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| Phrase | Language | Translation | Example |
| 1)A la carte | French | по заказу, из меню | Can we eat a la carte? |
| 2) alma mater | Latin | школа, институт | I haven’t returned to my alma mater since the day I graduated. |
| 3) avant-garde | French | передовой | His avant-garde work was found to be unacceptable. |
| 4) bona-fide | Latin | аутентич-ный | Is the painting by Levitan on your wall bona fide? |
| 5) curricu-lum vitae (CV) | Latin | резюме | Have you got your CV ready for the interview? |
| 6) déjà vu | French | обман памяти | I experienced déjà vu when I came, even though I knew I had not been here before. |
| 7) fiasco | Italian | полное поражение | The party was a fiasco. |
| 8) prima donna | Italian | солистка в опере, дива | She behaves like prima donna. |
| 9) status-quo | Latin | положение вещей | He advises to maintain status-quo. |
| 10) tete-a-tete | Latin | c глазу на глаз | We talked tet-a-tete. |
| 11) vis-à-vis | French | друг на-против друга | They sat vis-à-vis across the table. |
| 15) Insert the following foreign phrases into the sentences |
| 1) Vis-à-vis 2) prima donna 3) tete-a-tete 4) avant-garde 5)alma-mater 6) CV 7) status-quo 8) a la carte 9) fiasco 10) déjà-vu |
1) A private conversation between two persons is called ________.
2) We are looking for team-players, not _______________________.
3) When we talk about current situation, we mean our _________.
4) Last week the graduates from the college had a meeting at their
______________.
5) Since the team has not won a game all year, it should be pretty obvious to the owners that they have _________ on their hands.
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6) The graduate was asked to prepare his _________ to apply for a position of an artistic director at the theatre.
7) The elderly poet was confused by the youth’s ___________ style of writing.
8) She sat on the other side за the table, _________ John.
9) The restaurant had a huge _________ menu and four specials that day.
10) How can you have already seen this painting that I made just yesterday? This means you are having a _________.
| 16) Read the text about the future of foreign languages |
THE FUTURE OF LANGUAGE
Of the 7.2 billion people on Earth nearly two thirds speak one
of these 12 languages as their native language.
| Bengali – 250 mil Spanish – 389 mil English- 527mil |
Arabic language – 467 mil
Hindu-Urdu- 500 mil
Chinese – 1.39 billion
| German – 132 mil Japanese - 123 mil French – 118 mil |
Russian- 254 mil
Portugese – 193 mil
Italian – 67 mil
Which language will dominate in future? There are many pre-
dictions. It depends on your location and purpose.
1) If you want to make money, you should learn these three
languages: BRAZIL, RUSSIAN, HINDI, CHINESE
2) If you want to speak to as many people as possible, CHINESE, SPANISH or FRENCH will be on the top. If you don’t have time, don’t worry too much: ENGLISH will continue to be on the top in the near future.
3) If you want to visit as many counties as possible but speak one language you should know that ARABIC is spoken in 60 countries and FRENCH – in 51 countries.
4) What to learn if you are interested in reading and culture? A group of the international researchers analyzed 2.2 million book translations. ENGLISH is the world’s premier top language for written publications.
| 17) Answer the following questions |
1) What is the most spoken language in the world?
2) What is the population of the world?
3) How many million people speak English?
4) What language is advised here to travelers?
5) What language will continue to be on the top in the near
future?
6) Can the scientists say explicitly what language will dominate in
the future
7) In how many countries people speak Arabic?
8) What to learn if you are interested in reading and culture?
9) How many book translations have the international researchers
аnalized?
10) What language is the world’s premier top language?
UNIT 6
A STAGED DRAMA SET TO MUSIC
| Task 1 – Изучающее чтение: текст ‘The history of the Vienna opera ‘ Task 2 – Ознакомительное чтение: тексты ‘The Opera ball’, ‘On tour’ Task 3 – Беседа с преподавателем на тему ‘Music.Your favo-urite composer' Грамматика: Phrasal verbs/ Фразовые глаголы Лексика: Can you guess the meaning of the word? |
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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 THE HISTORY OF THE VIENNA OPERA
The origin of the Vienna Opera, the oldest theatrical institution with an unbroken re-cord of performing in the German-speaking world, goes back to the beginning of the 18th century. A number of new operas were performed in Vienna during the 47-year-long reign of Emperor Leopold I, who was a composer as well as a ruler. He died on 5 May 1705 during the Spanish War of Succession. After Leopold’s death, his eldest son Joseph succeeded him, but only for a short time as he died of smallpox on 17 April 1711 at the age of 32.
What remained from his reign were the pawnbroker’s founded by him in 1707, known today as the auction house ‘Dorotheum’, the Vienna Opera, as well as Austria’s biggest bell, called ‘Joseph’s Bell’, which soon was renamed into the ‘Pummerin’.
The City of Vienna received a license for a theatre from Emperor Joseph I, after the city fathers followed official urging to build a fire-proof theatre in the thickly populated inner city and put for-ward a place on the edge of the walled and moated city between the old city hospital and the city wall, near the Karntner gate. This Karntnethor Theatre, constructed by ‘the theatre engineer’ Anto-nio Perduzzi on the site now occupied by the Sacher Hotel, was opened with a performance by Italian opera singers on 30 Novem-ber, 1709.
In the beginning this first ‘city theatre’ was only for ‘foreign ac-tors’, but the Viennese shield away from the performances in a fo-reign language of ‘true stories and operas’. Francisco Maria Conte Pecori, a favourite of the emperor and first director of the new ho-use, therefore had to take the consequences and already in 1712 made room for the actor and theatre director Josef Anton Stranit-zky and his company.
