2017-11-01
708
UNIT 1
‘ LOVE THE ART IN YOURSELVES…’
| Task1 – Изучающее чтение: текст ‘About Stanislavsky’ Task 2 – Ознакомительное чтение ‘Stage movement’, ’Fighting on stage’ Task 3 – Беседа на темы ‘My scientific research work/investi-gations’; ‘My translation report’ Лексика: Какие словари использовать для перевода текста? Полисемия: Policemy/Многозначность английских слов |
TASK # 1
Прочитать и перевести приведенный оригинальный текст со словарем. (На экзамене по кандидатскому минимуму аспи-рантам (соискателям) будет предложен текст объемом не ме-нее 2000-2500 печатных знаков). На выполнение подобного задания на экзамене отводится 50-60минут.
TEXT#1 ABOUT STANISLAVSKY
He was born Konstantin Sergeevich Alekseev on January 5, 1863, in Mos-cow, Russia. His father, Sergei Alekse-ev, was a wealthy Russian merchant. His mother, Elizaveta Vasilevna (nee Yakovleva) was French-Russian and his grandmother was a notable actress in Paris. Young Stanislavsky grew up in a bilingual environment. He was fond of theatre and arts, studied piano and singing, and per-formed amateur plays at home with his elder brother and two sisters. His interests included the circus, the ballet, and puppetry. He studied business and languages at Lasarevsky Institute, the most prestigious private school in Moscow. He did not graduate, instead he continued self-education while traveling in several European countries and studying at libraries and museums. Even-tually Stanislavsky joined his father's company, became a success-ful businessman.
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During the 1880s Stanislavsky made a fortune in the international business and trade, he was awarded the Gold Medal at the World's Fair in Paris. At the same time, he was an active patron of arts and theatre in Russia.
In 1885, Stanislavsky briefly studied at the Moscow Theatre School, where students were encouraged to mimic the theatrical tricks and conventions of their tutors. Disappointed by this app-roach, he left after two weeks. Instead, he devoted particular at-tention to the performances of the Mali Theatre, the home of psychological realism in Russia. He took a stage name Stanislav-sky. By the age of 25, Stanislavsky was well known as an amateur actor.
In 1888, he founded the ‘Society for Arts and Literature’ in Mos-cow that would unite amateur and professional actors and artists. The society's school was to offer classes in dramatic art, the history of costume, make-up, drama, Russian literature, aesthetics, fen-cing and dancing. On 22 June 1897, it was Stanislavsky's historic meeting with Vladimir Nemirovich-Danchenko, which lasted 18 hours and after their discussion, they decided to set up the Mos-cow Public Accessible Theatre, which came to be known the Mos-cow Art Theatre. Vladimir Nemirovich-Danchenko was a succes-sful playwright, theatre critic, theatre director and acting teacher. Later the Moscow Art Theatre made a profound influence on thea-trical art all over the world. They opened with staging of ‘Tsar Feodor’, a play by Aleksey Tolstoy then staged ‘The Seagull’ writ-ten by Anton Chekhov especially for the Moscow Art Theatre.
In 1900, Stanislavsky brought the Moscow Art Theatre on tour in Sevastopol and Yalta in Crimea, where he invited Anton Chekhov to see several plays. Chekhov admired the company's stage pro-duction of his plays, and respected the theatrical achievements of Stanislavsky and Vladimir Nemirovich-Danchenko.
Chekhov's legendary collaboration with the Moscow Art Theatre was fruitful for both sides: it resulted in creation of such classics as 'The Seagull', 'Uncle Vanya', 'The Three Sisters', and 'The Cherry Orchard', the four big plays which remained in the repertoire ever since. Stanislavsky described his approach as 'spiritual realism'. He wrote several works, including ‘An Actor Prepares’, ‘An Ac-tor's Work on a Role’, and his autobiography, ‘My Life in Art’.
| 1) Translate the words and expressions from the text |
| Expressions | Translation | |
| 1) a wealthy merchant | ||
| 2) a notable actress | ||
| 3) bilingual environment | ||
| 4) amateur plays | ||
| 5) to make a fortune | ||
| 6) to be an active patron of arts and theatre | ||
| 7) to be disappointed by the approach | ||
| 8) to devote attention to | ||
| 9) to make a profound influence | ||
| 10) to take a stage name | ||
| 11) to bring theatre on tour | ||
| 12) to respect the theatrical achievements | ||
| 13) to admire the company’s stage productions | ||
| 14) legendary collaboration | ||
| 15) ‘spiritual realism’ | ||
| 16) to be fruitful for both sides | ||
| 2) Answer the following questions | ||
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1) What was Stanislavsky’s background? What was he fond of in his childhood?
2) How did Stanislavsky continue his education after Lazarevky Institute?
3) Why did Stanislavsky get the Gold Medal at the World Fair in Paris?
4) Why did Stanislavsky leave the Moscow Theatre School after
two weeks studies?
5) When did Stanislavsky set up the Society for Arts and Litera-ture?
6) What theatre was the home of psychological realism in Russia?
7) What subjects did the actors study at the school of the Society for Arts and Literature?
8) What plays did the Moscow Art Theatre stage at the very beginning?
9) Which four Chekhov’s plays have remained in the repertoire of the Moscow Art Theatre ever since?
10) Where did Stanislavsky bring the theatre on tour in 1900?
11) Why was Chekhov’s collaboration with the Moscow Art Theatre fruitful for both sides?
12) How did Stanislavsky describe his approach?
| 3) Find the misprints in the following sentences, a letter in a wrong place may change the sense of а sentence |
1) Stanislavsky’s father, Sergei Alexeev, was a healthy merchant.
Healthy – wrong, wealthy - correct
2) Stanislavsky was awarded the Good Medal at the World's Fair
in Paris.
