TOPIC: THEATRE
TEXT A. DRAMA, MUSIC AND BALLET IN BRITAIN
The centre of theatrical activity in Britain is London. There are about 50 principal theatres in professional use78 in or near the West End and some 20 in the suburbs.
Most of these are let to producing managements on a commercial basis79 but some of them are permanently occupied by subsidised companies, such as the National Theatre which stages classical and modern plays in its complex of three theatres on the South Bank of the River Thames. The former Old Vic Company, which was Britain's major theatrical touring company, has now taken up residence in the National Theatre, changing its name to the National Theatre Company. In addition the Royal Shakespeare Company presents Shakespearean plays at Stradford-upon-Avon and a mixed repertoire in London.
Outside London there are many non-repertory theatres which present all kinds of drama and also put on variety shows and other entertainments. Recently there has been a growth in the activity of repertory companies which receive financial support from the Arts Council and the local authorities. These companies employ leading producers, designers and actors, and the standard of productions is generally high. Some companies have their own theatres, while others rent from the local authorities.
Music of all kinds — "pop" music, folk music, jazz, light music and brass bands — is an important part of British cultural life. The large audiences at orchestral concerts and at performances of opera, ballet and chamber music reflect the widespread interest in classical music.
The Royal Opera House, Covent Garden, London, which receives financial assistance from the Arts Council, gives regular seasons of opera and ballet. It has its own orchestra which plays for the Royal Opera and the Royal Ballet. Both companies have a high international reputation. The English National Opera which performs in the London Coliseum gives seasons of opera and operetta in English. It also tours the provinces.
In 1998 the Government announced the formation of the Young Music Trust to develop the musical skills of the young with some money from the National Lottery, and donations from music charities and companies involved in music business. The national youth orchestras of Great Britain have established high standards.
There are several thousand amateur dramatic societies in Britain. Most universities have thriving amateur drama clubs and societies. Every year an International Festival of University Theatre is held.
TEXT B. AT THE BOX-OFFICE
— I want four seats for Sunday, please.
— Matinee or evening performance?
— Evening, please.
— Well, you can have very good seats in the stalls. Row F.
— Oh, no! It's near the orchestra-pit. My wife can't stand loud music.
— Then I could find you some seats in the pit.
— I'm afraid that won't do either. My father-in-law is terribly short-sighted. He wouldn't see much from the pit, would he?
— Hm... Perhaps, you'd care to take a box?
— Certainly not! It's too expensive. I can't afford it. — Dress-circle then?
— I don't like to sit in the dress-circle.
— I'm afraid the only thing that remains is the gallery.
— How can you suggest such a thing! My mother-in-law is a stout woman with a weak heart. We couldn't dream of letting her walk up four flights of stairs, could we?
— I find, sir, that there isn't a single seat in the house80 that would suit you.
— There isn't, is there? Well, I think we'd much better go to the movies. As for me, I don't care much for this theatre-going business. Good day!
TEXT С. PANTOMIMES
Sally: Tony, there's an advertisement in the local paper saying that the theatre in the High Street is putting on81 "Cinderella". I haven't seen a pantomime for years and years. Do you fancy going?
Tony: Yeh, that sounds good. I don't think I've seen one since I was about fourteen — except for one on ice when I was crazy about skating, and that's not quite the same thing, is it?
Sally: No. Ice shows don't have all the wonderful traditional scenery and that gorgeous theatre atmosphere.
Tony: Pantomimes are awfully old, if you think about it, aren't they? I mean with a girl playing the part of the principal boy, all dressed up in tights and tunic ...
Sally: Mm, and the dame parts taken by men. I've never seen "Cinderella". I suppose the stepmother and the ugly sisters are the men's parts in that.
Tony: Aladdin used to be my favourite, when a comedian played the Widow Twankey. And when Aladdin rubbed the magic lamp an enormous genie appeared ...
Sally: And the audience booing the wicked uncle, and joining in the singing of the popular songs they always manage to get into the play somehow.
