Методическое пособие по практике основного иностранного языка (английский) для направления 050100 Педагогическое образование

• Название: Методическое пособие по практике основного иностранного языка (английский) для направления 050100 Педагогическое образование
• Анкор: CInema and Theatre.docx
• Дата: 29.01.2017
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• Имя файла: CInema and Theatre.docx
• Тип: Методическое пособие; #965
• страница: 11 из 17

7. Translate the sentences using the essential vocabulary.

1) Этот спектакль стоит посмотреть: декорации превосходны. 2) Он любил из зрительного зала смотреть сцены, в которых он сам не играл. 3) Зрительный зал включает в себя партер, бельэтаж, балкон и ложи. 4) Нам не удалось посмотреть балет «Щелкунчик», потому что все билеты были проданы за две недели до спектакля.5) Я купила два билета в Театр Оперы и Балета. 6) У нас была ложа во втором ярусе. 7) Освещение в этом спектакле ярко выявляет искусство и балетмейстера, и художника. 8) Когда занавес опустился, и в зале зажегся свет, раздался гром аплодисментов. 9) Мы договорились встретиться в фойе во время антракта. 10) За четверть часа до спектакля зрительный зал был почти полон. 11) Постановка была очень удачной и шла при переполненном зале. 12) Свет начал гаснуть, и зал затих. 13) Свет в зале погас, и занавес поднялся. 14) Мы сидели в задних рядах партера. 15) После репетиции мы пошли за кулисы, чтобы посмотреть на новые костюмы и декорации. 16) Эта пьеса была долгое время в репертуаре театра и шла при переполненном зале.
Reading

8. ReadText12andgivetheequivalentstothefollowingwordsandexpressions.

1) финансовый (денежный)	репутация)
2) великолепие	8) гобелен
3) балдахин	9) рискованное начинание
4) увенчивать	10) подвергать
5) выгодный (рентабельный)	11) принуждать
6) жалкий (грязный, запущенный)	12) объемное изображение 13) разбрасывать
7) плохая слава (дурная

9. Fill in the blanks with the words from ex. 8:

1. 
   Their behaviour has brought ____________ on English football.
   
2. 
   We admired the ____________ of the mountain scenery.
   
3. 
   The house was ____________ by a tall chimney.
   
4. 
   As a nurse in the war she was ____________ to many dangers.
   
5. 
   The two companies have embarked on a joint ____________ to produce cars in America.
   
6. 
   The walls of the banqueting hall were hung with ____________.
   
7. 
   Our research has been ____________ by lack of cash.
   
8. 
   How can they live in such ____________ conditions?
   
9. 
   There were papers ____________ all over the floor.
   

10. Make up 5 sentences in Russian and 5 sentences in English using the from ex. 7 for your group-mates to translate.

TEXT 12. THE EARLY LONDON THEATRES

In the year 1576, under the powerful patronage of the Earl of Leicester*, James Burbage*, was built the first English theater. The venture proved so successful, that twelve theaters were soon furnishing entertainment to the citizens of London. Of these the most celebrated was “The Globe.” It was so named because its sign bore the effigy of Atlas supporting the globe, with the motto, “Totus Mundus agitHistrionem.”* Many of the early London theaters were on the southern or Surrey* bank of the Thames, out of the jurisdiction of the City, whose officers and magistrates, under the influence of Puritanism*, carried on a constant war against the players and the play-houses. Some of these theaters were cock-pits (the name of “the pit” still suggesting that fact); some were arenas for bull-baiting and bear-baiting. Compared with the magnificent theaters of the present day, all were poor and squalid, retaining in their form and arrangements many traces of the old model – the inn-yard. Most of them were entirely uncovered, except for a thatched roof over the stage which protected the actors and privileged spectators from the weather. The audience was exposed to sunshine and to storm. Plays were acted only in the daytime. The boxes, or “rooms”, as they were styled, were arranged nearly as in the present day; but the musicians, instead of being placed in the orchestra, were in a lofty gallery over the stage. In early English theatres there was a total absence of painted or movable scenery, and the parts for women were performed by men or boys, actresses being as yet unknown. A few screens of cloth or tapestry gave the actors the opportunity of making their exits and entrances; a placard, bearing the name of Rome, Athens, London, or Florence, as the case might be, indicated to the audience the scene of the action. Certain typical articles of furniture were used. A bed on the stage suggested a bedroom; a table covered with tankards, a tavern; a gilded chair surmounted by a canopy, and called “a state,” a palace; an altar, a church; and so on. A permanent wooden structure like a scaffold, erected at the back of the stage, represented objects according to the requirements of the piece, such as the wall of a castle or a besieged city, the outside of a house, or a position enabling one of the actors to overhear others without being seen himself.