________________wrong _____________ correct
3) The students were encouraged to mimic the theatrical trucks
and conventions of their tutors.
________________wrong _____________ correct
4) Stanislavsky was a sun of a rich industrialist.
________________wrong _____________ correct
5) He invited Anton Chekhov to sea several plays.
________________wrong _____________ correct
6) He wrote several works, including ‘An Actor Prepares’, ‘An
Actor's Work on a Hole’, and his autobiography, ‘My Life in
Art’.
________________wrong _____________ correct
7) The Stanislavsky’s historic meeting with Vladimir Nemirovich-
Danchenko was hell on 22 June 1897.
________________wrong _____________ correct
8) ‘My Line in Art’ is an autobiographical book of a great author.
________________wrong _____________ correct
9) One of the characteristics of most one-art plays is that they are
written in a concise manner.
________________wrong _____________ correct
Какие словари использовать для перевода текста?
| Для эффективного и быстрого перевода научного текста правильный выбор словаря, отвечающий назначению и степени владения иностранным языком, имеет важное зна-чение. Английская лексикография неимоверно богата; огромное количество всевозможных словарей предлагается нашему вниманию, однако начинающему переводчику следует научиться пользоваться параллельными, т. е. пере-водными словарями. Одним из наиболее полных и ценных словарей является Англо-русский словарь проф.В. К. Мюллера, имеющий более 7000 слов. Словарь дает несколько вариантных значений, из которых нужно выбрать правиль-ное, наиболее подходящее в контексте данного перевода. Помимо приведенного словаря полезным может оказаться Англо-русский Русско-английский театральный словарь Э. Перель, (2005) Англо-русский и русско-английский словарь ‘ложных дру-зей переводчика’ под ред. В. В. Акуленко (1969), Работая со словарем: 1) Обращайте внимание на словарные пометы, для определения, какой частью речи является данное слово; 2) Встречая в тексте знакомое слово, которое, на ваш взгляд, ‘не подходит по смыслу’, проверяйте по словарю, не имеет ли оно еще какого-либо другого значения. |
TASK #2
Прочитать и пересказать приведенные тексты. (На экзамене по кандидатскому минимуму аспирантам (соискателям) бу-дет предложен текст объемом не менее 1000 печатных зна-ков). На выполнение подобного задания на экзамене отво-дится 10-12 минут.
TEXT #2 STAGE MOVEMENTS
_________________________________________
Actors not only memorize and speak lines. On stage, they must also demonstrate the action of the play through purposeful stage movement. Every theatrical per-formance will require the actors to learn and repeat their ‘blocking’ or stage movement. Special theatrical circumstances, however, also require specific types of stage movement such as slapstick, mime and stage combat. Blo-cking is a theatre term which refers to the precise movement and positioning of actors on a stage in order to facilitate the perfor-mance of a play, ballet, film or opera. The term ‘blocking’ derives from the practice of the 19th century theatre directors such as Sir W. S. Gilbert who worked out the staging of a scene on a mini-ature stage using blocks to represent each of the actors. In contem-porary theatre, the director usually determines blocking during rehearsal, telling actors where they should move for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene.
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| 4) Answer the following questions |
1) What is this text about?
2) In what way must the actors demonstrate the action of the play?
3) What will theatrical performance require the actors to learn?
4) What specific types of stage movement do you know?
5) What is blocking?
6) Where does the term ‘blocking’ derive from?
7) How did Sir W. S. Gilbert work with ‘blocking’?
8) When does the director determine ‘blocking’ in the contemporary theatre?
9) What does the director tell the actors during the rehearsals?
| 5) Find out which sentences below are true (T) and which are false (F) |
1) Actors only memorize and speak lines.
2) In every theatrical performance the actors should learn and
repeat their ‘blocking’ or stage movement.
3) Slapstick, mime and stage combat are specific types of stage
movement.
4) ‘Blocking’ is not a theatre term.
5) Precise movements facilitate the performance of a play,
ballet, film or opera.
6) Sir W. S. Gilbert worked out the staging of a scene on a
miniature stage.
| 6) Complete the following sentences |
1) On stage, actors must demonstrate ________________________.
2) Special theatrical circumstance require _____________________.
3) Slapstick, mime and stage combat are ______________________.
4) The term ‘blocking’ is ____________________________________.
5) Sir W. S. Gilbert _________________________________________.
6) In contemporary theatre, directors _________________________
7) Directors tell actors ______________________________________
8) The actors should ________________________________________
TEXT # 2A FIGHTING ON STAGE
_______________________________________________________
Of course, real fighting on stage is not advisable, simply because it would be dangerous for the per-formers involved. Theatre creates convincing illusions; combat is no exception to this. Therefore, an entire array of practices has been developed by directors and cho-reographers. Usually, they incorporate actual moves from martial arts or other disciplines, but change them to be less dangerous for the actors involved. These techniques are known as ‘stage com-bat.’
One of the more common types of stage combat is stage fencing. Stage fencing uses many of the moves and techniques common in traditional fencing, but modifies them. For example, a move may be altered so that the sword used does not travel near the actor's face.
Stage fencing may incorporate different weapons. Among these are the stage foil, the dagger, and the broadsword. Stage combat moves vary depending on what sword is used; for example, a ra-pier fight will be more ‘nimble’ than one using larger weapons. The swords may either be real or props constructed to look like weapons. The latter, of course, is less dangerous for the actors, but requires more work to seem real.
In most productions, the stage fencing is developed by the chore-ographer of the play or musical. For larger scale productions, or for routines involving many intricate techniques, a separate fight choreographer may be used. These choreographers are trained es-pecially in stage combat, and are more skilled in developing flash-ier routines. Stage combat, when executed in the theatre, is highly routine. Although the moves may seem thrilling and immediate, they have been rehearsed time after time at varying speeds.