This original character, called ‘Hans-Wurst’, celebrated by the Viennese, gained social status with his leadership of the theatre, which was almost completely under the control of court officials. Besides his extempore comedies and burlesques, he also had an ambition to perform court operas for an audience of a lower social status, although these performances descended to a vulgar level of ‘Hans-Wurst operas’.
Following Stanitzky’s death in 1726, his wife and his student Gottfried Prehauser succesfully followed in his footsteps, but soon had to step aside for Francesco Borosini and the court singer Jo-seph Sellier, who for the next twenty years dominated the Karnt-nethor Theatre with their German and Italian comedies, Italian operas and ballets.
In 1741, Sellier took over the Theatre in the Ballhaus as well, so that the court’s artists had to share the stage with ‘ordinary ac-tors’. The simultaneous existence of two such extremes resulted in a tense atmosphere that encouraged and put its unique mark on the artistic consciousness of these theatres.
In 1747, Rocco Baron de Lo Presti took over the directorship of the Bellhaus Theatre (Hofburg Theatre) from Sellier, and in 1751 also that of the Karntnerthor Theatre, so both theatres were again un-der the same direction. With the first imperial rant in 1752, Maria Theresia achieved the complete detachment of the German Thea-tre from the Hofburg Theatre, and although the theatre buildings were the property of the City of Vienna, the not extremely suc-cessful businessman Lo Presti was obliged to submit to the cen-soring of German burlesques at the Karntnerthor Theatre. Frans Graf Esterhazy was appointed senior director for all productions, so that Lo Presti was in fact eliminated and instructions for the official imperial theatre were issued for the first time.
| 1) Answer the following questions |
1) What theatrical institution has a record of performing operas in the German-speaking world?
2) How long did Emperor Leopold I reign?
3) What remained from Joseph’s reign in Austria?
4) Who gave the City of Vienna a license for the theatre?
5) Where did the city fathers build the theatre?
6) What was the name of the ‘theatre engineer’ who constructed
the theatre?
7) When was the Karntnethor Theatre built?
8) Who was the first director of a new theatre?
9) What character gained social status with his leadership of the
theatre?
10) Did the actors of the theatre perform for an audience of a low-
er social status?
11) What was Joseph Sellier?
12) Why had the court actors to share the stage with ‘ordinary ac-
tors’?
13) Who took over the directorship of the Bellhaus Theatre in
1747?
14) What did Maria Theresia achieve in 1752 with the first impe-
rial rant?
15) When were the instructions for the official imperial theatre
issued for the first time?
| 2) What happened in the history of the Vienna opera on those dates? Find the answers in the text |
| 1) 5 May 1705 | |
| 2) 17 April 1711 | |
| 3) July,1711 | |
| 4) 30 November 1709. | |
| 5) 30 November 1709 | |
| 6) 1712 | |
| 7) 1726 | |
| 8) 1741 | |
| 9) 1751 | |
| 10) 1752 |
| 3) Find the sentences with the following phrasal verbs in the text and write them below |
Go back –возвращаться; put forward –предлагать; Shield away – защититься (от); follow in – продолжать; Step aside –уступить; take over –взять на себя
1) ________________________________________________________
2)_________________________________________________________
3)_________________________________________________________
4) ________________________________________________________
5) ________________________________________________________
6)_________________________________________________________
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| 4) Complete the following sentences |
1) At the beginning of the 18th century ___________________.
2) On 17 April 1711, at the age of 32 ________________________
3) The auction house ‘ Dorotheum ’ was founded _____________
4) Emperor Joseph I issued _______________________________
5) A fire-proof theatre was built ___________________________
6) On 30 November 1709__________________________________
7) Francisco Maria Conte Pecori ___________________________
8) The performances of a vulgar level were called ____________
GRAMMAR: PHRASAL VERBS
| Фразовые глаголы (Phrasal Verbs)—одно из характерных яв-лений в современном английском языке. Широкое употре-бление фразовых глаголов характерно для разговорной ре-чи, на них следует обратить особое внимание. Легких спо-собов изучения фразовых глаголов нет – их нужно заучи-вать наизусть. 1) Фразовый глагол — это глагол + частица. We often eat (глагол) out (частица). Мы часто едим вне дома. 2) Частица в составе фразового глагола похожа на предлог, но предлогом не является и может существенно изменить значение глагола. He ran into a tree. (глагол + предлог) Он налетел на дерево. She ran into her friend in the cinema. (глагол + частица) Она случайно встретилась с другом в кино. 3) Даже зная значение глагола и частицы, не всегда можно догадаться о значении фразового глагола. Поэтому, фразо-вые глаголы нужно заучивать наизусть. The competition was called off. Соревнование было отменено. 4. Фразовые глаголы делятся на переходные (с прямым до-полнением) и непереходные (без прямого дополнения). Большинство фразовых глаголов являются переходными. She looked for a book on modern art. (переходный глагол) Она искала книгу по современному искусству. Our son has grown up. (непереходный глагол) Наш сын вырос. |
| To eat out- питаться вне дома |
| To run into- случайно встетить |
| To call off –отменять |
| 5) Переходные глаголы делятся на разделяемые и неразделя-емые: a) У неразделяемые фразовых глаголов частица не отделя-ется от глагола: He has grown up. Он стал взрослым. They often eat out. Они часто обедают не дома. b) У разделяемых фразовых глаголов частица может отделяться от глагола. He put the book back to the library. Он вернул книги в библио- теку. Please, turn the light out. Пожалуйста, выключите свет. 6) У разделяемых глаголов дополнение может стоять: а) После частицы: He worked out the document. Он составил документ. b) Между глаголом и частицей: He worked the document out. Он составил документ. с) Если прямое дополнение — длинная фраза, то она идет после частицы. She dreamt up a recipe of a lemon Она придумала рецепт cake. лимонного пирожного. d) Если дополнение выражено местоимением, то фразовый глагол разделяется всегда! She dreamtitup. Она этот придумала. 7) Некоторые фразовые глаголы используются в сочетании с определенными предлогами. Как правило, эти комбинации являются не разделяемыми. He came up with an excellent Он нашел отличное решение solution of a problem. проблемы. Не dropped out of the university. Его исключили из универси- тета. |
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| 5) Match the phrasal verb with its corresponding description |
| 1) Be over | a) cancel |
| 2) blow up | b) switch off |
| 3) call off | c) get angry |
| 4 come across | d) continue |
| 5) carry on | e) finish |
| 6) turn off | f) meet |
| 6) Complete the sentences with the following phrasal verbs |
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Carry on- продолжать, get on – успевать, справляться, hold on- подождать, put on – надевать, try on- примерять, count on – рассчитывать на, go on – продолжать, move on – двигаться дальше, give back – возвращать, get up - вставать
1) Hi! Is Mr. Knight in?. _______, I ́ll call him.