The poverty of the theatre was among the conditions of excellence which stimulated the Elizabethan dramatist. He could not depend upon the painter of scenes for interpretation of the play, and therefore was constrained to make his thought vigorous and his language vivid. The performance began early in the afternoon, and was announced by flourishes of a trumpet. Black drapery hung around the stage was the symbol of tragedy; and rushes strewn on the stage enabled the best patrons of the company to sit upon the floor. Dancing and singing took place between the acts; and, as a rule, a comic ballad, sung by a clown with accompaniment of tabor and pipe and farcical dancing closed the entertainment.

Notwithstanding the social discredit attached to the actor, the drama reached some popularity, and the profession was so lucrative, that it soon became the common resort of literary genius in search of employment. This department of literature passed from infancy to maturity in a single generation. Twenty years after the appearance of the first rude tragedy, the English theatre entered upon a period of qualed without parallel in the literature of any other country. This was mainly the work of a small band of poets, whose careers began at about the same time. This sudden development of the drama was largely due to the pecuniary success of the new and popular amusement. The generous compensation for such literary work tempted authors to write dramas.

11. Comment on the scenery and peculiarities of play productions and performances at the early British theatres. Compare and contrast them with the modern ones.

12. Present a radio programme on the early London theatres. Interview an expert in this area. Radio-listeners` questions are welcomed.

Listening
AUDIO 5. THEATRE TICKETS
13. Read the following information before listening toAudio5.What will the text be about?

Uncomfortable seats with little leg room have long been a source of torment for visitors to theatres around the UK. In 2011 one of Britain’s biggest theatre groups replaced all 40,000 of its seats with ones which, it said, would stop people fidgeting. London’s Fortune Theatre was the first to have the new ergonomic seating fitted.
14. Match the word (1-8) with its definition (a-h).

1.fidget 2. slump 3. take the weight or bear the weight 4. ergonomic 5. fatigue 6. bolt upright 7. legroom 8. elbowroom	sitting or standing very straight;
	the space in front of a seat for your legs;
	to keep moving your hands or feet, or changing position slightly (because you are nervous or bored);
	the space available in the surrounding area to move your arms.; also a generic word to describe the amount of space somewhere (i.e. in a room);
	here, to sit heavily with a curved spine (not in an upright position), perhaps because you are tired;
	tiredness or weakness;
	to support or hold something up;
	designed to support the human body more and improve health and posture.

14.In what respect were the following names mentioned in the audio?

• 
  The Ambassador Theatre Group
  
• 
  The Theatre Royal
  
• 
  The Fortune Theatre
  
• 
  David Sillitto
  
• 
  Ian Moore
  
• 
  NuBax Seats
  

15. Answer the following questions with your partner:

1. 
   Why are the seats in most London’s theatres uncomfortable?
   
2. 
   What are the advantages of ergonomically designed chairs?
   

AUDIO 6. TICKET STOUTS
16. Read the following information before listening to Audio 6. What will the text be about?

Theatres and concert venues are struggling to stop people selling tickets illegally – often at higher prices. The people who do this are called ticket touts – they buy up lots of cheap tickets and sell them for a higher price.
17. Match the word (1-13) with its definition (a-m).

1.ticket touts 2.face value 3.dodgy 4.legitimately 5.transactions 6.venue 7.cheapskate8.inflated prices 9. fake 10. out-of-pocket 11. silver bullet 12. reputable 13. void	not valid; cancelled;
	buying or selling things;
	one simple solution to solve a problem;
	the price shown on the ticket;
	done properly according to the rules or the law;
	(informal) someone who doesn’t like spending money;
	building where large or important events take place;
	prices that are higher than they should be; not real; dishonest, unreliable, (sometimes) illegal; honest, reliable and trustworthy; people who buy tickets for an event in order to resell them at a higher price; losing money in a transaction.