Improvisation cannot be a part of swordfights on stage, simply be-cause it would be dangerous to introduce an unexpected change when swords are involved. Despite this routine, however, when done well, stage combat can be spectacularly done and extremely convincing.
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| 7) Find these following English phrases and expressions in the text |
| Expression | Translation |
| 1) быть опасным для исполнителя | |
| 2) создать убедительную иллюзию | |
| 3) боевое искусство | |
| 4) сценический бой | |
| 5) различное оружие | |
| 6) бутафрская рапира | |
| 7) более масштабная постановка | |
| 8) сложная техника | |
| 9) репетировать сценический бой на разной скорости | |
| 10) убедительный сценический бой |
| 8) Answer the following questions |
1) Why is not real fighting on stage advisable?
2) Why has entire array of practices been developed by
directors and choreographers at the theatre?
3) Where do the choreographers borrow actual moves for stage
combat?
4) What is one of the more common types of stage combat?
5) What weapons may stage fencing incorporate?
6) What stage weapons are mentioned in the text?
7) Who develops the stage fencing in most productions?
8) What are the choreographers especially trained in?
9) Why have the moves been rehearsed at varying speeds?
10) Why сan’t the improvisation be a part of swordfights on stage?
| 9) Complete the following sentences |
1) Real fighting on stage is not advisable because _______________
2) Theatre creates __________________________________________
3) ‘Stage combat’ is _________________________________________
4) Stage fencing is __________________________________________
5) The stage fencing is developed _____________________________
6) Different weapons may be _________________________________
7) Improvisation cannot be __________________________________
8) Choreographer of a play __________________________________
9) Although the moves may seem thrilling and immediate, ______
10) Improvisation cannot be a part of swordfights on stage,
because _________________________________________________
| 10) Read the above text and express the main ideas using the following sentences |
1) The present text is about _________________________________.
2) The first part of the text is focused on ______________________.
3) Then the author describes (suggests, states that) _____________.
4) After that the author passes on to (description of, statement of,
analysis of ______________________________________________.
5) At the end of the text the author pays attention to the fact that __________________________________________________________.
6) I have read the text with great interest because ______________.
| 11) Translate the Russian text into English and retell it |
Use the following words:
| Reason – причина, основание; principal subject- базовая дисциплина; interaction – взаимодействие; background – фон; it’s important – важно; musically educated body-музыкально образованное тело; tricky partner – коварный партнер; carelessness – небрежность; crucial moment-ответственный момент |
СЦЕНИЧЕСКОЕ ДВИЖЕНИЕ И МУЗЫКА
_______________________________________________________
Сегодня достаточно оснований считать предмет ‘Сценичес-кое движение’ ведущим в формировании пластической куль-
туры актера. Это базовая дисциплина, освоение которой обес-печивает активное и интересное существование актера на сцене.
Взаимодействие с музыкой на занятиях сценическим движе-нием может быть в трех вариантах: когда музыка - фон для движения; когда движение - фон для музыки; когда движение - это музыка.
Важно, чтобы у актера было музыкально образованное тело, способное не только слышать музыку, но впустить ее в себя и удержать, чтобы вместе с ней эмоционально окрасить движе-ние. Музыка - партнер коварный, не прощающий небрежного вза-имодействия с нею. Небрежность может возникнуть от не-подготовленности актера к работе с музыкой. Поэтому вклю-чение музыки в занятия должно произойти в тот момент, ко-гда для этого есть необходимая готовность.
Начало работы с музыкой - момент ответственный и деликат-ный. Чем интереснее и серьезнее музыка, тем сложнее исполь-зовать ее в занятиях. Использование случайной музыки, вмес-те с неточно поставленной задачей, может разрушить ранее освоенные формы движения.
‘Уроки сценического движения’
Н.Карпов
TASK # 3
Побеседовать с преподавателем на тему о Вашей научной ра-боте и реферате, выполненном в виде перевода с английско-
го на русский язык. Допишите приведенные предложения. Составьте свое сообщение для экзамена.
SOME CONSEPTS ABOUT MY SCIENTIFIC RESEARCH WORK/ SCIENTIFIC INVESTIGATIONS
1) I graduated from ______________________ in ______________
2) I have always been interested in scientific research and______
3) My major point of interest is in the field of ________________
4) The object of my exploration is ___________________________
5) The task of my study is to show __________________________
6) The detailed analysis reveals ____________________________
7) The problem which I am setting is _______________________
8) The method of research depends on ______________________
9) The problem of ________ is one of the most important.
10) The key question is ____________________________________
11) The problem requires a detailed study.
12) It is a very difficult period to study.
13) The topic of my dissertation is currently significant in inter-preting a very important historical period.
14) A fairly wide acquaintance with the literature of ___________
has convinced me of _______________________________________
15) In my dissertation the particular attention is paid to _________________________________________________________
16) Much has been said and written about ____________________
17) Much has been done in the field of_______ but undoubtedly much still remain to be done________________________________
18) Although a number of books exist concerning _______, this is the first paper to be devoted solely to ________________________
19) I work under the guidance of professor ____________________
20) My tutor is a Candidate /Doctor of Science, Head of __________________________________________________________.
21) The research I am doing now is a part of a bigger work _________________________________________________________.
22) The subject-matter of my scientific research is ______________
_________________________________________________________.
23) My scientific research is devoted to an important problem into which too few scientists have researched until now.
24) Earlier studies of the subject show that the problem has not been properly explored yet.
25) I must say that my theme is closely connected with ________
26) I have already published _______________________________.
27) I have participated in different scientific conferences such
as _____________________________________________________.
28) After my post-graduate course, I intend _________________.
29) The results and conclusions of my thesis may be interesting and useful not only for ________________but also for ________.