2) Excuse me, could you ________ this new costume, please?
3) How are you _______ at college?
4) Are you still _______ with your tennis lessons?
5) We usually _______ at 8 o’clock in the morning and go to GITIS.
6) James can __________ his best friend.
7) Show must __________.
8) It`s time to __________ to the next point.
9) Please, __________ the book to the library before Monday.
10) It was a bit chilly, so she ______ her jacket.
| 7) Complete the sentences with the following phrasal verbs |
| 1) check in - register in a hotel | 2 ) get up - wake | 3) fall down -fall to the floor | 4) grow up- become an adult | 5) come across - find by chance |
| 6) look after - take care of | 7) get off- leave a vehicle (except car) | 8) look into- investigate | 9). catch up with - get at the same level | 10) break in- to forci-bly enter a place |
1) Call me if you ______ any of the missing files.
2) What time do you _______ every day on holidays?
3) Don’t try to _______ too fast; you are only a child once.
4) The ice on the ground in the park made Mr. Jenson ________.
5) The doctor told the patient that he should eat right and _____
his health.
6) David was waiting in the lobby to _______ the hotel.
7) He was ill so much and he couldn’t ____ with his class.
8) Watch your step when you ______ the bus.
9) The detective will _______ the crime.
10) The thief planned to ______ the house on Tuesday.
| 8) Find and translate the phrasal verbs in the following text |
‘The tradition of the actor-manager established in his own theatre, inaugurated by Irving, was carried on in London be George Alexander at the St James Theatre, which he took over in 1891; by Beerbohm Tree at Her Majesty’s which he built in 1897 with the profits from his tenure of the Haymarket; and by Charles Wyndham, in the theatre which he built in 1899 and named after himself.’
‘The Theatre. A Concise History’ Phyllis Hartnoll
Chapter 10 The Later 19thCentury Theatre
IDIOMATIC EXPRESSIONS ABOUT ART
| Expression | Translation |
| 1) Art is long and life is short | Жизнь коротка, искусство вечно |
| 2) to be no oil painting | некрасивый, нерасполагающий к себе |
| 3) blank canvas | чистый холст |
| 4) drama queen | королева драмы, человек, который устраивает бурю в стакане воды |
| 5) flimflam artist | жулик,мошенник |
| 6) make a scene | закатить сцену |
| 7) poetic justice | торжество справедливости |
| 8) stage whisper | шепотом, но чтобы все слышали |
| 9) cut the comedy | перестать ломать комедию |
| 10) behind the scenes | за кадром |
| 9) Guess the meaning of the following phrasal verbs (Part I) Find the phrasal verbs in the above exercise(Part II) |
Part I
1) My sister has written, asking if we can put her up for a few
days whilst she’s in London.
2) Paul was left ten thousand pounds in his grandfather’s will,
so he set himself up as a photographer.
3) This bad weather’s really getting me down.
4) The flat isn’t very nice, but I can put up with it until I find
somewhere better.
5) Let’s meet on the 20th. Put the date down in your diary so you
don’t forget it.
6) James Gregory was sent down for ten years for his part in the
robbery.
7) Peter is single. We should get him off with some nice girl.
8) Have you seen how Jane always putting him down? Either she
criticizes him for the way he dresses, or the way he eats or the
way he speaks, and she makes him feel such a fool!
9) I have come across interesting people during my trip to the
United States.
10) Christmas is their favourite holiday. Every year the children
look forward to the holiday coming.
Part II)
1) to depress, make miserable _______________
2) to send to prison _______________
3) to establish a business _______________
4) to prove a bed for someone for a short while _______________
5) to introduce to somebody _______________
6) to write down _______________
7) to tolerate _______________
8) to humiliate _______________
9) to meet somebody by chance ______________
10) to wait for something impatiently _______________
TASK #2
Прочитать и пересказать тексты ‘The Opera ball’, ‘Оn tour’ (На экзамене кандидатского минимума аспирантам (соиска-телям) будет предложен текст объемом не менее 1000 печат-ных знаков) На выполнение подобного задания на экзамене отводится 10-12 минут.
TEXT #2 THE OPERA BALL
On the last Thursday of Fasching (the Austrian Carnival), the auditorium of the Vienna Opera House becomes the most beautiful ballroom in the world, and it is the high point of the Viennese ball season.