Tony: Yes! I wonder how on earth they manage to fit today's pop songs into pantomime stories?
Sally: Well, why don't we get tickets and find out?
Tony: Yes, OK. Come on, then.
ESSENTIAL VOCABULARY (II)
Words
act υ gallery n properties acting n
interval n (props) n balcony n lighting n
repertoire n box n matinee n row n
cast n orchestra-pit n stage-manager n company n
pit n stalls n costumes n produce υ
(theatre-) house n director n producer n treatment n
dress-circle n production n
Word Combinations
professional theatre the setting of a scene repertory company
light and sound effects amateur theatre to produce a play
dramatic society
EXERCISES
I. Answer the following questions:
A. 1. What is the centre of theatrical activity in Great Britain? 2. Which theatrical companies receive financial support from Arts Council? 3. What is meant by a repertory theatre? 4. What do you know about the Royal Shakespeare Company? 5. What kind of performances are staged in the Royal Opera House? 6. Are there many theatres in or near the West (East) End of London? 7. What kind of music is popular in England? 8. Are there any amateur theatres in Great Britain? 9. What leading actors of the British theatre do you know? 10. How are the British Arts Councils going to celebrate approach of the millennium?
B. 1. How is the Russian theatre organized? 2. What Russian theatres are best known in Russia and abroad? 3. Is attendance at our theatres high? 4. How many times a month (a year) do you go to the theatre? 5. Are there any amateur theatres in Russia?
II. Try your band at teaching:
A. Preparation, a) Find picture representing a theatre-house, b) Study the footnotes on p. 327 describing a theatre-house and its parts, c) Write questions to provoke answers containing all the new words.
B. Work in class. Ask your questions, listen to the an- -swers and correct the student's mistakes.
III. Learn Text В by heart. Act out this dialogue. IV. Retell Text С in your own words.
Speak on your favourite genre (opera, drama, ballet, comedy, musical, etc). Why do you like it?
V. Translate the following into English:
Когда мы пришли, зал был уже полон. Через несколько минут занавес поднялся, и все взгляды устремились на сцену. Декорации были очень простые, выдержанные в черных, белых и серых тонах. На этом фоне яркие костюмы действующих лиц выглядели очень эффектно.
Состав исполнителей был неплохой, а игра актера, исполнявшего главную роль, была просто великолепна. Когда он был на сцене, внимание всего зрительного зала было сосредоточено на нем и его игре. Во время знаменитой сцены из третьего акта в зале стояла мертвая тишина. Зрители были потрясены. Многие плакали. К тому же, эта сцена была удачно освещена. Режиссер удачно использовал освещение, чтобы усилить впечатление от игры актера.
Когда после заключительной сцены занавес опустился, наступила долгая пауза, а потом поднялась настоящая буря аплодисментов.
VI. Read the following and either agree or disagree with the statements. (See the Reminder.):
1. The house is the part of the theatre where the members of the orchestra usually sit. 2. An auditorium is a building or a part of a building in which the audience sit. 3. The audience include both spectators and actors. 4. When the audience is pleased it keeps silent. 5. We say "the house is full" when not all the seats in the auditorium are occupied. 6. The pit is nearer to the stage than the stalls. 7. You prefer seats in the gallery, don't you? 8. Wings are the sides of a stage with the scenery. 9. You wouldn't like to go behind the stage, I believe. 10. The cheapest seats are in the boxes. 11. The most expensive seats are in the orchestra stalls. 12. Students always buy seats in the orchestra stalls. 13. By the cast of the play we mean all the actors belonging to the theatrical company. 14, The role of the producer is not very important. 15. You don't know who Stanislavsky was, I believe. 16. It doesn't take many people to produce a play. 17. I believe you clap to show your appreciation of the acting or the play as a whole.
Reminder. Beyond all doubt. I should think so. I won't deny it Most likely. I disagree with you. On the contrary. You are wrong. Just the other way round. Not me! By no means.