SOME CONSEPTS ABOUT MY TRANSLATION REPORT
1) I have translated (the article/ chapter from the book/ report)
_______________ from Russian into English.
2) My translation report concerns _________________________.
3) The English language helps me (doesn’t help) in my research
work because ________________________________________.
4) I begin my translation report with _______________________
5) My translation report covers ____________________________
6) You will learn from my translation report that ____________
7) The book (article, ________________) is a well- written survey.
8) The book (article/ chapter from the book/ report) is written
in a comprehensive style with numerous illustrations ______
9) On the basis of this view, it is possible to ___________________
10) It is generally accepted (acknowledged/ agreed) ___________
11) As everybody knows __________________________________
12) It is a well-known fact that ______________________________
13) The author used a lot of valuable information of ___________
14) As far as I know this event refers to the time when _________
15) In this connection I would like to give some comment on ___
16) Speaking of _____ I would like to make some comment on __
17) It was observed in my translation report __________________
18) It has been stressed throughout the book __________________
SOME SUITABLE EXPRESSIONS TO USE AS SENTENCE STARTERS IN YOUR TOPIC
| Expression | Translation |
| 1) It is well begin with a little clarification | Следует начать с небольшого разъяснения |
| 2) From the very start it is nece- sary to point out | C самого начала необходимо отметить |
| 3) The first point to be made is | Прежде всего, необходимо сказать |
| 4)It may be useful first to say | Прежде всего, необходимо сказать |
| 5) This brings us to | Это приводит нас к |
| 6) From this it follows that | Из этого следует |
| 7) We turn now to | Теперь обратимся к |
| 8) The next point concerns | Следующий вопрос касается |
| 9) As it has been mentioned earlier | Как было сказано ранее |
| 10) In my report I have tried to show that | В своем докладе я пытался показать, что |
| 11) In this connection it should be noted that | В этой связи необходимо отметить, что |
| 12) Speaking of _____ I would like to make some comment on | Говоря о ____, я хотел бы сказать несколько слов о |
| 13) It would be interesting to mention that | Интересно было бы упомянуть о |
| 14)I bear in mind that | Я имею в виду, что |
| 15) This may serve as a good example | Это может послужить хорошим примером |
LEXICOLOGY: POLYSEMY
Английский язык характерен наличием в нем большого количества многозначных слов, другими словами, имеющих более, чем одно значение. Например, глагол run имеет 179 значений: бежать, гнать, спасаться бегством, двигаться, скользить, течь, таять, руководить, скисать и.т.д.
глагол take – 127 значений: брать, овладевать, ловить,
присваивать, отбирать, покупать, выигрывать, доставлять,
взимать, и.т.д.
глагол break – 123 значения: ломать, нарушать, ослаблять, разрушать, дрессировать, расторгать, понижать в звании, и.т.д.
Данная особенность представляет собой определенную трудность для переводчика. Значение многозначного слова
в предложении раскрывается через контекст, ситуацию общения, в которой находится переводчик. Обычно можно догадаться, какое значение имеет слово, прочитав предложе-ние или абзац до конца.
Например, значение слова play (в русском языке ему могут соответствовать такие варианты, как – ’игра на сцене’, ‘пьеса’, ‘исполнение’, ‘шутка’, ‘каламбур’, ‘спортивная игра’, ‘ деятельность’, ‘свобода, простор’) ив предложении How does the playwright use the narrator in the play? его однозначно следует
перевести, как ‘пьеса’ благодаря наличию в этом предложе-
нии другого литературного термина playwright ( драматург).
При этом отсутствие контекста может компенсироваться
наличием определенной описываемой ситуацией общения,
то же самое слово play в предложении It’s a good play. может
быть также переведено, как спортивная игра, если в тексте, к
примеру, обсуждается футбольный матч.
| 12) Translate the following sentences containing similar words of different meanings from English into Russian |
1) When he was a schoolboy, his aim was to become a professional
theatre and cinema actor.
___________________________________________________________
The hunter is going to aim at the crocodile.
___________________________________________________________
2) Your boyfriend looks like he feels blue. What's wrong with
him?__________________________________ __________
Blue colour flowersare one of the rarest flowers found in the
world
___________________________________________________________
3) The play staged by a young, gifted theatre director has an exce-
llent cast.
___________________________________________________________
The fisherman has cast his net twice but there was not a single
fish in it. ___________________________________________________________
4) Some people prefer to read the last page of the book first.
___________________________________________________________
The whole performance lasts two hours. ___________________________________________________________
5) She showed great character in dealing with the danger.
___________________________________________________________
The leading characters of ‘Romeo and Juliet’are teenagers, who
love each other, but their families are enemies.
___________________________________________________________
6) At this stage of development of the Ancient Greek theatre, all
tragedies were unique pieces written in honour of Dionysus
and played only once.
____________________________________________
All the world's a stage,
And all the men and women merely players.
___________________________________________________________
7) The Minister of Foreign Affairs has delivered a speech at the
United Nations.
__________________________________________________
His wife was a daughter of a minister of a local church.
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8) I heard his band is playing at another party the same night.
____________________________________________
Both red bands are made with leather and cost 20 US doll.
____________________________________________
| 13) Translate the various expressions with the verb ‘to get’ and insert them into the sentences.. |
| get better | get really cold | get so enthu-siastic | get to the city | get older | get higher | get so angry | get upset | to get to | get |
1) I can see your English is ________________________ every day.
Now you are making almost no mistakes.
2) The economy feels so bad; the inflation rate is _______________.
3) Put on something warm. I went outside in the morning – it is
__________________.
4) She __________ when she learned that she hadn’t been invited
to perform in the play.
5) Do you have a map of London? I do not know how _______
Trafalgar Square
6) Tourists can _________ from Great Britain to France by ferry.