The Vienna Opera Ball is not only the ball of the State Opera and its artists, but also the official ball of the Republic of Austria. The Council of Ministers decides every year that it will take place. The biggest scene change of the whole season, made possible by about 1,200 workers, start immediately after the per-formance on the preceding Tuesday. The seats in the front and rear stalls are removed from their fittings and taken away. A steel construction is installed over the sloping stage to level it, and the orchestra pit is raised hydraulically to stage level. On the stage itself tiers of boxes are installed, designed in 1986 by the world-renowned stage designer Günter Schneider-Siemssen. They double the auditorium by cre-ating a mirror image. A ballroom floor is laid and about 15,000 flowers are used for decoration. Du-ring this time the other rooms in the house, from the cellar up-wards, are altered for this night of nights.
On Wednesday evening the dress rehearsal takes place for the 120 pairs of young ladies and gentlemen who will open the ball. On the night from Thursday to Friday, 5,500 guests are welcomed and entertained by 1,500 participants. On Friday morning at 5 o’clock the dream is over, and on the evening of the same day the next performance takes place.
| 10) Answer the following questions |
1) Where does the official ball of the Republic of Austria take
place?
2) Who decides every year wether the official ball takes place or
not?
3) What changes happen in the Vienna Opera House before the
ball?
4) How do the organizers of the ball manage to double the audi-
torium?
5) How many flowers are used for decoration of the auditorium?
6) When does the dress rehearsal take place?
7) How many young couples take part in the dress rehearsal?
8) How many guests and participants are welcomed to the ball?
9) When is the dream over?
10) When does the next performance at the theatre take place?
| 11) Complete the following sentences |
1) The high point of the Austrian carnival is ___________________.
2) The Vienna Opera House becomes _________________________.
3) The official ball of the Republic of Austria is ________________.
4) Every year 1,200 workers make ____________________________.
5) The workers remove _____________________________________.
6) The workers raise the orchestra pit _________________________.
7) In 1986 by the world-renowned stage designer Günter Schneider-Siemssen ________________________________________.
8) The auditorium is doubled ________________________________.
9) The dress rehearsal takes place ____________________________.
10) The ball will be opened by _______________________________.
11) 1,500 participants _______________________________________.
12) The dream is over ______________________________________.
TEXT #2A ON TOUR
_______________________________
On October 22, 1883, the curtain rose for the first time on a Metropolitan Opera performance at the old Opera House on Broadway and 39th Street in New York. From the beginning in 1883, the Metro-politan has been a touring company. One fifth of its total performances each year are given on an eight-week national tour, bringing the Metropo-litan Opera, live, to a quarter of a million people across more than 5,000 miles. Each spring, the company sets out on a migration un-like any other in the world, taking everything but the Opera House itself on the road.
A typical Met tour today takes two charted 727’s and between 24 and 30 cross-country trailer trucks to transport 350 people, 1200 costumes, more than 800 pairs of shoes and 150 tons of equipment including sets, instruments, scores, wigs, props, lights and every-thing else required for grand operas. Every performance is ope-ning night, as the company performs seven different operas each tour week. Audience members come great distance to attend per-formances in each tour city. In Minneapolis alone, the audience comes from 26 states and 5 Canadian provinces. The annual tour
brings artists and productions of Metropolitan quality to many cities and fosters the growth of audiences for performing arts companies wherever the Met travels.
| 12) Answer the following questions |
1) When did the curtain rise up for the first time at the old Opera
House in New York?
2) When did the Metropolitan go on tour for the first time?
3) How many performances of the Metropolitan are given on an
eight-week national tour each year?
4) How many spectators watch the performances every year?
5) What doesn’t the company take on tour?
6) How many pairs of shoes does the company take with on
a typical Met tour?
7) How many operas does the company perform each tour week?
8) Where did the audience members come from to watch the
performances?
9) From how many states did the spectators come to Minneapolis?
10) Why do the audiences of the Metropolitan grow?
11) Does the Met successfully promote opera?
12) Is opera a popular culture in the USA?
| 13) Find words and phrases in the text which mean the same as the following |
1) To show a play ______________________________
2) To start a journey ______________________________
3) A regular Met tour ______________________________
4) The Opera Theatre ______________________________
5) A premier performance _______________________________
6) To go to the performance _________________________
7) Theatregoers _______________________________
8) Every year voyage _______________________________
9) Public members _______________________________
10) the Met ________________________________
| 14) Complete the sentences from the text |
1) The first performance at the Metropolitan Opera _____________.
2) Each year the Metropolitan Opera _________________________.
3) The Met takes everything on tour but ______________________.
4) About 30 cross-country trailer trucks _______________________.
5) Each tour week the company performs _____________________.
6) Audience members come ________________________________.
7) In Minneapolis alone, the audience comes __________________.
8) Wherever the Met travels _________________________________.
