Text 2.
Exercise 1. Read text 2 and answer the questions given after it.
Is the opera in decline?
This question was extensively discussed at a seminar sponsored by the UNESCO International Institute of Theatre and attended by prominent composers, choreographers, stage directors, conductors and opera theatre managers from many countries.
Many of them spoke about the crisis which the opera in the West was experiencing. Audiences have lost interest, and theatres are unwilling to produce new operas. To see his opera staged is but a dream for a great many modern composers.
Boris Pokrovsky, chief stage director of the Bolshoi Theatre in Moscow, maintains that mankind has so far utilized only a fraction of the great possibilities offered by operatic art. "I am firmly convinced," he said, "of its great future."
Pokrovsky and his numerous pupils prove this on the stage of the Moscow Chamber Musical Theatre, which has become a sort of experimental laboratory of opera. The nucleus of the theatre company is formed by young graduates of the State Institute of Theatrical Art in Moscow. Pokrovsky himself has become the artistic director of the new theatre (parallel with his main post at the Bolshoi).
The young company has set itself the task of developing the genre of "smaller opera", practically unknown in Russia, using new stagecraft devices capable of enriching "big opera", as well.
Everything is unusual in this theatre: a small hall seating only 220, no orchestra pit, no customary division of the company into soloists and chorus. Those taking leading roles today can be found in mass scenes tomorrow. Quite often, the orchestra is involved in the action. The theatre is based on the "singing actor" principle: in other words, an opera singer should also be a good actor.
The Chamber Musical Theatre has revived many works long since forgotten. It has staged unfamiliar operas by Mozart, Haydn, Schubert and Rossini. Several 18th century Russian operas were revived, too. But the outstanding event in the short history of the theatre was its contact with the famous composer of our time, Dmitri Shostakovich, who took an active part in the production of his opera "The Nose", which he had written in his youth after the novel of the same title by Gogol. The production was extremely original in design and execution, "prickly sarcastic", with unexpected turns and ingenious devices. For example, each performer played several roles, which was also part of Gogol's conventionality. "The Nose" was a great success at the International "Warsaw Spring" Festival in 1976. Recently the Charles Cros Academy in France awarded its Grand Prix to the recording of this opera by the Moscow company.
All of this shows that the opera in Russia is far from being in decline but looks for new original forms and ingenious devices.
Exercise 2. Answer the following questions.
1. Which question was discussed at a UNESCO International Institute of Theatre seminar?
2. Which crises is the opera in the west experiencing?
3. What is Boris Pokrovsky?
4. Who is the nucleus of the Moscow Chamber Musical Theatre formed of?
5. What is so unusual about this theatre?
6. Name the composers whose operas were staged by Chamber Musical Theatre.
7. Who did Boris Pokrovsky have contact with?
8. Did you read the novel “The Nose” by Gogol?
9. So, do you agree that the opera in Russia is in decline?
10. What does it look for?
Text 3
Exercise 1. Read and translate the dialogues
Names: Mozart ['mo:tsa:t] Моцарт
Haydn[ haidn] Гайдн
Rossini [ra'sini ] Россини
Houston ['hju:stn] г. Хьюстон
Texas ['teksәs] штат Техас
Alfred Leathers Альфред Летерс
Martin Cheveril Мартин Чиврил
Seward Сьюард
Notes: 1. the Moscow Chamber ['t∫eimbә] Musical Theatre Московский камерный музыкальный театр
2. smaller opera малая (камерная) опера
3. "Play-house Director" «Директор театра»
4. "Apothecary" «Аптекарь»
5. "Marriage Bill" «Брачный вексель»
6. the French Charles Cros Academy — академия названа
по имени известного французского поэта Шарля Кроса (1842—1888)
7. Grand Prix «Гран при» (Большая премия, Главная премия), высшая награда на фестивале, конкурсе и т. п.
8. "The Echelon" «Эшелон»
9. I've had it. С меня достаточно, (театра)
10. We might as well admit it и мы могли бы также признать это
11. Sir Henry Irving (1838—1905) сэр Генри Ирвинг, английский актер
12. Ellen Terry (1847—1928) Эллен Терри, английская актриса
13. Sir Herbert Tree (1853—1917) сэр Герберт Три, английский актер
A. BOOKING SEATS FOR THE THEATRE.
Peter Nikolaev: Have you got two seats for tomorrow's performance?
Booking clerk: The first or second performance?
Peter: I usually prefer the second.
Booking clerk: I've got a few stalls and two circle seats.
Peter: How much are the seats in the circle?
B. clerk: Two and a half pounds each. I'll show you where they are on the plan. Here they are in the middle of the second row.
Peter: I'll take those. What time does the second performance begin?