7) The teacher was surprised that she _________ about his idea to
play the sketch in English.
8) Many people understand the importance of healthy lifestyle as
they __________.
9) My boyfriend said he would ___________ by car.
10) She has been ___________ at his lie.
| 14) Translate the following sentences from English into Russian |
1) Never desert your friends in the desert.
______________________________________________________
2) Close the window before the bee gets too close.
______________________________________________________
3) Lead poisoning can lead to health issues.
______________________________________________________
4) Does the deer see the does?
______________________________________________________
5) The dove dove down to its nest.
_______________________________________________________
6) Shut your mouth or f ly might fly into it.
_______________________________________________________
7) The building of a Bank was constructed on the bank of a river.
__________________________________________________________
8) The girls with red bows on their hats received the teacher with
bows and smiles.
__________________________________________________________
9) The football fans brought small portable fans to the match as
the afternoon was very humid and hot.
__________________________________________________________
10) A group of students left the classroom, went along the cor-
ridor then turned to the left.
__________________________________________________________
11) The pairs danced with the flowers and the balls in the current
ball season.
_______________________________________________________________________
12) After the exercising the sportsman wiped his sweaty palms
and sat under the palms near the beach.
________________________________________________________
UNIT 2
CONTEMPORARY RUSSIAN DRAMA
| Task 1 – Изучающее чтение: текст ‘Contemporary Russian drama: ‘The journey from stagnation to a golden Age’ Task 2 – Ознакомительное чтение: тексты ‘The most promising playwright‘, ‘Psychological gesture’ Task 3 – Беседа на тему ‘The Moscow theatrical life ‘ Грамматика: Infinitive/ Инфинитив Лексика: Членение и объединение предложений |
TASK # 1
Прочитать и перевести приведенный оригинальный текст со словарем. (На экзамене по кандидатскому минимуму аспи-рантам (соискателям) будет предложен текст объемом не ме-нее 2000-2500 печатных знаков). На выполнение подобного задания на экзамене отводится 50-60 минут.
TEXT # 1 CONTEMPORARY RUSSIAN DRAMA: THE JOURNEY FROM STAGNATION TO A GOLDEN AGE
In the first half of the 1990s, ma-ny observers held the opinion that no one in Russia was wri-ting new plays. However, as it became clear during the Liubi-movka new-play festival in 1997, Russian drama was on the verge of what one East European com-mentator recently called ‘the spectacular comeback of Russian drama and theatre to the first league of European theatre.’ Such writers as Nikolai Koliada, Aleksey Kazantsev, Elena Gremina, Olga Mukhina, Maxim Kurochkin, the Presniakov brothers, and others began writing the plays, creating the writing schools, and establishing the new theatres that changed the face of Russian theatre.
Three cities in particular played a crucial role in this development: Yekaterinburg, Moscow, and Togliatti. Each locale produced nu-merous writers whose works came to be known as ‘new drama’—a controversial though popular term that implied a harsh, gritty style of writing that looked closely into the falsehoods, challenges, and pitfalls of contemporary life. What came to be known as the new drama aesthetic can now be said to have been worked out initially by Kolyada and the students he taught at his groundbre-aking playwriting school at the Yekaterinburg State Theatre Insti-tute.
Two of Koliada's pupils, Oleg Bogaev and Vasiliy Sigarev, quickly went on to establish their own international reputations. ‘Moscow was also the city where two influential new theatres were esta-blished: the Playwright and Director Center (1998) and Teatr.doc (2002). Both venues attracted not only new writers, but also a new generation of directors, actors, and, even, spectators. The impact of new drama on a small though important group of writers in the southern Russian city of Togliatti was significant. Inspired by developments in the Russian capital, Vadim Levanov, Yuri Kla-vdiev, and the Durnenkov brothers, Viacheslav and Mikhail formed the backbone of the so-called Togliatti phenomenon in connection with the annual May readings festival. Over the last fifteen years, Russian drama came to embrace a vast array of styles and themes, which spans Klavdiev's poetic violence and the cul-tured hipness of the Presniakov brothers. Kurochkin's eclectic plays and Sigarev's tough portrayals of people on the fringes of society are nothing like Mukhina's sensitive, quirky works. Such diversity was unthinkable prior to that summer in 1997 when a community of Russian writers stood poised to change the status quo—a time, it was said, when no one was writing plays of any interest.
| 1)Translate the following expressions from the text |
| 1) It became clear | |
| 2) to establish a new theatre | |
| 3) to play a crucial role | |
| 4) harsh, gritty style of writing | |
| 5) to establish international reputation | |
| 6) the impact of new drama | |
| 7) venue | |
| 8) to form the backbone | |
| 9) new generation of directors, actors, spectators | |
| 10) to embrace a vast array of styles and themes | |
| 11) tough portrayals of people on the fringes of society | |
| 12) a play of any interest |
| 2) Answer the following questions |
1) What opinion did many observers hold in first half of the 1990s?
2) What did it become clear during the Liubimovka new-play
festival in 1997?
3) What writers started establishing the new theatres that changed
the face of Russian theatre?
4) What cities played a crucial role in the development of a new
theatre?
5) What did each locale produce?
6) What playwright worked out a new drama aesthetic?
7) Which of the Koliada’s students went on to establish their own
international reputations?
8) What festival made the notion of new drama a brand name?
9) What influential new theatres were established in Moscow?
10) Who formed the backbone of the so-called Togliatti pheno-
menon in connection with the annual May readings festival?
11) What styles did the Russian drama come to embrace over the
last fifty years?