| 15) Read the above text and find the main idea 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 that_______________________________________________________
6) I have read the text with great interest because _______________
| 16) Translate the text from Russian into English and retell it |
Use the following words:
| Opera house –оперный театр; irreproachable acoustics – без-укоризненная акустика; artistic decoration – художествен-ная отделка; comfortable layout of seats – удобное располо-жение мест; horseshoe – подкова; box- ложа; folding chair – складной стул; molten wax – расплавленный воск heating – отопление; original appearance – первоначальный вид; to restore – реставрировать; white, silver and golden shades – белые, серебряные и золотые тона |
НЕМНОГО ИЗ ИСТОРИИ ТЕАТРА ‘ЛА СКАЛА’
_______________________________________________________
‘Ла Скала’ - мировой центр оперной культуры. Этот театр имеет блестящую историю. Здание театра построено в 1776-1778 годах на месте церк-ви ‘Санта Мария делла Скала’, откуда театр и получил свое название ‘Ла Скала – оперный театр в Милане’. Здание теат-
ра, построенное архитектором Дж. Пьермарини, было одним из красивейших зданий в мире. Оно выдержано в строгом
неоклассическом стиле и отличаетется безукоризненной акус-тикой. Художественная отделка зрительного зала сочеталась с удобным расположением мест. Здание театра равнялось 100 метрам в длину и 38 - в ширину. Зал имел форму подковы. В нем было пять ярусов лож и галерея. Лож было всего 195, включая королевскую ложу. В каждой ложе помещалось от 8 до 10 человек. Все ложи были связаны между собой корридо-ром. Сцена театра была невелика. В партере первоначально не было кресел - их заменяли складные стулья. Освещение бы-ло довольно скудным. В ложах зажигали свечи, а те, кто сидел в партере, не рисковали снимать своих шляп, так как на них капал расплавленный воск. Отопления в театре не было. Но зал театра был чудесным - выполнен в белых, серебряных и золотых тонах.
Здание театра стоило Милану около 1 миллиона лир. 90 ари-стократов города заплатили за строительство театра. Здание театра реставрировалось несколько раз.
Во время Второй мировой войны оно было разрушено и вос-становлено в первоначальном виде инженером Л. Секки. Театр ‘Ла Скала’ вновь открыли в 1946 году.
TASK #3
Побеседовать о музыке и вашем любимом композиторе. Допишите данные предложения. На основании приведен-
ных примеров составьте свое сообщение по данной теме для экзамена.
MY FAVOURITE COMPOSER: WOLFGANG AMADEUS MOZART
1) If you asked me about my favourite music style, I would say that I enjoy all kinds of music - jazz, classical music, country, rock, folk, blues, baroque, alternative, popular. I cannot think a day without music.
2) We can hear music everywhere: outdoors and at home, over the radio and on TV, in the shops and in the parks.
3) People all over the world are fond of music. They listen to music, dance to music and learn to play musical _________ (instruments/devices/tools).
4) Music is not only a combination of pleasant sounds, it is an art that _______ (show/reflects /praise) life.
5) There are ______ (a lot of/many/variety) different kinds of music. Some of them appeared long ago, and some are modern. For example, folk music appeared long ago, but it is still alive.
6) My favourite composer is Mozart. When I listen to his _______ (music/operas/tunes) I forget my troubles and worries of every-day life. His music makes me feel happy.
7) Wolfgang Amadeus Mozart was a prolific and influential _____________ (composer, pianist, conductor) of the Classical era.
8) He was born in ________ (1756, 1856, 1956) in Salzburg to Leo-pold Mozart and Anna-Maria, née Pertl.
9) Mozart showed his ___________(musical, writing, composing) talent from his earliest childhood; he composed music from the age of five and performed before European royalty.
10) Leopold Mozart, a native of Augsburg, Germany, was a minor composer and an experienced teacher. In 1743, he was appointed as fourth violinist in the musical establishment of Count Leopold Anton von Firmian. During the year of his son's birth, Leopold published a _______(violin, guitar, piano) textbook, which _________(achieved/got/had) success.
11) During Mozart's youth, his family made several European journeys in which he and his sister_________(performed, played, acted) as child prodigies.
12) Mozart wrote his first ___________(symphony, book, poem) when he was eight years old.
13) At 17, Mozart was engaged as a ________(musician, lower, doctor) at the Salzburg court, but he decided to find a better position. One of the reasons was his low salary.
14) While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital. During his final years in Vienna, he _________(composed,wrote, played) many of his best-known symphonies, concertos, and operas.
15) Mozart's last year was, until his final illness struck, a time of __________(great, tiny, small) productivity. He composed a great deal, including some of his most admired works, the opera The Magic Flute.
16) Mozart died at the age of 35 in 1791. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.
17) He composed more than 600 works, many acknowledged as __________(pinnacles, tops, peaks) of symphonic, concertante, chamber, operatic, and choral music.
18) Joseph Haydn wrote about Mozart that ‘posterity will not see such a talent again in 100 years’.
LEXICOLOGY: CAN YOU GUESS THE MEANING OF THE WORD?
Языковая догадка может значительно облегчить жизнь каж-дому человеку, изучающему английский язык. Языковой догадкой называется умение человека угадать значение незнакомого слова из контекста, а также умение понять
новое значение уже знакомого слова на основе понимания логики языка. По каким признакам вы сможете догадаться о значении незнакомого слова при переводе текста? Напри-
мер, когда вы встретите незнакомое слово, не смотрите его значение в словаре, а постарайтесь выделить в нем корень, подумайте, знаком ли он вам. Например, слово unforgettable: forget — забывать, приставка un- — отрицание, а суффикс -able указывает на то, что это прилагательное. Таким
способом можно догадаться о значении слова.
