- •Т.В. Барамикова, л.П. Ільєнко, к.Б. Кугай, а.В. Спіжова, н.В. Зимнікова, а.М. Ткаленко
- •Передмова
- •Unit 1 history of arts Part I
- •I Listen and remember the following words:
- •III Read and translate the following text: History of arts
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •Renaissance
- •III Make up a plan of the text.
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •The history of arts. Brief overview
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: World War I and after the War
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Charles Frederick Worth industrializes fashion
- •III Make up a plan of the text.
- •Design elements
- •V Complete the sentences with the words from the text:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •Design principles
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Paco Rabanne
- •Pierre Cardin
- •Karl Lagerfeld
- •Emanuel Ungaro
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text.
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Dance costume
- •III Make up a plan of the text.
- •IV Answer the questions:
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Scenic makeup
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •III Make up a plan of the text.
- •III Listen to the text again and be ready to answer the questions:
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and learn:
- •II Read the text and define the main idea of it: Flower symbolism
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •I Mind the following words and word-combinations:
- •II Listen to the text and decide if the statements are true or false:
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •III Make up a plan of the text.
- •Principles and elements of design
- •Graphic design theory
- •IV Answer the questions:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: Raymond Loewy. The father of industrial design
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and learn:
- •II Read the text and define the main idea of it: The importance of colour
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words and word-combinations:
- •IX Translate the sentences into English:
- •X Speak on the topic using the following words and word combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it:
- •Video design
- •III Make up a plan of the text.
- •IV Answer the questions:
- •V Complete the sentences with the words from the text:
- •VI Find the English equivalents to the words:
- •VII Make up sentences with the terms:
- •VIII Give definitions to the words:
- •IX Translate into English:
- •X Speak on the topic using the following words and word-combinations:
- •I Read and remember:
- •II Read the text and define the main idea of it: The history of logo design
- •III Make up a plan of the text.
- •IV Translate the paragraph in italics in a written form.
- •V Questions for discussion:
- •VI Render the text in brief in a written form
- •Prehistoric costume
- •Textiles
- •Costume textiles
- •Some natural fibres facts
- •Textile yarns and fibres
- •The knitwear design process and the use of sources of inspiration
- •Coloured stitch designs in weft knitting
- •The great masters of fashion
- •Textiles and materials in the fashion industry
- •The history of fashion between 1970-1983
- •The designers
- •Fashion fifty years ago. Conclusion
- •Interior design. Style selection
- •Goals, functions and the human factor of interior design
- •Light in colour
- •Colour in your home
- •Accessories
- •Selecting accessories
- •Textiles
- •Textile uses in interior design
- •Selecting textiles for interiors
- •Harmony
- •Package design and display
- •Advertisements
- •Graphic designer
- •Commercial photography
- •Colour photography
- •What is a good photograph?
- •Colour harmony
- •Corporate logo design
- •Your hair
- •Hair colour
- •Hair style
- •The art of arranging the hair
- •Modern hairdressing procedure
- •History of styles
- •The development of styles in europe from the
- •9Th till 20th centuries
- •Cosmetics
- •Glossary a
IV Answer the questions:
What was the traditional costume for Greek tragedy?
When did the costume and scenery come to be even more important than the text?
What did costumes depict during the Renaissance?
Could you describe the costumes for Shakespeare’s plays?
When did realistic style become popular?
What did actors and actresses wear in the 17th and 18th centuries?
Are modern theatrical costumes designed to support the script?
What are special requirements for theatrical costumes?
How should colours be used in costumes for actors and dancers?
V Complete the sentences with the words from the text.
Dionysus is the god of … .
The costume conventions established by Greeks remained the same until … .
Plays, which depicted the lives of the saints, were performed inside … … .
A helmet or breastplate indicated … .
They wanted what they saw and read about to be reflected on … .