12) When did the Russian writers change the status quo?
| 3) Compose the sentences with the following pairs of words |
| 1) Observers – hold the opinion |
| 2) Three cities – play a crucial role |
| 3) Kolyada - teaches |
| 4) Vasiliy Sigarev - establishes |
| 5) Venues - attract |
| 6) The impact of new drama – to be |
| 7) Russian drama -embraces |
| 8) Diversity – to be unthinkable |
| 4) Choose the correct ending to complete the sentences |
1) In the first half of the 1990s, many observers held the opinion that ___________________________________________________.
a) no one in Russia was creating new plays
b) everyone in Russia started to write new plays
c) the playwrights stopped to make plays
2) After the Lyubimovka new- play festival, one East European commentator recently said that Russian drama and theatre ________________________________________________________.
a) started to revive
b) became as progressive as the European drama and theatre
c) noticed the spectacular comeback of Russian drama and theatre to the first league of European theatre
3) A new generation of young playwrights
_________________________________________________________
a) moved to the West
b) began establishing the new theatres that changed the face of Russian theatre
c) started to rewrite classic play
4) Oleg Bogaev and Vasiliy Sigarev, quickly went on to establish
_________________________________________________________
a) became famous in Yekaterinburg
b) international reputation
c) popularity all over the world
5) Moscow was also the city where __________________________
a) new theatres started to appear
b) no theatres originated in Moscow
c) two influential new theatres were established: the Playwright and Director Centre and Teatr.doc
6) Such diversity was unthinkable prior to that summer in 1997 when ___________________________________________________
a) Russian writers changed the status quo—a time when no one was writing plays of any interest
b) Russian writers opened a new era in playwrighting
c) Russian writers changed the opinion about Russian theatre
GRAMMAR: THE INFINITIVE
| Инфинитив - это неличная глагольная форма, которая только называет действие и выполняет функции как гла-гола, так и существительного. Инфинитив отвечает на вопрос что делать? что сделать? To read – читать, прочесть To play – играть, исполнить Инфинитив не имеет специального окончания; формаль-ным признаком инфинитива является частица to, которая стоит перед ним, хотя в некоторых случаях она опускается. Отрицательная форма инфинитива образуется при помощи частицы not, которая ставится перед ним: Try not to use bad language! Постарайся не употреблять плохих слов. It's difficult not to pay a Трудно удержаться от компли- compliment to the actress. ментов в адрес этой актрисы. В русском языке инфинитив чаще называют неопределён-ной формой глагола. Именно инфинитив приводится в словарях, как начальная форма глагола. В отличие от русско-го языка, где инфинитив имеет одну форму (неопределен-ная форма глагола), в английском языке их у инфинитива шесть: четыре в действительном залоге (Active) и две в страдательном (Passive). Из них только одна Indefinite Infi-nitive - простая, а остальные – сложные. |
| Function | Example | Translation |
| 1) Подлежащее (инфинитив стоит в начале предложения) | To read is a pleasure. To play on stage is difficult. | Читать – это удо-вольствие. Играть на сцене – трудно. |
| 2) Именная часть составного сказуeмого (инфи-нитив стоит за глаголом-связкой to be) | Our task is to do the work well. Th The point is to achieve th the aim. | Наша задача со-стоит в том, чтобы сделать эту работу хорошо. Главное-достичь цель. |
| 3) Часть составного глагольного сказуе-мого (с модальными глаголами can, must should, might) без частицы to; исключе-ние: ought to | He can play the piano. You must learn this sonnet. You ought to call him. | Он умеет играть на пианино. Вы должны выу-чить этот сонет. Вам следует по-звонить ему. |
| 4) Дополнени е (инфинитив стоит после сказуемого) | She began to talk. He promised to come back. | Он заговорил. Он обещал вер-нутьcя. |
| 5) Определение (инфинитив стоит после определяемого слова) | Не expressed a desire to help me. Give me something to eat. | Он выразил жела-ние помочь мне. Дай мне что-нибудь поесть. |
| 6) Обстоятельство цели и следствия (отвечает на вопрос: для чего?) | He stopped to talk to Mary. I went to the library to get the book. | Он остановился, чтобы поговорить с Мэри. Я пошел в библи-отеку взять книгу. |
THE INFINITIVE: SIX FUNCTIONS IN A SENTENCE
THE INFINITIVE WITH PARTICIPLE TO
| Инфинитив, как правило, употребляется с частицей to, которая является его грамматическим признаком. Однако частица to иногда опускается. 1) После вспомогательных и модальных глаголов: can, could, must, may, might, will, shall, would, should. She can dance. Она умеет танцевать. I must see him now. Я должен увидеть ее сейчас. 2) После выражений had better – лучше бы, would better – предпочитаю You had better help me. Ты бы лучше помог мне. I would rather go by train. Я предпочитаю поезд. 3) В инфинитивном объективном обороте (Complex Object) после глаголов: а) выражающих восприятие при помощи органов чувств to feel, to hear, to notice, to see I saw him jump. Я увидел, как он прыгает. I heard the clock strike. Я слышал, как бьют часы. b) после глаголов to make – заставлять, to let - разрешать What makes you think so? Что заставляет вас так думать? Let me do it myself. Позвольте мне сделать это. с) после глагола to help – помогать частица to может либо употребляться, либо нет – оба варианта допустимы. He helped her to write an essay. Он помог ей написать эссе. Could you help me (to) open the Не могли бы вы помочь box. открыть коробку. Если в предложении есть два инфинитива, соединенных союзом and или or, частица to ставится только перед первым инфинитивом. I want to come and see you. Я хочу приехать и увидеть тебя. |
| 5) Learn the following set expressions and sentences with infinitive, often used as parenthetical words |
| Phrase or sentence | Translation |
| 1) to cut a long story short | короче говоря |
| 2) to tell you the truth | сказать по правде |
| 3) to say nothing of | не говоря уже о |
| 4) to put it mildly | мягко выражаясь |
| 5) to begin with | начнем с того, что |
| 6) The book leaves much to be desired | книга оставляет желать лучшего |
| 7) He is difficult to deal with | с ним трудно иметь дело |
| 8) He is hard to please | ему трудно угодить |
| 9) She is pleasant to look at | на нее приятно смотреть |
| 10) to be quite frank | честно говоря |
| 11) needless to say | не стоит и говорить |
| 12) to say the least | без всякого преувеличения |
| 6) Translate the following sentences using the set expressions with infinitive |
1) Для начала, я хочу поблагодарить всех членов команды за работу.