При изучении иностранного языка важным является нау-читься понимать незнакомый текст, не прибегая каждый
раз к помощи словаря. Читать текст на английском языке –
не значит переводить каждое слово. Чтобы этому научиться, необходимо развивать компенсационные
умения.
| Что такое компенсационные умения: 1) О значении незнакомого слова можно догадаться по контексту, заголовку, рисункам, схеме. Ваши знания в данной области могут оказать помощь, например, если вы знаете, что церемония вручения кино-премии Оскар переводится, как Academy Award Ceremony, вам будет не трудно догадаться о значении слова ‘award’, которое пере-водится как ‘премия’. 2) Опора на знакомые слова, или умение догадываться о значении незнакомых слов по контексту. Например, в предложении ‘ To be effective as a leader, you must develop skills in strategic thinking. ’, допустим, что слово ‘ skills ’ – вам незнакомо. Однако, понимая значения остальных слов, вы можете догадаться, что предложение переводится ‘Чтобы стать лидером, вы должны воспитать у себя навыки стра-тегического мышления’. 3) Догадка о значении незнакомых слов, созвучных с русскими. В английском языке есть большое количество слов с латинскими и греческими корнями и они понятны без перевода. Например: radio, telephone, computer и т. д. 4) Догадка о значении однокоренных слов. Некоторые слова относятся к разным частям речи, но совпадают по форме, поэтому их нетрудно перевести: limit – предел (сущ.); to limit – ограничивать (гл.) control – контроль (сущ.); to control – управлять(гл.) cause – причина (сущ.); to cause – причинять, являться причиной(гл.) |
| 5) Префиксы и суффиксы слов могут помочь догaдаться о значении слова. Суффикс –er используется в существительном, когда оно касается лица, которое совершает действие, например: writer, painter, shopper, usher. Другие суффиксы помогут определить часть речи: -ment (сущ.) enjoyment, excitement, replacement -ity (сущ.) productivity, possibility -hood (абстрактное сущ., относится к терминам семьи) childhood, motherhood -ship (абстрактное сущ., передающие статус) friendship, membership -al (прилаг.) brutal, legal, (сущ.) refusal, arrival -ful (прилаг.) hopeful, useful -less (наречие) useless, homeless -ify (глагол) purify, terrify 6) В английском языке имеется много заимствованных слов из других языков, о переводе которых нетрудно догадаться: Finland – sauna Italy – piano Norway- fiord Spain – mosquito France – cuisine Greece – dogma Germany – hamburger Russia – sputnik, tzar Sweden – ombudsman Однако не следует забывать о «ложных друзьях перевод-чика», когда слова звучат одинаково, при этом имеют разные значения. |
| 17) Use the knowledge of other basiс English words: explain the meaning of the underlined words |
1. It says on the can that this drink is sugar-free.
2. I find Miranda a very warm-hearted person.
3. I’ve been up to my eyes in work ever since I got back from holiday.
4. We walked a tree-lined street towards the station.
5. There are bullet-proof windows in the bank.
6. Please, don’t tell anybody the information I’ve opened to you,
it’s top-secret.
| 18) Use your knowledge of prefixes and suffixes to say what these phrases mean. |
1) redirect an envelope 6) my ex-boss
2) uncontrollable anger 7) anti-tourist feeling
3) pre-dinner drinks 8) to disconnect the telephone
4) bi-monthly report 9) undelivered letters
5) unnatural behavior 10) non-professional opinion
UNIT 7
SHOULD THEATRE PAY CRITICS TO COME AND REVIEW?
| Task 1 – Изучающее чтение: текст ‘Noises off: should theatre pay critics to come and review? ‘ Task 2 – Ознакомительное чтение ‘An Ideal Husband’ by Oscar Wilde Task 3 – Беседа с преподавателем на тему ‘My favourite playwright’ Грамматика: Idioms connected with praise and criticism/ Идиомы, связанные с похвалой и критикой Лексика: Acronyms and Abbreviations. Акронимы и аббревиатуры |
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 NOISES OFF: SHOULD THEATRE PAY CRITICS TO COME AND REVIEW?
What happens if you cannot get a critic to see your show? Most theatres would probably shrug and move on. However, the new Swiss website ‘Theaterkritik.ch’ thinks it has a different answer. The website plans to fund itself by having smaller theatres take out subscriptions to be reviewed. However, this will not be a matter of buying a favourable opinion. For their money, the subscribing theatre will get two professional critics attending, who will then record a pod-cast discussing the show's merits or otherwise. Are theatres likely to pay the equivalent of £500 and risk being dissed? The site's co-founder Ursina Greuel thinks so. ‘When you have an interest in serious discussion, then it makes you look a serious organization. A well-written slating is always more interesting than a badly written, well-meaning re-view. It's an interesting model, and I'm fascinated to see if it takes off’. Over in Poland, meanwhile, Paul Wodzinski has written an amusingly sarcastic attack on self-assessment forms for E-Teatr. In a piece immodestly entitled ‘The Best Column in the World’, Wodzinski suggests that artists are not perhaps best placed to evaluate their own work. Which is why, of course, we have critics. Yet, over at Mark Shen-ton's blog for the Stage, London's busiest reviewer, is discussing one of the greatest occupational hazards in criticism: expecting too much. As well as intriguingly revealing that he reads other peo-ple's reviews of shows he's going to see himself (many critics avoid doing so), Shenton points out: ‘It's only human to have ex-pectations; even theatre critics can never be entirely blank slates.’ On the importance of keeping an open mind, though, it is worth reading Jake Orr at ‘A Younger Theatre’, who has written about a modern sort of Sunday morning: i-Pad on lap, TED app at the ready. First, he watches a talk by TED's Chris Anderson on web video then picks up on a reference to Australian theatre – and goes on a voyage of theatrical discovery in the process. He con-cludes, ‘I've managed to begin with a video, be influenced by a tweet, directed to a blog, led to a conference and had my opinions questioned 10 times over.’ Time was, we got information about theatre through a newspaper review, poster or word -of-mouth recommendation. No longer. Orr also suggests something else: that the conversati-ons he and other theatre lovers are having, are presumably being echoed across the world. It may provide conso-lation for Pilot theatre's associate director Katie Posner, who has written a short piece about how her research for a forthcoming production saw her ‘becoming immersed in my own world’. She was even ‘star-ting to worry about whether I would articulate my findings’ when she talked things through with her associate artist Tom Bellerby. It sounds obvious, perhaps, but problem solved. I rather like her ‘thought of the week’, which has a pleasing sim-plicity: ‘It is al-ways refreshing,’ she writes, ‘to share ideas and to be challenged by new ones.’ I don’t think critics could or should live in some sort of script-lined vacuum. We attend the same events as those we review, we serve on committees and panel, we live in the same neighborhoods. However, I do not think we have to be honest with ourselves regarding our biases, our entangle-ments, our duty to open ourselves fully to an event and at the same time to give it fair and more distanced consideration. So perhaps we do need a few rules – formal or informal, institutional or personal – to guide us.
