a producer is to be sure that you have achieved the best possible result, for all the creative team and the audience. ’You’re a very unifying figure,’ says Roxanne. ‘You have to make sure that everyone is singing from the same hymn sheet. The director is obviously central to the show itself, but as a produ-cer you’re responsible for people’s journey to the show, whether they’re funders or audiences or cast.’

PICKING THE RIGHT PROJECT

‘You get shows through a mixture of routes,’ says Mark. ‘A lot of brilliant ideas come through directors, but sometimes it’s some-thing the producer has read or commissioned. Sometimes it comes from an agent or just a friend.’ Most people are scared of the admi-nistrative and financial elements, but that’s actually the easy bit,’ says Julius. ‘The difficult bit is creating a piece of art. There is so much work out there and so many people wanting you to put their work on. You should only produce something that you have a real passion for and that you would personally want to buy a ticket for and go and see.’

PROBLEM SOLVING

‘If there are any problems then I suppose it is the producer’s re-sponsibility to solve them,’ says Mark. ‘I suspect I’ve always been the last person working on every show that I’ve done, right up to sorting out the wages and reconciling the budget. ‘I suspect I’ve always been the last person working on every show that I’ve done, right up to sorting out the wages and reconciling the budget.’ ‘When it boils down, if there is going to be a bad guy,’ warns Ro-xanne, ‘it will probably be the producer. You will sometimes have to make hard decisions that the director might not like.’

TOP TIPS FOR THEATRE PRODUCERS:

1) Don’t let the relationship with the director become too casual or

unprofessional.

2) Go and watch rehearsals on agreed days; don’t just drop in ran-

domly.

3) If you have any hidden talents – from carpentry to speaking

French – use them at some point in your career.

http://www.ideastap.com/

Nell Frizzell

1) Translate the words and expressions from the text

Expressions	Translation
1) creative producing
2) freelance producer
3) to issue the contract
4) to raise the funds
5) to say in very loose terms
6) to attract funding
7) to attract investment
8) full budget
9) to get on with people
10) a unifying figure
11) to sing from the same hymn sheet
12) to create a piece of art
13) producer’s responsibi- lity
14) to solve a problem
15) to make hard decision
16) casual or unprofessio- nal relationship
17) to watch rehearsal on agreed days

2) Answer the following questions

1) What successful practitioners have participated in the present

discussion?

2) Can you explain what ‘an overview from start to finish’ means

in other words?

3) Why doesn’t Julius Green like the term ‘creative producing’?

4) What does Roxanne Peak-Payne ask when she starts a new job

as a producer?

5) What is the difference between the producer’s job in the sub-

sidized sector and commercial sectors?

6) Why should not a producer be scared of money, according to

Julius Green?

7) What producer’s ability is hugely important according to Cart-

wright?

8) Why does Roxanne Peak-Payne consider a producer to be a ve-

ry unifying figure?

9) How can a producer get shows?

10) What should the producer choose, upon Julius’ advice?

11) Who sometimes has to take hard decisions that the director

might not like?

12) What are the three top tips for a theatre producer to follow?

13. Do you agree with the concepts of the British successful practiti-oners stated in the present article?

14. Have you found the opinions correct and reasonable?

3) Choose the correct words and insert them into the sentences

AN OVERVIEW FROM START TO FINISH

‘I do not like the _________ (term/word/phrase) ‘creative producing,’ says Julius Green, ‘because all producers are creative by _________ (nature/definition/character): they create the piece of theatre from the _________ (ground up/beginning/ start). The producer ________(puts together/unite/combine) the _________

( group/company/team ) of directors, designers and actors, books the theatre, issues the contracts, raises the________(money/ finance/resources) and builds the budget.’ ‘No two jobs are the same,’ says Roxanne. ‘Every time I start a new job as a producer, I ask them what ________ (exactly/ strictly/truly) it is that they_______ (want/ expect/wait) because it is always ______ (different/ other/ variant). In very loose terms, it’s an __________ (overview /examination/inspection) of the whole production, from start to finish, across all areas.’ 

4) Complete the following sentences

1)Three successful practitioners explain _______________________

2) The producer creates _____________________________________

3) The producer puts together ________________________________

4) Money is ________________________________________________

5) The job of a producer is ___________________________________

6) The producer is responsible for ____________________________

7) The producer should only produce _________________________

8) The producer sometimes has to make ______________________

5)Translate the following sentence, paying attention to the verbals (participle, gerund, infinitive)

1) The classes on stage movement are very essential to the stu-dents helping to feel free and confident on stage.

2) There are some people carrying out the work of a theatre pro-ducer although they don’t have a qualification.

3) The producer should bring people together to achieve the objective.

4) To manage is ‘to forecast and plan, to organize, to command, to

coordinate and to control’.

5) Why is it so much better to listen instead of talking?

6) To succeed in this task, managers need to have social skills.

7) Produces motivate people including themselves.

8) Managers must select people for the jobs to be done.

9) The task of a doctor is to explain how to stop smoking.

10) Theatre critics spend a lot of time watching performances.

GRAMMAR: INVERSION

Инверсией в английском языке называется нарушение прямого порядка слов в предложении, в котором сказуемое может быть поставлено перед подлежащим.

Стандартный порядок слов в утвердительном предло-жении подразумевает расположение на первом месте подлежащего на втором - сказуемого.

John (1)went (2) to the theatre yesterday.

Джон ходил в театр вчера.

This story (1) is (2)rather boring.

Этот рассказ довольно скучный.

Инверсия применяется, когда мы хотим выделить определенное слово или выражение, либо придать более эмоци-ональное звучание предложению.

Never before have I seen such beauty.

Никогда раньше не видел я такой красоты.

Away ran the witch and the monster.

Прочь убежали ведьма и чудовище.

Основные случаи инверсии в английском языке:

1) Инверсия в вопросах.

Самый распространенный случай инверсии - постановка вспомогательного глагола перед подлежащим в вопросе. Следует отметить, что инверсионный порядок слов в вопросе считается стандартным для вопроса.

(2)Did(1)John go to the theatre? Джон ходил в театр?

(2)Is (1)this story boring? Эта история скучная?

2) Конструкция ‘there is, there are’

Инверсия требуется в конструкции ‘there is, there are’, а также в случаях, где модальный глагол или основной глагол

употреблён в таких конструкциях.

(2)There are (1) a lot of spectators in the auditorium.

В зрительном зале много зрителей.

(2)There must be a reason for it. Для этого должна быть причина.