18. Fill in the gaps with the words or word combinations from the video. Read the sentences beforehand!

1. 
   … means to sell tickets for an event such as a sports match or concert for more money than their real price – or ________________________.
   
2. 
   Well, I’ve never been that ____________ to see a show that I’ve needed to buy a ticket from a tout.
   
3. 
   I’m going to ____________ ____________Justin Timberlake, c).
   
4. 
   Tickets can be bought honestly – or ____________ – through an official agent, sometimes on a website.
   
5. 
   That’s right, but sometimes agents add ________________________.
   
6. 
   … that’s where you can get a bargain – even if you get a ____________ view and you can’t see that well!
   
7. 
   Sometimes they ____________ inflated prices – or high prices for the basic ticket for the sort of seats that I sit in.
   
8. 
   … because they are reputable, they will charge a ____________price and won’t be effectively ____________ tickets.
   
9. 
   You won’t be – as we sometimes say – ________________________.
   
10. 
    Well, luckily for me, I couldn’t afford that kind of price so I would wait for a ____________ cheaper ticket to become available.
    

19. Ask and answer the following questions with your partner?

1. 
   Are there ticket touts in Russia?
   
2. 
   Have you ever bought a ticket from a tout?
   
3. 
   If you couldn’t afford a ticket for the performance you were desperate to see, what would you do?
   

Writing
20. Imagine that you are going to open a new theatre in your city. Describe the project in detail. Include the following information: the official name, the emblem, the exterior and interior, the seating plan, the types and list of productions that will run at the theatre, the zest of the theatre.
LESSON 3. MEMBERS OF A COMPANY AND THEIR WORK
Brainstorming
Discuss the following questions with your partner:

1. 
   Do you have any friends/acquaintances who work at the theatre? What do they do?
   
2. 
   What questions would you ask an eminent theatre director?
   
3. 
   Would you like to perform on stage at the theatre? Or would you choose to do something else?
   

Vocabulary

artistic director	lighting designer
backstage crew/running crew	music director
ballet master/mistress	producer
box-office manager	production team/staff
choreographer	prompter
compere/master of ceremony	sound board operator/sound
conductor costume designer	operator sound designer
costume director	stage crew
fight director	stage/scenery designer
fly man	stage manager
front of house staff	technical director
house manager	technical stage manager
light board operator

1. Read the definitions and give the equivalents from the active vocabulary.

1. 
   A person who runs rehearsals and is responsible for the level of competence of the dancers in their company.
   
2. 
   The artistic leader of a theatre company who often directs some of the company's productions and offers artistic advice on all aspects of all productions.
   
3. 
   A stage manager who does not work through all of the early rehearsals with cast and director but joins the production late in the process to supervise the technical work and sometimes to call the cues for the show.
   
4. 
   The group of theatre technicians of all disciplines who work on performances moving scenic element and props before a show and during scene changes or who operate the lighting and sound.
   
5. 
   The artist who is responsible for designing and specifying the scenic elements of a production.
   
6. 
   The head of the costume workshop staff, or in film work, head costume coordinator.
   
7. 
   A choreographer of on-stage fight scenes, who teaches actors how to use weapons and a create the illusion of physical combat without causing harm to the performers.
   
8. 
   The activity of selling and taking of tickets, the ushering of audience to their correct seats, the sales of refreshments and souvenirs, and it also might include the maintenance and management of the theatre building itself.
   
9. 
   A member of theatre staff who is responsible for the organization and day to day operations of the Front of House staff (box office staff, ticket takers, ushers, and often concessions) for a particular performance, as well as the health and safety of the audience while they are in the theatre.
   
10. 
    A position which works with the director to establish rehearsal schedules and actors calls, responsible for organization and record keeping during rehearsals, actor and crew calls during performance, and for calling all cues during a production’s performances.
    
11. 
    The leader of a musical, or the person responsible for the musical content of a production.
    
12. 
    That person responsible for the all aspects of a production which usually includes the raising of money, hiring the facilities, and employing the director, all creative and administrative staff.
    