VII. a) Describe your impressions of a play (opera, ballet) you have seen. Follow the plan below:
1. Going to the theatre. (How did you get the tickets? Where were your seats? Was the house full?)
2. The play. (Was it interesting? What was interesting? What didn't you like about it?)
3. The acting. (Was the cast good? Whose acting impressed the audience? In what scenes?)
4. The production. (Did the production help the audience to catch the main idea of the play? In what points of the production did you feel the work of the producer? Did the general spirit of the production satisfy the demand of the play?)
5. Designing. (Did you like the scenery? How were the light and sound effects used?)
6. The audience. (What kind of people did it consist of? How did they receive the performance?)
R e m i n d e r: if is surprising to meet a play about ordinary people caught up in ordinary events, the author shows a remarkable talent for writing dialogue which is entertaining and witty, the characters are pleasant (humorous, ordinary); one brief scene forms the climax of the play, the characters act out a fantasy, the audience is made to think: until almost the final curtain; splendid direction; it was one of the finest renderings of this part I've ever heard; I hear the scenery was planned and designed by...; his musical talent is quite exceptional, his playing sometimes reminds me of...; the highlight of the evening was ...
b) Make up dialogues discussing the points above. VIII. a) Supply articles where necessary:
Chekhov's play "... Sea-gull" was first staged in ... Alexan-drinsky Theatre in... Petersburg. It was ... complete failure.... play was ruined by ... dull and ... clumsy production. It was staged in ... "good old traditions" whereas ... Chekhov's plays were quite unlike any other plays written before and demanded ... new forms and devices.... Petersburg audience did not understand "... Sea-gull." There was ... laughter in most poetical scenes and many of... audience left long before ... end of ... play. It was ... cruel blow to Chekhov. However, in... Moscow Art Theatre, which was not ... year old then (it was in 1898), ... same play directed by K. S. Stanislavsky was ... tremendous success.... Stanislavsky's production of "... Sea-gull" opened ... new epoch in ... history of ... theatre and symbolized... triumph of... new and ... progressive forms over ... old ones.
In ... memory of that event... white sea-gull spreads its wings on ... curtain of ... Moscow Art Theatre.
b) Answer the following questions:
1. When and where was Chekhov's "Sea-gull" first staged? 2. Why did it fail? 3. Why was it that the same play was a tremendous success in the Art Theatre? 4. Why did the Art Theatre choose the sea-gull for its emblem?
IX. a) Give a free translation of the following passage. Make use of the English phrases given at the end:
Обстоятельства, при которых ставилась «Чайка», были сложны и тяжелы. Дело в том, что Антон Павлович Чехов серьезно заболел. У него произошло осложнение туберкулезного процесса. При этом душевное состояние его было таково, что он не перенес бы вторичного провала «Чайки», подобного тому, какой произошел при первой ее постановке в Петербурге. Неуспех спектакля мог оказаться гибельным для самого писателя. Об этом нас предупреждала его до слез взволнованная сестра Мария Павловна, умолявшая нас об отмене спектакля. Между тем, он был нам до зарезу необходим, так как материальные дела театра шли плохо и для поднятия сборов требовалась новая постановка. Предоставляю читателю судить о том состоянии, с которым мы, артисты, выходили играть пьесу на премьере, собравшей далеко не полный зал. Стоя на сцене, мы прислушивались к внутреннему голосу, который шептал нам: «Играйте хорошо, великолепно, добейтесь успеха, триумфа. А если вы его не добьетесь, то знайте, что по получении телеграммы любимый вами писатель умрет, казненный вашими руками. Вы станете его палачами».
Как мы играли — не помню. Первый акт кончился при гробовом молчании зрительного зала. Одна из артисток упала в обморок, я сам едва держался на ногах от отчаяния. Но вдруг, после долгой паузы, в публике поднялся рёв, треск, бешеные аплодисменты. Занавес пошел ... раздвинулся ... опять задвинулся, а мы стояли, как обалделые. Потом снова рев ... и снова занавес ... Мы все стояли неподвижно, не соображая, что нам надо раскланиваться. Наконец, мы почувствовали успех и, неимоверно взволнованные, стали обнимать друг друга. М. А. Лялиной, которая играла Машу и своими заключительными словами пробила лед в сердцах зрителей, мы устроили овацию. Успех рос с каждым актом и окончился триумфом. Чехову была послана подробная телеграмма.