__________________________________________________________
2) Мы все были рады, не говоря уже о продюсере постановки, что наш спектакль получил премию.
___________________________________________________________
3) Мягко выражаясь, нашему режиссеру трудно угодить.
___________________________________________________________
4) Не стоит и говорить, что работа режиссера творческая и интересная.
___________________________________________________________
5) Сказать по правде, я еще не посмотрел ни одного диплом-ного спектакля студентов 4 курса.
___________________________________________________________
6) Позвольте мне прочитать сонет Шекспира.
__________________________________________________________
7) Это вечеринка не была хорошей, без всякого преувеличе-ния.
________________________________________________________
8) Грустная сцена в последнем акте заставила меня заплакать.
________________________________________________________
| 8) Insert participle ‘ to ’ after the verb where it is necessary |
1) I would like _____ read the last plays by Nikolay Kolyada.
2) The director made the actress ______ recite the lines of the poem once again.
3) You had better ______go home.
4) I wanted _____ talk to Nick, but I couldn’t ______ recollect his telephone number.
5) I think I can ____solve the problem.
6) I would rather _____borrow these books in the library.
7) I heard the orchestra ______play in the lobby.
8) Could you help me _____ find seat 10 in the 8th row?
9) This actor can _____do this thing professionally.
10) Не expressed a desire_____ help me.
TASK # 2
Прочитать и пересказать приведенные тексты. (На экзамене по кандидатскому минимуму аспирантам (соискателям) будет предложен текст объемом не менее 1000 печатных знаков) На выполнение подобного задания на экзамене отводится 10-12 минут.
TEXT #2 THE MOST PROMISING
PLAYWRIGHT
__________________________________________________________
Born in 1977, in Sverdlovsk region, Vasiliy Sigarev is a Russian playwright, screenwriter and film director. His plays ‘Plasticine’, ’Black Milk’and ‘Ladybird’ were first staged in the West by the Royal Court Theatre, London in 2002, 2003 and 2004, respectively. In 2002, Vasiliy Sigarev was named the winner of the Charles Wintour Award for Most Promising Playwright given out by the ‘Evening Standard’ for ‘Plasticine’. He studied at the Nizhniy Tagil Pedagogical Institute and graduated from the Yekaterinburg Theatre Institute.
Asked Vasiliy Sigarev, how he became a writer, he said that he did it alone ‘like a weed’. His father was an electrician, and his mother was a collective-farm worker. As a teenager, impressed by the hor-ror novels by Stephen King, he showed his mother a story he had written about one of his friends committing a murder and noted with satisfaction that it made her cry.
Nikolay Kolyada, a playwright and teacher whose theatre has made this industrial region, a centre of modern drama, recalled Sigarev as watchful and silent, sitting in the back row with his arms folded.
‘He was quiet’ – ‘No, yes, no, yes’, Nikolay Kolyada recalled. ‘I asked him, ‘You came from Nizhniy Tagil on the commuter train, right? What did you read on the way?’And he named the author I had never heard in my life, and I said, ‘OK, I’ll take you’. Three years ago, Vasiliy Sigarev's debut film ‘Volchok’ won a clutch of festival awards. His follow-up ‘Living’, which has won the best film and international critics’ awards at Wiesbaden's East festival of Central and Eastern European films, confirms his emergence as a talent.
These days Vasliy Sigarev has no shortage of opportunities. The government has financed his films, and he receives repeated in-vitations in Russia to direct blockbusters of other authors, but he refuses them.
‘The main thing for my reputation is not to do something to be ashamed of later,’ he said, As for what people say or think of me, I don’t care less’.
| 9) Answer the following questions |
1) When and where was Vasiliy Sigarev born?
2) What Western theatre produced Vasiliy Sigarev’s plays first?
3) When was Vasiliy Sigarev named the winner of the Charles Wintour Award for Most Promising Playwright?
4) How did Vasiliy Sigarev become a writer?
5) What author was Vasiliy Sigarev impressed by, as a teenager?
6) How did Nikolay Kolyada recall Vasiliy Sigarev as an appli-
cant to a theatrical school?
7) Why did Nikolay Kolyada decide to take Vasiliy Sigarev to his
course?
8) What Sigarev’s film won a clutch of festival awards?
9) How does Vasiliy Sigarev describe the main thing for his repu-
tаtion?
10) Does he care for what people say or think of him?
| 10) Complete the following sentences |
1) The ‘Evening Standard’ gave out __________________________.
2) Vasiliy Sigarev said that he _______________________________.
3) He was impressed by ____________________________________.
4) He noted with satisfaction that ____________________________.
5) Nikolay Kolyada’s theatre has made _______________________.
6) Nikolay Kolyada recalled _________________________________.
7) Sigarev said that the main thing for his reputation ___________.
TEXT #2A THE PSYCHOLOGICAL GESTURE
___________________________________________________________
Michael Chekhov (1891-1955) is considered to be one of the most talented and widely recognized students of Konstantin Stani-slavsky. He was the nephew of the play-wright Anton Chekhov. Michael trained as an actor and performed especially notably at the Moscow Art Theatre’s First Studio, and later at the Art Theatre itself under Stanislavsky’s direction. His Khlestakov in Gogol’s ‘The Government Inspector’ in 1921 was particularly ac-claimed. In 1928, he emigrated to the West where he did much teaching of acting and developed his own system. This clearly owed much to Stanislavsky, but also depended on a number of original ideas. One of the best known of this was the Psychological Gesture.