13. 
    The personnel of a theatre or other such organization responsible for the creation of the production.
    
14. 
    The person responsible for designing the soundscape of a production, including all aural elements, and sometimes has the responsibility for planning and executing the layout of all sound and sound reinforcement equipment.
    
15. 
    The person who operates the audio equipment at performance.
    
16. 
    Member of production design staff. Designs or selects all costumes and costume accessories. The designer's responsibility includes seeing that the actor's/character's needs are met, as well as those of the production.
    
17. 
    General term for all technicians working back stage in preparation for or the running of a show.
    
18. 
    The position on a theatres staff responsible for construction of the scenery and the back stage operations of a production and most often the technical operation of the theater.
    
19. 
    The position in charge of and responsible for the operations of theatrical box office.
    

2. Match the word (1-7) with its definition (a-g).

1) choreographer 2) fly men 3) prompter 4) house management 5) artistic director 6)stage designer 7)compere

the individual with the overarching artistic control of the theatre's production choices, directorial choices, and overall artistic vision the staff responsible for the maintenance and management of the theatre building itself a person who gives actors the opening words of each phrase a few seconds early a person in charge of the creation of theatrical scenery a group of people who operate a theatrical rigging system a person who combines movements into dances to be performed a person whose job is to introduce performers in a stage show

3. Find the English equivalents from the active vocabulary to the following words and word combinations:

оператор звукового пульта/ звукооператор, художник по звуку, рабочие сцены/монтировщики/монтажеры, балетмейстер, верховой, старший билетный кассир, технический директор, художник по костюмам/дизайнер костюмов, директор по костюмам, постановщик боевых сцен, участники спектакля (постановочная часть), светооператор, cлужба работы со зрителями/административно-хозяйственная часть, художник по свету, администратор театра, музыкальный руководитель, художественный руководитель, продюсер, театральный художник/художник – конструктор, помощник режиссёра, технический персонал, помощник режиссера по технической части.
4. Find as many words from active vocabulary as possible in the table below.

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5. TranslatethefollowingsentencesfromRussianintoEnglish.

1) Гедеминас Таранда не только блестящий танцор, но и великолепный балетмейстер. 2) Он принадлежал к тому типу актеров-любителей, которые играют под суфлера. 3) Кто сейчас тренирует труппу? Балетмейстер сейчас гастролирует по Европе с другой труппой. 4) Развлекать публику является прямой обязанностью конферансье. 5) «Короля Лира» ставили разные режиссеры. 6) Сценограф решает вопросы построения сценического пространства. 7) Художник-постановщик совместно выполняет эскиз декораций, затем плоскостной эскиз переносится в трехмерное пространство. 8) Художник по костюмам в театре создаёт одежду для героев, он помогает актёрам в их перевоплощении.
6. Translate the following sentences from Russian into English.

1) Художественный руководитель - один из руководителей театральной компании, который определяет ее художественную и репертуарную политику, является главным художественным консультантом по всем постановкам данного театра, а также, как правило, режиссером ряда спектаклей. 2) Служба работы со зрителями – это служба театра, сотрудники которой занимаются продажей и проверкой билетов, проводят зрителей на свои места в зале, работают в буфете и продают сувениры. Также могут отвечать за содержание и обслуживание, (например, уборка, ремонт) театрального здания. 3) Продюсер – это лицо, ответственное за все аспекты создания и выпуска постановки, что, как правило, включает поиск источников финансирования, найм помещений, режиссера, творческой группы и других лиц. 4) Художник по звуку – это дизайнер, создающий звуковую среду спектакля и иногда ответственный за планирование, размещение и функционирование звукового оборудования. 5) Театральный художник – это художник, разрабатывающий дизайн и конструкции сценических элементов декораций.
Reading
7. Read Text 13 part 1. Match the headings (A-H) with the corresponding paragraphs (1-8).

1. 
   Marketing manager
   
2. 
   Chief executive
   
3. 
   Finance and administration staff
   
4. 
   Education and outreach staff
   
5. 
   Development manager
   
6. 
   Front of house and bar staff
   
7. 
   Domestic staff
   
8. 
   Box office staff
   

8. Translate the words in bold from the text.
TEXT 13. WHO WORKS IN A THEATRE?