(Станиславский К. С. Моя жизнь в искусстве)
Use the following:
the circumstances ... were complicated and painful, his deep depression, he might have not survived another failure, implored us to cancel the performance, we badly needed it, to raise the box office returns, the inner voice, murdered by your own hands, the first act concluded amid death-like silence, to faint, I was on my last legs, there was an uproar, a crash, a storm of applause, the curtain went up ... then down again, we were standing stunned, we were supposed to take the curtain-calls, melted the ice, to cheer, each act heightened the success.
b) What can you say about the significance of the event described above for the history of Russian and world theatre? X. a) Read Sir Laurence Olivier's answers given by him in a newspaper interview:
Question: How has television affected the theatre?
Answer: Well, its popularity means that millions of people take drama for granted. With hours and hours every week, the viewer can have a bellyful of drama. If you're going to attract a man and his wife away from their TV set on a winter's night, and hold them to a play in a theatre, you've got to grip them and keep them gripped.
Now, you do have certain advantages in the theatre. The telly is perfect for the things that have been specially built for it. But the TV screen cannot give you the peculiar condition of the theatre, where we are allowed to get back to life-size people in relation.
Q.: Is there any particular hobby-horse that you ride in your work as actor and director?
A.: I rely greatly on rhythm. I think that is one thing I understand — the exploitation of rhythm, change of speed of speech, change of time, change of expression, change of pace in crossing the stage. Keep the audience surprised, shout when they're not expecting it, keep them on their toes — change from minute to minute.
What is the main problem of the actor? It is to keep the audience awake.
O.: How true is it that an actor should identify with a role?
A.: I don't know. I can only speak for myself. And in my case it's not 'should', it's 'must'. I just do. I can't help it. In my case I feel I am who I am playing. And I think, though I speak only from my own experience, that the actor must identify to some extent with his part.
In "Othello" the passage from the handkerchief scene through to flinging the money in Emilia's face is, pound by pound, the heaviest burden I know that has been laid upon me yet by a dramatist.
And Macbeth. Do you know what is the first thing to learn about playing Macbeth? To get through the performance without losing your voice. (From Moscow News, 1969, No 10, Fragments)
b) Try your hand at teaching:
A. Preparation. Think of interesting questions on Sir Laurence Olivier's interview.
B. Work in class. Make your friends answer your questions.
XI. Sole-playing.
At a Theatre Festival
St. A: a famous producer
St. В.: a celebrated actor
St. C: a talented young actress, who made an immediate hit with her sensitive and moving performance
Rest of class: a journalist, a critic, a playwright and theatre-goers
All are invited to the studio.
XXI. a) Translate the following fragments into Russian (in writing)!
A. There are many people whom the theatre fills with an excitement which no familiarity can stale. It is to them a world of mystery and delight; it gives them entry into a realm of the imagination which increases their joy in life, and its illusion colours the ordinariness of their daily round with the golden shimmer of romance. W. S. Maugham
B. In the Theatre we are proud to serve, ideas merely play like summer lightning over, a deep lake of feeling; the intellect may be quickened there, but what is more important is that the imagination of the spectator begins to be haunted, so that long after he has left the play-house the actors are still with him, still telling him of their despair and their hope. J. B. Priestley
b) Comment on the fragments above. ХIII. Speak individually or arrange a discussion on the following:
1. Why is it that people go to the theatre? What do they look for there?
2. What is your favourite theatre and why?
3. The fragment above (Ex. XII B) describes the case when "the imagination of the spectator begins to be haunted so that long after he has left the play-house the actors are still with him..." Is the experience familiar to you? After what play did you have it last time?
