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IV Make up a plan of the text.

V Translate the paragraph in italics in a written form.

VI Questions for discussion:

1. What are the main categories of dance costumes?

2. Why is the field of folk-dance costume very complex?

3. How were European folk-dance costumes decorated?

4. What kind of ballroom dances required an elegant style of dress?

5. How did choreographers change traditional dance and costumes after World War I?

6. What did George Balanchine do in 1934?

7. What is the role of costume in dance?

VII Render the text in brief in a written form.

Text C

I Mind the following words and word-combinations:

to conquer – завоювати

to emerge – виникати

vendor – торговець

dance tights – лосини

wristlets – браслет

head bands – пов’язка на голову

vice verse – навпаки

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

1. In the 18th century stage costumes were based on everyday-dress design.

2. Costumes for musical “My Fair Lady” didn’t surprise the audience.

3. Aerobic and dance outfits became popular on stage, but not in everyday life.

4. A musical-comedy genre emerged in London from the 1880s.

5. Dance tights, leggings, headbands spread from stage to fashion and vice versa.

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

    1. Where did ballad operas and comic operas emerge in the 18th century?

    2. What kind of outfits became popular in 1975?

Unit 8 scenic design

Text A

I Listen and learn the following words:

  1. set – декорація

  2. scenery – театральні декорації

  3. rendering – виконання, інтерпретація

  4. props – реквізити, бутафорія

  5. propmaster – реквізитор

  6. drafting – креслення

  7. in regard – по відношенню до

  8. foreman – майстер цеху

  9. plaster – штукатур

  10. welder – зварювальник

  11. groundplan – фон

II Read and learn the following phrases:

  1. set designer – дизайнер декорацій, декоратор

  2. set construction – конструювання декорацій

  3. scale models – масштабні моделі, макети

  4. scale construction drawings – масштабні ескізи

  5. stage picture – постановча картина

  6. visually appealing – візуально привабливий

  7. scenic elevation – художнє оформлення сцени

  8. artistic background – художня освіта

  9. production manager – режиссер- постановник

  10. master carpenter – старший машиніст сцени

  11. scene shop – сценічна майстерня

  12. scenic stitchers – монтажники сцени

III Read and translate the following text Scenic design

Scenic design (also known as stage design, set design or production design) is the creation of theatrical scenery. Scenic designers have traditionally come from a variety of artistic backgrounds, but nowadays, generally speaking, they are trained professionals, often with degrees in theatre arts.

The 'stage picture' is the 'look' or physical appearance of the stage for a play, whether in rehearsal or performance. It reflects the way that the stage is composed artistically in regard to actors, shapes and colours. The stage picture should express good principles of design and use of space. It should be visually appealing for the audience or should express the show's concept. The stage picture is also crucial for the creation of atmosphere for the audience.

The scenic designer is responsible for collaborating with the theatre director and other members of the production design team to create an environment for the production and then communicating the details of this environment to the technical director (production manager), charge scenic artist and propmaster. Scenic designers are responsible for creating scale models of the scenery, renderings, paint elevations and scale construction drawings as part of their communication with other production staff.

In Europe and Australia scenic designers take a more holistic approach to theatrical design and will often be responsible not only for scenic design but costume, lighting and sound and are referred to as theatre designers or scenographers or production designers.

Like their American cousins, European theatre designers and scenographers are generally trained with Bachelor of Arts degrees in theatre design, scenography or performance design.

Set construction is a process by which a set designer works in collaboration with the director of the production to create the set for a theatrical, film or television production. The set designer produces a scale model, scale drawings (including, but not limited to: a groundplan, elevation, and section of the complete set as well as several more detailed drawings of individual scenic elements) paint elevations (a scale painting supplied to the scenic painter of each element requiring painting), and research about props, textures, and so on. Models and paint elevations are generally hand-produced, though in recent years, many designers and most commercial theatres have begun producing scale drawings on computer drafting programs.

The technical director or production manager is the person responsible for evaluating the finished designs and considering budget and time limitations. He or she engineers the scenery, has it redrafted for building, budgets time, crew and materials. Technical directors often have assistant technical directors whose duties can range from drafting to actually building scenery.

A scene shop is often overseen by a shop foreman or master carpenter. This person assigns tasks, does direct supervision of carpenters, and deals with day-to-day matters such as absences, breaks, tool repair, etc. The staff of a scene shop is usually referred to as scenic carpenters, but within that there are many specialities such as plasterers, welders, and scenic stitchers. Scenic painting is a separate aspect of scenic construction, although the scenic painter usually answers to the technical director.

There is also usually another person often referred to as a jack of all trades, or as a Fred-John. He or she doesn't specialize in a particular aspect of construction, but is skilled to some degree in most.

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