2. In pairs, try to write as many names of actors and actresses as you can. Set time limits.

3. Speaking about art 'n groups, try to brush up words connected with painting (trends, styles, etc.) you learnt in the tenth form. You can arrange a competition. Set time limits.

4. Ask and answer the following questions in pairs.

1. Are you interested in art? What art in particular?

2. Painting and sculpture are visual arts, aren't they? Which of them do you think is more exciting for you?

3. What world-famous artists do you know / like?

4. Who is your favourite painter? Why?

5. Which of the two genres — portrait or landscape painting — attracts you more? Do you know any well-known portraitists / landscapists?

6. Many artists produced pictures of scenes at sea. Can you say that Aivazovskyi was a famous seascapist? Do you know any names of his pictures?

7. Do you know any British museums?

8. Do you ever go to picture galleries and art museums? Which galleries / museums? What important picture galleries and art museums do you know in Ukraine and abroad?

9. Where can we see sculptures? Where are they usually placed and why?

10. Do you think photography can be called a visual art? Why? Why not?

11. Have you ever tried your hand at any of these three arts — painting, sculpture and photography? How successful were you?

1. Listen, then read the text and say what of a greater interest for the girl is: the stories, she imagines watching pictures, or technical things, the painters use in their works.

THE PICTURE (after'The Broken Bridge' by Ph. Pullman)

Ginny, the main character of the story, is 16. She's turning out to be a brilliant artist like her mother, who died when she was a baby. In the extract you're going to read Ginny sees her mother's picture in the art gallery.

When Ginny was first becoming interested in art and the history of painting, Dad had given her a big book with hundreds of reproductions in it. She'd pored over it with more than delight — with a kind of greed, in fact. She absorbed everything the book told her about the Renaissance, and the Impressionists, and the Cubists, about Boticelli and Monet and Picasso, and she Arrangement in Grey and Black, Whistler breathed it all in like oxygen

she hadn't known she was missing. And among the pictures in the book, there were two that made her gasp. One was Whistler's Arrangement¹ in Grey and Black, the portrait of his mother sitting on an upright chair, and the other was El Greco's View of Toledo. She remembered her reaction quite clearly: a sudden intake of breath, caused by sheer surprise at the arrangement of shapes and colours. It was a physical shock.

And when she looked at the big painting that dominated the end wall, the same thing happened. It would have affected her the same way whoever had painted it, because it was a masterpiece. What it showed was a middle-aged black man, in a uniform with epaulettes [.epa'lets] and medals, in the act of falling on to the red-carpeted floor of a well furnished room. He'd been eating a meal, and on the table beside him there was a plate of yellow soup. Beyond him, through the open door and at the open window, stood a crowd of people, watching: white people and black, old and young, richly dressed and poverty-stricken. Some of them carried objects that helped you understand who they were: a wad of dollar bills for a banker, a clutch of guns² for an arms dealer, a chicken for a peasant; and the expressions on their faces told Ginny that they'd all in some ways been victims or accomplices³ of the man who was dying.

And all that was important, but just as important was the strange discord of the particular red of the carpet and the particular yellow of

’an arrangement [a'reindsmant] — етюд ²a clutch of guns [kUtj] — купа зброї

³an accomplice [a'kAmphs] — спільник, співучасник (злочину)

the soup, so that you knew it was something significant, and you guessed the soup had been poisoned. And the way the dying man was isolated by the acid red from every other shape in the picture, so that it looked as if he were sinking out of sight in a pool of blood. And mainly what was important was the thing that was impossible to put into words: the arrangements of the shapes on the canvas. These same elements put together differently would have been an interesting picture, but put