4. What is the romantic side of the theatre?
5. What is the educational role of the theatre? Do you agree with Priestley (see the fragment in Ex. XII B) that the theatrical art appeals rather to the spectator's imagination and feelings than to his intellect? Give your reasons.
XIV. Try your hand at teaching. 1. Say what you would do in the teacher's position:
Michael, a bright, young, soon-to-be fifth-former, confessed to his teacher that in his view school was no fun, the teachers were no good, summer should last forever and dogs were lucky because they didn't have to go to school. The teacher protested that school was important. But Michael, who didn't share the teacher's opinion, answered with a one-word question "Why?".
2. Respond to the following modestly. Here are a few possible ways of beginning answers:
Oh, it was nothing. The real credit should go to .... I had very little to do with it. It wasn't difficult at all, really. Thank you, but it's not really all that good. Oh, you're exaggerating, I played only a small part in the whole thing. It was very much a team effort. You're very kind, but really anyone else could do it.
S c e n a r i o
A.: I've never seen such an attractive and talented class of children. I think you, as their teacher, deserve the highest praise.
You: ...
A.: I'm sure they are splendid, but I don't agree that you don't deserve any credit. I know you planned the lovely decorations in their classroom, for a start.
You: ...
A.: I'm sorry, I just can't believe it had nothing to do with you. And even if they had the original idea, I'm sure you guided them in their work.
You:...
A,: Oh, come on, it can't have been easy and I don't agree that anyone could have done it
(From Making Polite Noises by Hargreaves and M. Fletcher. Lad" 1979)
3. Classroom English. (Revision);
a) It's the last period on Saturday. The lesson is coming to an end. You are pleased with the work you and the pupils have done. You find that you just have about 3 — 4 minutes to have the exercise books collected and the board cleaned. You inform the class that they will have to finish the exercise off at home, tell them you are pleased with their progress, set the homework and state briefly what you are planning for the next lesson. After that you ask your pupils to tidy up the room and to be quiet when they go outside. You wish them a nice weekend and say good-bye.
b) It's a routine English lesson in the middle of the term. The lesson isn't going too well You are trying to keep your pupils interested in the exercises you are checking. You get them to read the sentences in turn and correct their mistakes, but the pupils are tired and find it difficult to concentrate on the work. Some of them start chatting and fidgeting. You try not to show your annoyance and proceed checking the exercise.
c) You've got a lot of work to get through in this lesson. You ask the pupils to do an exercise from the textbook silently. You check that they all have the right place. When your pupils have looked through the exercise you want everybody to read three sentences each. You comment on their work. In the remaining five minutes, you have a quick vocabulary test on the blackboard. You make sure that the board is properly prepared, and ask 2 or 3 pupils to write the test. You keep the rest of the class involved and comment on the work.
d) It's a revision lesson. You've brought to the classroom a map of Britain, some slides and/or pictures of London and a slide projector. You ask one of the pupils to help you fix the map and pictures on the board and get the slide projector ready. The pupils point out on the map the most important towns, rivers, mountain chains or anything you find necessary to mention. After that they speak briefly about London sights making use of the pictures and slides. You keep making notes while they speak and comment on their work at the end of the revision lesson.
e) At the end of the term you find it necessary to have a brief revision of the book your pupils are reading. Your idea is to ask the pupils a number of questions to encourage a discussion. You think the questions over very thoroughly beforehand and ask your class to answer them. You are interested in everyone's point of view and react to comments appropriately, trying to keep the conversation going.
XV. Describe these pictures: Use the following:
a) to come home greatly excited, to wave some slips of paper in the air, to be delighted, to have great fun playing with one's toys; b) to drag smb. along the street, to howl at the top of one's voice; c) to have excellent seats, "Wilhelm Tell" was on, the music was so loud you couldn't hear a word, to be bored; d) that was much better, to catch smb.'s interest, a bow [bзv] and arrows, to shoot off ah apple from...; e) in very high spirits, to chatter about one's impressions, to be pleased; f) to be shocked, the child's imagination was certainly haunted by the opera or, rather, by one particular scene, the poor teddy-bear, to look extremely uncomfortable.