The Psychological Gesture (PG) is the key to the actor’s will, what drives his creativity. It is essentially a strong, well shaped but sim-ple movement – a gesture, which uses the whole body. The actor thinks about the character in detail – the super objective, the events the character participates in, his desires, actions, rhythm – and finds a movement to express all this. The movement is repe- ated several times. It embodies the quintessence of the character.
Michael Chekhov recommended that the actor should start to make PG with hand only, to discover how it might express the character’s essence – a grasping movement, perhaps, or a clen-ching of the fist, a droopy movement or a stretching out. This is then extending to include both hands and arms, the torso, and finally the whole body. The PG must be strong, clear and clean: it should partake of the nature of an archetypal gesture or move-ment.
Michael Chekhov further suggested that a PG could be made not just for the character in the whole play, but also for specific scenes or even parts of the scenes.
| 11) Answer the following questions |
1) Where in Moscow did Michael Chekhov play especially
notably?
2) What Michael Chekhov’s role was particularly acclaimed in
1921?
3) When did Michael Chekhov immigrate to the West?
4) What was one of the best-known Michael Chekhov’s original
ideas?
5) Who developed an amaing acting tool called ‘the Psychological Gesture’?
6) How does the actor form the Psychological Gesture?
7) How should the actor start to make PG?
8) What were Michael Chekhov’s further advice?
| 12) Read the above text and find main ideas using the following expressions |
1) The text is about ________________________________________
2) The first part of the text is focused on ______________________
3) Then the author describes smth (suggests, states that) ________
4) After that, the author passes on to (description of, statement of,
analysis of ________________________________________
5) At the end of the text, the author pays attention to the fact_____
6) I agree/disagree with the author’s statements ________________
7) I have read the text with great interest because _______________
| 13) Translate the Russian text into English and retell it |
Use the following words:
| Big tour – большие гастроли, ‘Into the Whirlwind’-‘Крутой маршрут’, great success – грандиозный успех, recreation centre – развлекательный центр, ‘Three comrades ‘– ‘Три товарища’, Israeli playwright – израильский драматург, ‘Sweet Bird of Youth’ -‘Сладкоголосая птица юности’ |
МОСКОВСКИЙ ТЕАТР ‘СОВРЕМЕННИК’ ОТПРАВИЛСЯ НА
ГАСТРОЛИ ТЕАТРА ‘СОВРЕМЕННИК’ В США
_______________________________________________________
Это уже пятые большие гастроли театра в США. Первые из них состоялись 14 лет назад, когда ‘Современник’ был при-
глашен в Сиэтл и показал спектакли ‘Крутой маршрут’ и ‘Три сестры’.
Адресом второго и третьего приезда ‘Современника’ в США стал Нью-Йорк. Оба раза - и в 1996, и в 1997 годах - театр иг-рал на Бродвее. ‘Современник’ стал первым русским театром, получившим для показа драматических спектаклей бродвей-скую сцену. Тогда московская труппа с грандиозным успехом сыграла ‘Три сестры’, ‘Вишневый сад’. Результатом этих гас-тролей стало присуждение ‘Современнику’ национальной премии США в области драматического театра, которой впер-вые за всю историю существования этой награды был отмечен иностранный театр.
В прошлом году в свой четвертый приезд в США театр играл в развлекательном центре, находящемся под Нью-Йорком. В афише ‘Современника’ было два названия –‘Три товарища’ по Ремарку и пьеса израильского драматурга Йосефа Бар-Йосе-фа ‘Трудные люди’. Их увидели более семи тысяч зрителей.
Теперь театр покажет американцам пьесу их ‘родного’ автора Теннесси Уильямса ‘Сладкоголосая птица юности’ в постанов-ке молодого, но уже очень известного в России режиссера Ки-рилла Серебренникова и спектакль ‘Пигмалион’ в постановке Галины Волчек.
TASK # 3
Побеседовать с преподавателем на тему о театре. Театраль-ная жизнь в Москве наполнена интересными событиями. Расскажите, в какие театры вы ходите, какие спектакли вам нравятся. Допишите данные предложения. Составьте устное сообщение для экзамена.
1) For decades Moscow has had a reputation of a_______________.
(cultural centre/ heart of theatrical life/theatrical capital).
2) Coming to Moscow for the first time, tourists ________________.
(attend drama theatres/ buy theatre tickets beforehand/ choose the best performance)
3) Moscow is the centre of _______ (well-known/famous/ greatest) theatres such as the Bolshoi theatre, the Vakhtangov
theatre, the Moscow Art theatre.
4)The Bolshoi theatre in Moscow was founded in 1776 and has got more than 30 operas and _______ (drama/ballet/musical) perfor-mances.
5) The Moscow Art theatre has become one of the influential theatres in the world because at the beginning of the 20th century
_______________ (Stanistlavsky/Tairov/Meyerhold) who was a father of a realistic approach to acting, directed the performances in it.
6) In 1898, Anton Pavlovich Chekhov read his _____ (play/book/ poem) ‘Seagull’ to the cast of the Moscow Art theatre during their first rehearsal.
7) I have recently had a truly wonderful evening in the _______
where I watched the performance _________. It made a lasting impression on me.
8) An amazingly talented ____________ (actress/director/ actor) played the character of ______________ in the performance.
9) The plot of the play referred to ________________________.
10) This would be a great play for _________________ (kids/ teen-agers/adult people).
11) The performance is based on ___________________________.
12) I highly recommend watchi