B. clerk: Eight — fifteen, sir.
B. TALK ABOUT THE THEATRE.
1. Diana Andrews: I know you're an admirer of opera, Anna. Last night I heard on the radio that the Moscow Chamber Musical Theatre was starting its new theatrical season. I've never heard of this theatre. Could you tell me about it?
Anna Fyodorova: Though it existed for quite a time, most theatre-goers still call it "the new opera theatre". It was set up for the purpose of developing the genre of "smaller opera".
Diana: What operas does the theatre stage?
Anna: Both classical and modern. Its repertoire includes over 15 productions, "Play-house Director" by Mozart, "Apothecary" by Haydn and "Marriage Bill" by Rossini, to name only a few
Diana: Did the theatre produce any operas by Russian composers?
Anna: Yes, I think three or four operas were staged. The first was "The Nose" by Dmitri Shostakovich. The composer himself took an active part in its production. The opera has always been a tremendous success with the public. A few years ago the French Charles Cros Academy awarded Grand Prix to the recording of this opera by this company.
Diana: Did you happen to see it?
Anna: Yes, and I enjoyed every minute of it.
Diana: I'd like to see a few operas at this theatre. Is it possible to book seats?
Anna: I'd say it's next to impossible. The theatre is small, it seats only 220 people. I suppose it's already been sold out. I'll try to help you. A friend of mine is an actor at this theatre. I'll ask him to get seats for you.
Diana: Thank you very much. It's very kind of you.
2. John Spencer: I saw Roschin's play "The Echelon" at the Sovremennik Theatre yesterday.
Michael Vetrov: How did you like it?
John: It impressed me greatly. It's a story of the World War II days, the tale of those who survived when survival seemed impossible.
Michael: I saw the play at the Art Theatre and I liked it very much, too.
John: By the way Roschin's play was staged in the USA. It was the first production by a Russian producer — Galina Volchek was invited to stage it in Houston, Texas.
John: As far as I know it was a great success.
C. THE BRITISH THEATRE IS DYING.
A conversation between Alfred Leathers, an old actor, and Martin Cheveril, a playwright and producer.
Alfred: Martin, my boy, I've been acting too long and — as the youngsters are to say — I've had it.
Martin: Nonsense, Alfred.
Alfred: No, no. Mean what I say. In fact the Theatre's had it. The Theatre's finished and we might as well admit it.
Martin: It was different when you were young, of course — eh?
Alfred: Different? I should think it was.
Martin: You've seen some great nights in the Theatre, I imagine, Alfred—eh? (It is like a prompt.)
Alfred: I have, Martin. Great nights. And they'll never come again. Don't forget that in my time I've played with Irving, Ellen Terry and Tree.
Martin: Great names, Alfred.
Alfred: Ah — but the Theatre was the Theatre in those days, Martin. It was all the public had, and so we all did our best with it. None of your films and radio and television and the rest of them then. It was the Theatre — and the Theatre as it ought to be.
Martin: The Theatre's dying — though it may last out our time.
Alfred: Yes, thank God. But I don't give it much longer.
Martin (smiles at him): Well, you see, Alfred, I know that speech about the dying Theatre. I've heard it before.
Alfred: Exactly. And everything goes to prove.
Martin: That you're an elderly actor, Alfred, and that the Theatre's dying for you. It's always been dying for the old hands. And it's always been born again for the new ones. And that's not its weakness — that's its strength. It lives — really lives and not merely exists, but lives as humanity lives — just because it's for ever dying and being born, because it's always renewing its life.
Alfred (not convinced): Now wait. It's dying for me, we'll say but who is it being born for?
(The door opens and Otley comes in.)
Otley: Miss Seward's here.
Martin (to Otley): Send her in. (To Alfred) Your answer's here.
Exercise 2. Find in the dialogues English equivalents for these word combinations and sentences
1. имеется несколько мест в партере. 2. в середине второго ряда. 3. начинается новый театральный сезон. 4. Композитор сам принимал активное участие в ее постановке. 5. Я бы сказала, что это почти невозможно. 6. когда спасение казалось невозможным. 7. Насколько я знаю он (спектакль) имел большой успех. 8. Как вы объясните успех пьес на производственную тему? 9. вопросы, которые поднимают пьесы. 10. Современный человек проводит много времени на работе. 11. Не забывайте, что в мое время я играл с... 12. и всего прочего. 13. и в этом не слабость, а сила театра.
Exercise 3. Quote the sentences in which these words and word combinations are used in the dialogues and translate them.
circle seats, a theatre-goer, to set up, classical, repertoire, to seat, to sell out, to seem, to stage, success, to account for, to take up, activities, to admit, to forget, the rest of, to prove, humanity, to convince
Exercise 4. Make the necessary substitutions and reproduce the dialogues.