Andrew Haydon
The Guardian, 22.09.2011
| 1) Answer the following questions |
1) How does the website Theaterkritik.ch intend to fund itself?
2) What services will the subscribing theatres get from the website
for their money?
3) What is the site's co-founder Ursina Greuel’s point of view?
4) Do you agree that ‘a well-written slating is more interesting than a badly written, well-meaning review’?
5) What did Paul Wodzinski write in a Polish website?
6) What issue is discussed at Mark Shenton's blog?
7) What is the greatest occupational hazard in criticism?
8) How did Jake Orr describe a modern sort of Sunday morning?
9) Do the critics still get the information about the theatre pro-
ductions through a newspaper review or posters?
10) Does Orr also suggest something else? What is it?
11) What did Pilot theatre's associate director Katie Posner write
a short piece about?
12) What did Katie Posner mean writing a short piece about her
research that it ‘becoming immersed in my own world’?
13) Does the author of the article think that the critics should live
in some sort of script-lined vacuum? Do you agree with this
idea?
| 2) Explain the meaning of the key words in theatre criticism in your own words |
| Word | Explanation |
| 1) to be reviewed (about a theatre performance) | |
| 2) professional theatre critic | |
| 3) a favourable opinion | |
| 4) to have risk being dissed | |
| 5) serious discussion | |
| 6) a well-written slating | |
| 7) well-meaning review | |
| 8) to evaluate the performance | |
| 9) occupational hazard in criticism | |
| 10) importance of keeping an open mind | |
| 11) to have an opinion | |
| 12) word-of-a mouth recommendation | |
| 13) to be echoed across the world | |
| 14) research for a forthcoming production | |
| 15) pleasing simplicity |
| 3) Find the following phrasal verbs in the text and them in your own sentences |
1) move on–двигаться вперед
_________________________________________________________
2) take out – приглашать
_________________________________________________________
3) take off -стартовать
_________________________________________________________
4) attack on –критиковать
_________________________________________________________
4) point out – указывать на
_________________________________________________________
5) pick up –узнать, научиться
_________________________________________________________
6) begin with –прежде всего
__________________________________________________________
7) go on – продолжаться
__________________________________________________________
8) to be echoed across – распространиться
___________________________________________________________
9) worry about – волноваться
___________________________________________________________
8) talk through– обсудить
___________________________________________________________
| 4) Find in the text, who has said these statements |
1) ‘When you have an interest in serious discussion, then it makes you look a serious organization. A well-written slating is always
more interesting than a badly written, well-meaning review’.
__________________________
2) ‘It's only human to have expectations; even theatre critics can never be entirely blank slates.’
__________________________
3) ‘I've managed to begin with a video, be influenced by a tweet, directed to a blog, led to a conference and had my opinions questioned 10 times over.’
___________________________
| 5) Compose the sentences with the following pairs of words |
| 1) film festival | take off |
| 2) show | go on |
| 3) scientific research work | talk through |
| 4) gossip about the celebrity’s wedding | be echoed across |
| 5) premier performance | attack on |
| 6) ideas | share |
| 7) event | attend |
GRAMMAR: IDIOMS CONNECTED WITH PRAISE AND CRITICISM
| Idiom is a phrase or expression whose total meaning differs from the meaning of the individual words. For example, to blow one's top (get angry) and behind the eight ball (in trouble) are English language idioms. They generally cannot be translated literally (word for word). Foreign language students must learn them just as they would learn vocabulary words. IDIOMS CONNECTED WITH CRITICISM: 1) butter smb up – льстить, умасливать It is hard to get published if you cannot butter up the right people. Если не умаслишь нужных людей, тебя не напечатают. 2) want jam on it – быть недовольным, требовать большего They have given him a holiday in Italy. What more does he want - jam on it? Они устроили ему отдых в Италии. Что он еще хочет? 3) dog’s breakfast – провал, неудача, фиаско, поражение I am sorry; the essay of yours is a dog’s breakfast. Извини, но твой рассказ неудачен. 4) to be the world’s worst – быть самым худшим I am the world’s worst actress! Какая из меня актриса! 5 ) eat a cake and have it – совместить несовместимое You can either spend your money on your trip or save it for a pay-ment on a house, but you can t do both. That would be having your cake and eating it. |
| 6) make a meal out of everything – преувеличивать Why do you have to make a meal of everything? Почему ты все время преувеличиваешь? Idiomatic synonyms of the verb to ctiticize: 1) You shouldn’t run down your own country when you ‘re abroad. 2) Why do you always have to pick holes in everything I say? IDIOMS CONNECTED WITH PRAISE: 1) to be a dab-hand atsomething – быть экспертом в чем-то He has a dab hand at cooking. Он эксперт в кулинарии. 2) to have a heart of gold – иметь золотое сердце Our grandmother has a heart of gold. У нашей бабушки золотое сердце. 3) to have green gingers – быть хорошим садоводом Sandra has a really green fingers, look at these flowers. У Сандры талант садовода, посмотри на эти цветы. 4) to be head and shoulders above – быть лучшим Mary is head and shoulders above the other students in our class. Мэри лучше других студентов в нашем классе. 5) to have a way with- уметь ладить My brother has a way with children. Мой брат умеет ладить с детьми. 6) to have a good head for figures - хорошо знать математику I’m sorry but I don’t have a good head for figures. Извини, но я не умею считать. 7) to have a gift of the gab – обладать красноречием Politicians need to have a gift of the gab. Политики должны обладать красноречием. |
| 6) Rewrite the sentences without changing the meaning, using the proper idioms |
1) The hotel we were staying was far from the sea and room service was very bad.
