из электронной библиотеки / 376456709112972.pdf

2.Choose five of them and translate into Russian.

3.Study the repertory of Yekaterinburg theatres. Write 3 recommendations to make British tourists visiting the city get interested.

Edinburgh Festival 2009: Theatre recommendations

(The best plays to see at this year's Edinburgh Festival)

Optimism

Voltaire‘s Candide gets an Australian makeover in this adaptation by Tom Wright. It has, apparently, become ―a cutting-edge commentary on the no-worries bravura of the Australian swagger‖ with Aussie comedian Frank Woodley leading a bunch of clowns on a road trip across five continents. Royal Lyceum Theatre, Aug 15-17.

The Last Witch

Rona Munro‘s new play is based on the story of Janet Horne, the last woman to be executed for witchcraft in Scotland after being accused of making a pact with the devil. The piece has been especially commissioned for the festival in collaboration with the Traverse Theatre; it explores the destructive power of fear in small communities. Royal Lyceum Theatre, Aug 23-29.

Peter and Wendy

New York‘s Mabou Mines company, which famously staged Ibsen‘s A Doll‘s House in a doll‘s house, has come up with this radical new version of J.M. Barrie‘s Peter Pan in which a single performer is joined by seven puppeteers and an onstage band to bring this much-loved tale to life. Royal Lyceum Theatre, Sept 2-5.

A-Team: The Musical

In 1972, a crack commando unit was sent to prison… you probably know the rest. Who knows what on earth this will be like, but the prospect of seeing Hannibal, Face, Murdock and B.A. Baracus burst into song in between crafting killer weapons out of squeezy-bottles and stickyback plastic is an intriguing one. Gilded Balloon Wine Bar (0131 622 6552), Aug 5-31.

A British Subject

New play, based on interviews with Mirza Tahir Hussain, who was imprisoned for 18 years in Pakistan, under threat of the death penalty, for the alleged murder of a taxi driver. Nichola McAuliffe stars. Pleasance Courtyard, Aug 5-30.

Forest Fringe

One of the most buzzing areas of the Fringe – a festival of experimental work, offered on a paynothing or pay-what-you-can basis; companies include Improbable Theatre and Rotozaza. Forest Fringe, Aug 17-29.

SURF THE NET

Study the interviews with actors. What questions predominate? Are the answers to the same questions similar?

Is it true that a lot of actors are often on the drink or commit suicides?

They say actresses are frivolous, have many admirers and seldom get married or get married several times. Do you agree or disagree with the idea? Illustrate you view

TASKS FOR INDEPENDENT WORK

1. Do the quizzes.

QUIZ 1

Give a synonym: to visit the theatre, drama critic, company, the RADA, the RSC, cast, to produce, new production, to play the female lead.

Give an antonym: the main part.

Use in the sentence:to run, to stage, walking-on part, acting, show, an all-star cast.

Translate into English: репертуар, драматический государственный театр, быть в репертуаре, художественный руководитель, продюсер, директор, дирекция, утренний спектакль, фокусы, главная мужская роль, коммерческий театр, прогон, Театр Эстрады, ТЮЗ, роль.

Translate into Russian: theatre, theatre party, the Taganka Theatre, performance, compere, auditions.

QUIZ 2

Give a synonym: designer, historical play, ALL TICKETS SOLD, balcony, to insinuate oneself into a part.

Give an antonym: back stalls.

Use in the sentence: to look the part, appreciative audience, footlights, puppet theatre, an usher, Honoured Artist.

Translate into English: Народный артист, суфлерская будка, декорации, драматург, выходить на бис, дебютировать, бельэтаж, бинокль, антракт, оркестровая яма, свет гасят, заслуженный деятель искусств.

Translate into Russian: star, lightning, straight play.

2. Check yourself for the vocabulary. Find the Russian equivalents for the following English words and word combinations.

1.a subsidized theatre a) частный театр,

b) экспериментальный театр, c) государственный театр,

d) коммерческий театр.

