III Make up a plan of the text.

IV Translate the paragraphs in italics in a written form.

V Render the text in brief in a written form.

VI Work in pairs. Discuss the questions:

1. What materials does Paco Rabanne use in his work?

2. What is the most famous Rabanne’s garment?

3. When did Pierre Cardin show his first collection?

4. What did his collection consist of?

5. Who designed the first unisex collection?

6. What does prêt-à-porter mean?

7. Did Karl Lagerfeld work as an independent designer?

8. Who was a revitalizer of Chanel style?

9. What are the features of Emanuel Ungaro style?

10. How does Ungaro create his designs?

VII Study Figure1:

Figure1. Executive separates.

VIII Answer the questions:

1. What do you think of clothes like these?

2. Would you like to have them in your wardrobe?

3. If so, where would you wear them?

4. In what colour combinations would you like to have the separates? Explain why?

5. Do you like to wear separates? Why?

IX Make up your own dialogues using the key words and expressions from the unit.

TEXT C

I Mind the following words:

1. piecemeal частково

2. director режисер

3. actor-manager актор-антрепренер

4. to unionize об’єднатися у профспілку

5. touring гастролі

6. cohesive цільний

II Listen to the text. Decide if the statements are true or false:

1. The profession of a costume designer emerged in the Middle Ages.

2. Before the twentieth century actors travelled with their own costumes.

3. The first union members were costume designers.

4. In 1836 costume designers were recognized as a separate specialty.

5. Film designers appeared just for making films more cohesive.

III Listen to the text again and be ready to answer the questions:

1. How did the speciality of a costume designer appear?

2. What were the reasons for film designers to emerge?

REVIEW ASSIGNMENTS

I Revise the vocabulary minimum of Unit 5 to be checked up.

II Match the words:

1 to achieve a) включати в себе

2 digital b) відтінок

3 value c) форма

4 space d) цифровий

5 shape e) простір

6 placement f) вимірювати

7 to incorporate g) досягати

8 shade h) тон, насиченість

9 texture i) форма

10 to measure j) розташування

III Match the words in the left column with their definitions:

1 complementary colours a) planning and realization of the layout, furnishing

and decoration of an architectural interior

2 visual design b) a medium that spreads printed matter

3 primary colours c) colours that are directly opposite each other on

the colour wheel

4 print medium d) colours from which it is possible to mix all the other colours of the spectrum

5 interior design e) design forms that create works which are primarily visual in nature

UNIT 7

THEATRICAL COSTUME

Text A

I Listen and learn the following words:

1. foundations основи

2. revelry веселощі

3. conventions стилі

4. high-soled shoes взуття на високій підошві

5. ecclesiastical церковний

6. scenery декорації

7. contemporary сучасний, повсякденний

8. breastplate нагрудний знак

9. draperies драпіроване вбрання

10. character персонаж

II Read and learn the following phrases:

1. character recognition – впізнавання персонажу

2. mystery plays – вистава з містичним змістом

3. historical accuracy – історична точність

4. to reflect on the stage – відображати на сцені

5. authentic costume – аутентичний костюм

III Read and translate the following text:

Theatrical Costume

Western theater tradition has its foundations in the Greek celebrations honouring Dionysus, the god of wine and revelry. The traditional costume for Greek tragedy consisted of a long tunic, a stylized mask for character recognition, and a pair of high-soled shoes. All of these garments were exclusively for theatrical use. One cannot act the hero in everyday wear. Short tunics, much like those worn by ordinary citizens, were thought appropriate to comedy.

The costume conventions established by the Greeks essentially remained the same until the fall of the Roman Empire, when Western theatre disappeared for eight hundred years.

From the fifth century mystery plays, which depicted the lives of the saints, were increasingly performed both inside the church and on church grounds. Then they moved to the market squares. Costumes worn in the early religious dramas were ecclesiastical garments.

It was during the Renaissance that scenery and costume came to be even more important than the text. Costumes depicted gods, animals, and mythological creatures, as well as emotions.

Costumes for Shakespeare's plays were a mixture of various periods. Most parts were performed in contemporary dress either owned by the actor or provided by the theater. A helmet or breastplate indicated a soldier. Fairies and nymphs might wear classical draperies.

The same principles were applied to costume in the seventeenth and eighteen centuries. Most actors and especially actresses dressed as fashionably as possible. A turban indicated an Eastern character. A helmet signified a soldier. Performers provided their own wardrobe with the exception of special items provided by the theater.

The period between the 1770s and the 1870s saw a drive toward historical accuracy in costume design. Travelling became relatively easier, written reports and exhibitions increased people's knowledge of other cultures. They wanted what they saw and read about to be reflected on the stage.

Theaters used every available resource to create authentic costumes for actors. This new realistic style greatly influenced Paris and Moscow theaters.

Nowadays, theatrical costumes are designed to support the script. If realism or historicism is central to the text, the costumes will accurately reflect the clothing appropriate to the period or to the environment. Costumes for the theater have special requirements in fit, colour and effect. Garments must allow the performer's body to move easily and be well made. For example, costumes of professional actors and dancers often receive hard wear. Constant use or vigorous movement for dancers, circus clowns, and acrobats can put a strain on garments, thus requiring sturdy fabrics and specific construction. When many viewers see costumes from afar, colours or other aspects of design may be exaggerated for effect. Some colours, therefore, may be more bold or brilliant than choices for everyday dress. Such choices depend on the interpretation of the costume designer in planning the outfit for each performer's individual role and for the interaction among the performers.