2) Tony plays chess better than the rest in his class.
3) I am sorry but we have to admit that the premier performance was a failure.
4) He is a capable manager.
5) He is an expert at theatre criticism.
6) Don’t take his words seriously; he just oils your tongue.
7) You should not criticize your country when you are travelling abroad.
8) He is a fluent, forcible, elegant or persuasive speaker.
| 7) Which idiom is the most suitable for the following expressions |
1) praising someone’s speaking skills
2) saying someone that he has won the competition
3) saying someone that he has a failure
4) saying someone that he is not the best singer
5) saying someone that he is a very professional theatre critic
TASK# 2
Прочитать и пересказать тексты ‘Are critics …critical?’, ‘An Ideal Husband’ by Oscar Wilde’. (На экзамене кандидатского минимума аспирантам (соискателям) будет предложен текст объемом не менее 1000 печатных знаков) На выполнение подобного задания на экзамене отводится 10-12 минут.
TEXT# 2 ARE THEATRE CRITICS
CRITICAL?
________________________________
The actors complain about cri-tics. Why do so many reviews, they ask, just summarize the plot and not give an opinion? Later the actors complain that a critic’s opinion in a review upset a friend of his who had spent ‘three months of her life’ dedicated to the show. At some point in their lives, theatremakers develop hostility towards theatre critics.’
All of this seemed to illustrate an observation they made in the in-troduction: Should anybody care about theatre critics? ‘I believe the trade of critic, in literature, music, and drama, is the most de-graded of all trades, and has no real value,’ Mark Twain wrote in an autobiography that was published only recently, a century
after his death. ‘However, let it go. It is the will of God that we must have critics and missionaries and Congressmen and humo-rists. We must bear the burden.’
For several years now, the state of theatre critics and criticism has become a popular subject of think pieces, panels, blog posts, and conversations on Twitter. It heated up recently with the attention paid to the negative depiction of a critic in the film Birdman.
On the night it won four Oscars, including Best Picture, J. Kelly Nestruck, the chief theatre critic for The Globe and Mail in Toronto, Tweeted: ‘All theatre critics lost tonight when Birdman triumphed, but at least I won my Oscar pool.’
Many theatre professionals have learned to accept the negative review as ‘a part of the job,’ if not accept, at least ignore. When an American actor Charles Durning was starting out as an actor, somebody told him ‘The only people you have to please are the producer and director and yourself. If you think you have to please a critic, you shouldn’t be in the business.’
However, how much power do critics really have over a show? There is another point of view that states that critics can spotlight talent, add momentum, move the needle a bit. They have tremendous impact.
| 8) Answer the following questions |
1) What do some actors think about the critics?
2) What did Mark Twain write about critics in his autobiography?
3) What review did the critics give to film ‘Birdman’?
4) What did J. Kelly Nestruck, the chief theatre critic for The Globe
and Mail in Toronto Tweet after ‘Birdman’ won the Best Picture
award?
5) What have many theatre professionals learned to accept about
critics reviews?
6) What did somebody tell American actor Charles Durning about
critics when he was starting out as an actor?
7) What is another point of view about critics?
| 9) Complete the sentences from the text |
1) Why do not some reviews ________________________________.
2) Some actors complain that _______________________________.
3) Mark Twain wrote in an autobiography that________________.
4) The state of theatre critics and criticism heated up ___________
__________________________________________________________
5) Many theatre professionals have learned ___________________
6) At the beginning of his acting career American actor Charles
Durning _______________________________________________.
| 10) 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 that_______________________________________________________
6) I have read the text with great interest ______________________
‘TEXT# 2A AN IDEAL HUSBAND BY OSCAR WILDE
___________________________________________
The Cambridge companion to Oscar Wilde Pe-ter Raby wrote about Oscar Wilde’s social co-medies that they were well pitched. ‘Wilde, with one eye on the dramatic genius of Ibsen, and the other on the commercial competition in London's West End, targeted his audience with adroit precision’. ‘ An Ideal Husband’ is an 1895 comedic stage play by Oscar Wilde, which revolves around blackmail and poli-tical corruption, and touches on the themes of public and private honour.
In the summer of 1893, Oscar Wilde began writing the play and he completed it later that winter. At this point in his career, he was accustomed to success, and in writing ‘ An Ideal Husband’, he wanted to have public fame. His work began at Goring-on-Thames, after which he named the character Lord Goring. First, he sent the completed play to the Garrick theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre. The play gave the Haymarket the success it desperately needed. After opening on January 1895, it continued for 124 performances. The play proved extremely popular in its original run, lasting over a hundred performances. Critics also wrote very good reviews to the play. George Bernard Shaw praised the play saying ‘Mr. Wilde is to me our only thorough Playwright. He plays with everything; with wit, with philosophy, with drama, with actors and audience, with the whole theatre.’
In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. The play was published in 1899, although Wilde was not listed as the aut