2.auditions

a) акустика, b) пробы,

c) репетиции,

d) зрительный зал.

3. cast

a) состав актеров, b) труппа актеров, c) список актеров, d) постановка.

4. management

a) художественный совет,

b) распространитель билетов, c) дирекция театра,

d) касса.

5.performance a) режиссер, b) постановка, c) спектакль, d) премьера.

6.a walking-on part

a) участие в массовке, b) движение по сцене,

c) выдающееся исполнение, d) роль без слов.

7.to look the part a) искать роль,

b) искать актера на роль,

c) подходить для роли по внешним данным, d) увидеть … в роли.

8.stage – designer

a) театральный художник, b) режиссер,

c) рабочий сцены, d) декорация.

9. house full

a) ремонт театра закончен, b) представление началось, c) вход воспрещен,

d) все билеты проданы.

10.dress circle a) бельетаж, b) гримерная, c) партер,

d) гардероб.

11.stage door a) вход,

b) дверь на сцену,

c) служебный вход, d) выход со сцены.

12. a standing ticket a) постоянный билет, b) входной билет,

c) приглашение,

d) заказанный билет.

13. flop

a)успех,

b)отзыв,

c)провал,

d)критика.

3. Single out Moscow and St. Petersburg `s theatres from the list below.

The Theatre of Young Spectators

The Puppet Theatre

The Musical Comedy Theatre

The Moscow Art theatre

The Alexandrinsky Drama Theatre

The Mariinsky Opera and Ballet Theatre

The Sovremennik Theatre

The Tovstonogov Drama Theatre

The Maly Theatre

The Satire Theatre

Russian Private Theatre Concern named after Andrey Mironov

The Taganka Theatre

State Academic Drama Lensovet Theatre

Theatre on Liteiny

Do you know any other Moscow or St. Petersburg‟s theatres?

Present any theatre (Russian. foreign, local) according to the following plan:

The official name of the chosen theatre + the type of the theatre (subsidized or commercial)

The history of the chosen theatre

The emblem of the theatre

The theatre company (the director, the actors, their honours and awards)

The types and list of performances run at the theatre

The zest of the chosen theatre

4.Questions for the round-table:

1.What are the main problems of modern Russian theatre?

2.What is the place of a repertory theatre in Russian theatre?

3.What are the organizations that help Russian theatre to survive?

4.What is the place of the theatre in our society? Is it the type of culture or just a kind of service?

5. Theater and education. How could they interact?

ПРОФЕССИОНАЛЬНО-ОРИЕНТИРОВАННЫЕ ТЕКСТЫ ДЛЯ ЧТЕНИЯ И ЛИТЕРАТУРНОГО ПЕРЕВОДА

HISTORICAL PAST OF THE THEATRE

The history of theatre arts can be dated back to as early as the expression of ancient Greek. Since then the various eras witnessed changes in the types of theatre stages, which affected the actors and also gave rise to different forms of acting.

The word ―THEATRE‖ comes from a Greek word ―theatron‖ meaning a place for seeing. In this case the word refers to the space where performances staged. However in a broad sense, theatre includes everything that is involved in production, such as the script, the stage, the performing company, and the audience.

In addition, theatre refers to a part of human culture that began in ancient times.

Theatre emerged from myth, ritual, and ceremony. Early societies perceived connections between certain actions performed by the group or leaders in the group and the desired results of the whole society. These actions moved from habit, to tradition, and then on to ceremony and ritual. The formulation of these actions, and the consequent repetition and rehearsal, broke the ground for theatre.

According to the mythologist Joseph Campbell, rituals are related to three basic concerns: pleasure, power, and duty. Power influencing and controlling events were often the intention of rituals such as ceremonies to guarantee a successful crop or to please the gods. Usually societies had rituals that glorified supernatural powers, victories, and heroes. Often supernatural forms would be represented using costumes and masks. Rituals that were practiced as duty to the gods also brought entertainment and pleasure.