1. A: Have you got two seats for tomorrow's performance?
B. clerk: I've got a few stalls and two circle seats.
(A: tonight's performance, the matinee; B.C.: two, four; three, six)
2. A: Where are the seats.?
В. clerk: They're in the middle of the third row
(B: clerk: fourth, seventh, eighth)
3. A: What plays does the theatre stage?
B: Both classical and modern.
(A: operas, ballets)
4. A: For what purpose was the new theatre set up?
B: For the purpose of producing plays by modern playwrights.
(B: operas, composers; ballets, composers)
5. A: How did the British audience like the performance?
B: As far as I know it was a great success.
(A: American, French, Canadian)
Exercise 5. What would you say if you took part in these dialogues? Dramatize them.
1. A: Have you got two seats for the evening performance?
B. clerk: ...
A: In what row are the stalls?*
B. clerk: ...
A: How much are they?
B. clerk: ...
A: All right, I'll take them.
B. clerk: ...
Note: В английских театрах нумерация рядов в партере идет по буквам алфавита А (1), В (2), С (3) и т. д.
2. A: I know you're an admirer of ballet, Mary. Could you tell me about the new productions at the Bolshoi Theatre?
M: ...
A: Did you happen to see any of them?
M: ...
A: Is it difficult to book seats?
M: ...
A: Thank you. It's very kind of you.
3. A: I saw "Fairy tales Fantasies" at the Sovremennik Theatre last week.
B: ...
A: It impressed me greatly. This is a play about young people. The main character, Faryatyev is a very kind man dreaming* of cosmic contacts.
B: ...
Note: dream (dreamt [dremt]) мечтать
4. A: Did you see "The Echelon" at the Art Theatre?
B: ...
A: How did you like the performance?
B: ...
A: Do you know that the play was staged in Houston,
the USA?
B: ...
5. A: Could you believe if somebody told you that the
theatre was dying?
B: ... A: Can we say that the theatre is always renewing its
life?
B: ...
6. A: In my opinion the theatre is always dying for
some of the old actors who lose touch with reality. Do you agree with me?
B: ...
Note: to lose touch [t/\t∫] with smth., smb. терять связь с чём-л., кем-л
Exercise 6. Act as an interpreter.
Jenny Shaw: I would have never believed it was possible to stage a ballet based on Dostoevsky's "Idiot" if I hadn't seen it myself.
Зоя Чурилова: Вы имеете в виду балет, который поставил Петербургский балетный ансамбль (ensemble [a:n'sa:mbl])?
Jenny: Yes. It was a marvelous performance. I hadn't enjoyed myself so much for a long time. Tchaikovsky's Sixth Symphony perfectly suits the ballet. The dancers are wonderful. Have you seen this ballet?
Зоя: Да. Я видела его в прошлом году и получила огромное удовольствие. Кстати, этот ансамбль был создан не так давно.
Jenny: Unbelievable! As far as I know there are several ballet theatres in Moscow and St. Petersburg and now there appeared this ensemble. For what purpose was it set up?
Зоя: Я читала о том, что основатели (founder) театра решили использовать камерную музыку для постановки балетных спектаклей. Репертуар ансамбля в основном включает одноактные балеты.
Jenny: I suppose one can speak of a new trend in your opera and ballet. In Moscow you have the Chamber Musical Theatre, as to St. Petersburg Ballet Ensemble you may call it the Chamber Ballet Theatre.
Зоя: Я бы не назвала это «тенденцией». По-моему, это объясняется желанием постановщиков, музыкантов, певцов, танцовщиков и зрителей расширить (to broaden) жанры оперы и балета.
Jenny: That sounds very interesting. I must say there's a lot to learn and see in your country for an admirer of opera and ballet.
Зоя: Да, очень много интересного. Я бы также посоветовала вам сходить в Детский музыкальный театр. Если я не ошибаюсь, это единственный в мире музыкальный театр для детей.
Jenny: What does it stage?
Зоя: Оперы и музыкальные спектакли. Его постановки пользуются огромным успехом. Билеты достать почти невозможно.
Jenny: Thank you for the advice. I'll try my best to get tickets there.
Exercise 7. Translate into English.
1. — Есть ли у вас места в партере на завтрашний вечерний спектакль?
— Есть только два места в десятом ряду.
— Сколько они стоят?
— По два рубля каждый.
— Я возьму их. Вот деньги.
— Вот билеты и сдача.
2. — Как летит время. (Time flies.) Мы все считали Кукольный театр Образцова молодым, нам казалось, что он недавно организован, а он уже отпраздновал свой пятидесятилетний юбилей.