XVI. Film "Mr. Brown's Holiday". Film segments 9 "One More Substitute" (Yeovil) and 10 "Back at Ноmе" (London), a) Watch and listen, b) Do the exercises from the guide to the film.
STUDIES OF WRITTEN ENGLISH
IX
One of the most effective exercises in good writing is a free composition.
Free composition is a piece of independent writing (3—5 pages in length). You are free to select the subject, to decide on the pattern of writing (narrative, descriptive, argumentative, expository), and to choose writing technique (keywords, topic sentences, connectives and transitions).
In the process of free composition there are three main points to consider: what to say — selection of a subject and the theme, how to arrange the material in the best order, and how to express your thoughts in the best possible language.
The theme and subject should be selected with care so that you know exactly what you mean to write about and what is the purpose of writing — is it describing, entertaining, persuading or instructing?
"The British Isles" is, for instance, of descriptive nature, "How We Kept Mother's Day" is both entertaining and instructing, Judy's letters are sincerely persuading.
Composition must be unified and complete. It must have a beginning, middle, and end. It must be coherent; that is, systematic in its presentation, with reference to time, to point of view, and to situation. It must reveal your attitude or judgement towards material and characters or towards your reader, or both.
The beginning, or introduction expresses the occasion, the problem, and the purpose. A good beginning attracts the reader's attention, his interest and sometimes his emotions (see the beginning of "How We Kept Mother's Day" or of "A Friend in Need").
The middle or body of the composition in its turn makes the problem clear through narration, description, argument or exposition (compare different passages from this textbook). Usually the middle includes the details. It may have the turning point or climax describing the moment of greatest emotions.
The end or conclusion is the result of that clarification. The author provides an answer to the main question. It is usually marked by a summary statement emphasizing the message (compare the final sentences in "A Day's Wait", "How We Kept Mother's Day", "Rose at the Music-hall").
Assignments:
1. Write a composition explaining the message of the passage "Rose at the Music-ball.
2. Write a composition following the events described in the pictures on pp. 338-339.
3. Write a composition describing your visit to a theatre and your impressions of the prevailing atmosphere,
4. If you have become proficient at writing compositions as an exercise you may turn to teaming how to write compositions as art. Try your hand at writing a composition about the best way to comfort your mother (father, child, sister or brother, friend).
Evaluate your composition according to the main principles of good writing: unity, coherence, and emphasis.
LABORATORY EXERCISES (II)
1. Listen to the text "Drama, Music and Ballet in Britain", mark the stresses and tunes. Repeat the text following the model.
2. Record the dialogue "At the Box-Office" in pairs. Listen to the records and discuss them in class.
3. Listen to the dialogue "Pantomimes", mark the stresses and tones. Repeat it following the model.
4. Write a spelling-translation test:
a) translate the phrases into English;
b) check them with the key.
5. Respond to the following questions or statements and correct them if necessary.
6. Listen to the story. Write ten questions about the text. Suggest a title for the text and give reasons for your choice. Find evidence in the text to support the following statements.
CURIOSITY QUIZ FOR EAGERS
1. What do you know about K. S. Stanislavsky, his role in the history of the Moscow Art Theatre and bis influence on world theatre?
2. Where do the following quotations come from? Who says the lines? Under what circumstances?
a) The time is out of Joint Oh, cursed plight. That ever I was bom to set it right '
b) Beware, my lord, of the jealousy;
It is the green-eyed monster, that doth mock The meat it feeds on.
c) How sharper than a serpent's tooth it is To have a thankless child.
3. What do you know about the problem of Shakespeare's authorship?
4. What do you know about the Sovremennik Theatre? about the Lenkom Theatre? about the Tovstonogov Theatre in St Petersburg?
5. Listen to a text connectid with the topic "Theatre".
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