VI Find the English equivalent to the words:
1) святкування
2) п’єса
3) модний
4) історична творчість
5) стилізована маска
6) відображати на сцені
7) підходящий, відповідний
VII Make up sentences with the words:
tragedy, mask, garments, costume, to perform, theater, stage, to create
VIII Give the definitions to the words and phrases:
comedy, tragedy, theatrical costume, culture, actor
IX Translate the sentences into English:
Традиційний костюм для грецької трагедії складався з туніки та стилізованої маски.
В середні віки в п’єсах зображувалось життя святих.
В період Ренесансу костюми були важливішi ніж текст.
В ХІХ столітті історична точність була важливою для театрального костюму.
В наш час костюми точно відображають історичний період та середовище.
Іноді колір театрального костюму повинен бути більш яскравим, ніж колір повсякденного одягу.
Шекспірівські п’єси грали в повсякденному одязі.
В 18 столітті актори використовували одяг зі свого гардеробу, окрім деяких речей, якими забезпечував театр.
Театральний костюм повинен дозволяти актору вільно рухатись.
X Speak on the topic using the following words and word combinations:
greek tragedy, theatrical costume, everyday dress, costumes provided by the theater, to reflect on the stage, special requirements, specific construction, viewers, to plan the outfit, bold colours.
Text B
I Read and remember:
1. elaborate – вишуканий
2. laced corset – зашнурований корсет
3. beads – намистинки
4. chemise – жіноча сорочка
5. slashed sleeves – рукава з прорізом
6. petticoat – нижня спідниця
7. farthingales – круги, які тримають спідницю
8. relevant – відповідний
9. rehearsal leotards – тренувальне трико
10. tutu – пачка балерини
II Read the text and define the main idea of it: Dance costume
The relationship between dance and dance costumes is complex and does not simply reflect dance practice in a specific period, but also social behaviour and cultural values. Dance costumes can be divided into the following categories: historical, folk or traditional, ballroom, modern and musical dance costumes. Influence has spread from fashion to dance and back again.
From the fifteenth to the eighteenth century, festivities at European courts required highly elaborate dance costumes.
The style of court dance costumes tended to be similar to everyday dress of the period, for example, laced corsets, puffed and slashed sleeves, farthingales with skirts and applied decoration. In the early twenty-first century, the reproduction of historical dance costumes was evident in the activities of historical dance organizations, such as the Institute for Historical Dance Practice in Belgium.
From the fifteenth century onward, folk dance developed in Europe. The field of European folk-dance costumes is very complex, as each of the country's regions has its own dances, dress, and customs. Eastern European folk dances, such as czardas, mazurka, and polka, soon spread to England and France. Folk-dance costumes reflected the East European look in the use of bright colours on dark backgrounds. Costumes were often highly decorated with beads, metal, and silk threads. The basic women's dress was a short, light-coloured chemise and a petticoat, over which several layers of fabric were worn.
From the early nineteenth century, ballroom dances were taken up by a broad public, and special evening dresses were designed to fit these occasions. The waltz, fox-trot, polka, mazurka, and Viennese waltz required an elegant style. By the twentieth century, dance costumes for the tango, swing, charleston, rumba, bolero, cha-cha-cha, mambo, and samba were more revealing.
At the beginning of the twentieth century, Isadora Duncan's natural movements on stage characterized a new era for dance. Free-flowing costumes and loose hair permitted a great freedom of dance movement. After World War I, avant-garde choreographers reformed and liberalized traditional dance and its costumes. Moving away from traditional ballet techniques, modern dance gave rise to a new era of costuming. Costumes and makeup took on a unisex look as choreographers felt it less relevant to differentiate female and male dancers. In 1934, neoclassical dance choreographer George Balanchine was the first to dress ballet dancers in rehearsal clothes for public performances. The costumes were almost always black and white.
Martha Graham replaced the traditional ballet tunics of male dancers and the folk dress and tutus of female dancers with straight, often dark and long shirts or rehearsal leotards.