— Это и мой любимый театр. Думаю, что это единственный кукольный театр в мире, который пользуется популярностью как у детей, так и у взрослых
— Да, вы правы. И на детские, и на взрослые спектакли почти невозможно достать билеты.
— Мой любимый спектакль — «Необыкновенный концерт». Должен сказать, что этот спектакль пользуется успехом во всех странах мира.
3. — Чем объясняется популярность пьес Чехова во всем мире?
— По-моему, тем, что Чехов поднимает общечеловеческие проблемы, которые интересуют всех людей
— Какие пьесы Чехова вам больше всего нравятся?
— «Дядя Ваня» и «Чайка».
4. - Я только что просмотрел театральную афишу ( playbill ) и увидел, что во многих театрах идут пьесы зарубежных авторов.
— Русский театр всегда ставил пьесы зарубежных драматургов, как классиков, так и современных.
— Кто из современных американских драматургов пользуется наибольшей популярностью?
— По-моему, Тенесси Уильямc (Tennessee ['tenәsi] Williams). Его пьеса «Трамвай-желание» ("А Streetcar Named Desire") пользовалась большим успехом в течение ряда лет.
Exercise 8. Make up dialogues based on this picture.
Text 4
THE ARTS IN BRITAIN.
Exercise 1. Read the text and do the exercises.
Notes: flourish - преуспевать
Edinburgh International Festival – Международный Эдинбургский фестиваль (ежегодный музыкальный и театральный фестиваль в г.Эдинбурге в августе – сентябре . Проводится с 1947г.)
Aldeburgh – Олдборо (город в графстве Суффолк; место проведения ежегодных музыкальных фестивалей. Первый состоялся по инициативе композитора Бенджамина Бриттена в 1948г.)
Windsor –Виндзор, ( место загородной резиденции английских королей)
Cheltenham – Челтнем (город в графстве Глостершир, где проводится ежегодный фестиваль современной английской музыки)
Glyndebourne – Глайндборн (имение близ г.Льюиса в графстве Суссекс, где проводится ежегодный оперный фестиваль)
Arts Council – Совет по искусствам.
distribute – распределять, раздавать.
encourage – поддерживать, поощрять.
exert – оказывать давление, влиять.
diversity – многообразие, разнообразие.
The arts in Britain are flourishing, and present a varied and lively picture. London has become an international forum of the arts, with major exhibitions of painting and sculpture and theatre, opera and ballet companies and orchestras drawing large audiences. Throughout Britain there are festivals and centers of artistic activity — among them are the Edinburgh International Festival 2, the music festivals at Aldeburgh 3, Windsor 4 and Cheltenham 5 and opera at Glyndebourne 6.
The spread of musical interest in Britain owes much to the British Broadcasting Corporation with its daily music programme and its partial financing of the Promenade Concerts at the Royal Albert Hall, London.
There are over 900 museums and art galleries in Britain and art exhibitions are shown all over the country through the Arts Council 7, which distributes 8 government grants for music, drama, painting and sculpture. Local authorities play an important part in encouraging 9 the arts, supporting galleries, orchestras and arts centers – an example is the ambitious Midlands Art Centre for young people in Birmingham.
British artists, writers, musicians and architects exert 10 a powerful influence abroad. Notable figures include sculptors Henry Moore and Anthony Caro, painters Francis Bacon and Graham Sutherland and, among younger artists, Richard Smith, winner of a major international prize in 1967, Richard Hamilton, who painted the first "pop" picture, and Bridget Riley, internationally known artist whose work has also inspired fashion.
British music owes much to the composer Benjamin Britten, whose influence has produced a new school of British opera. In architecture the work of Sir Basil Spence (Coventry Cathedral, Sussex University) and the collective work of modern British architects in housing and town planning are outstanding.
Literature presents great diversity. Poetry has received fresh stimulus from regional movements including the Liverpool poets, who write for public performance. Among novelists of worldwide reputation are Graham Greene, Angus Wilson, William Golding, Iris Murdoch and Muriel Spark.
Exercise 2. Answer the questions.
A
1. What kinds of artistic activity do we mean when speaking about the arts in Britain?
2. What music festivals take place in Britain? What role does the BBC play in the development of musical interests in Britain?
3. What does the Arts Council do to encourage the arts in Britain? Can you give any examples?
4. What names of contemporary British novelists, composers and other people of arts do you know?
Exercise 3.
You came across some names of British sculptors, painters, artists in the text. Do you know any names of Britain's famous writers, poets, musicians, actors and singers?
Text 5
Exercise 1. There are 900 museums and art galleries in Britain. Do you know the number of museums in your republic (region, district, town)? Do you often go to museums? What kind of museums do you prefer?
Exercise 2. Read about one of Russian picture galleries and be ready to answer the questions.