These rituals are accompanied by myths. The myths enter the storytelling tradition, gaining a life beyond the original rites. This new life allows the myths to move towards entertainment and the esthetic. These stories now are performed for their own sake and move towards theatre.

Through these rituals, leaders, or actors of sorts, emerged. These acting leadership roles were often filled by elders and priests. In addition, the beginnings of acting spaces or auditoriums developed as a result of more elaborate rituals.

V. Answer the questions

1.What country can the history of theatre arts be dated back to?

2.What is the origin of the word ―THEATRE‖, what does it mean?

3.What does the theatre include in a broad sense of its meaning?

4.Theatre refers to a part of human culture that began in ancient times? doesn‘t it?

5.Did theatre emerge from myth, ritual, and ceremony?

6.What basic concerns are rituals related?

7.What rituals are accompanied by myths?

8.Where did the earliest example of ceremony and ritual come from?

9.What was the most important Egyptian drama?

10. What was is the first example of theatre?

TRANSITION AND EARLY MEDIEVAL THEATRE, 500–1050

As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Eastern Roman Empire, today called the Byzantine Empire. While surviving evidence about Byzantine theatre is slight, existing records show that mime, pantomime, scenes or recitations from tragedies and comedies, dances, and other entertainments were very popular. Constantinople had two theatres that were in use as late as the 5th century CE. However, the true importance of the Byzantines in theatrical history is their preservation of many classical Greek texts and the compilation of a massive encyclopedia called the Suda, from which is derived a large amount of contemporary information on Greek theatre.

From the 5th century, Western Europe was plunged into a period of general disorder that lasted (with a brief period of stability under the Carolingian Empire in the 9th century) until the 10th century. As such, most organized theatrical activities disappeared in Western Europe. While it seems that small nomadic bands traveled around Europe throughout the period, performing wherever they could find an audience, there is no evidence that they produced anything but crude scenes.

These performers were denounced by the Church during the Dark Ages as they were viewed as dangerous and pagan.

Hrosvitha (c.935–973), a canoness in northern Germany, wrote six plays modeled on Terence's comedies but using religious subjects. These six plays – Abraham, Callimachus, Dulcitius, Gallicanus, Paphnutius, and Sapientia – are the first known plays composed by a female dramatist and the first identifiable Western dramatic works of the post-classical era. They were first published in 1501 and had considerable influence on religious and didactic plays of the sixteenth century. Hrosvitha was followed by Hildegard of Bingen (d. 1179), a Benedictine abbess, who wrote a Latinmusical drama called OrdoVirtutum in 1155.

I. Fill in the blanks, using the information from the text.

1.From the 5th century, Western Europe was plunged into a period of _______

2.Constantinople had ________that were in use as late as the 5th century CE.

3.These _______ were denounced by the Church during the Dark Ages.

4.As such, most organized _____ disappeared in Western Europe.

5.The true importance of the Byzantines in _____ is their preservation of many classical Greek texts.

6.Churches in Europe began staging ________ of particular biblical events.

7.Hrosvitha (c.935–973) wrote _______ modeled on Terence's comedies.

8.Benedictineabbess wrote a Latin ________called OrdoVirtutum in 1155.

II.Answer the questions

1.What entertainments were popular in Byzantine theatre?

2.How many theatres did Constantinople have?

3.What was the true importance of the Byzantines in theatrical history?

4.Did organized theatrical activities still exist in Western Europe at that period?

5.What entertainments besides theatres traveled around Europe throughout the period?

6.When did churches in Europe began staging dramatized versions of particular biblical events?

7.What did Liturgical drama look like?

8.What do you know about Hrosvitha and her plays?

GOLDEN AGE THEATRE

During its Golden Age, roughly from 1590 to 1681, Spain saw a monumental increase in the production of live theatre as well as the in importance of theatre within Spanish society. It was an accessible art form for all participants in Renaissance Spain, being both highly sponsored by the aristocratic class and highly attended by the lower classes. The volume and variety of Spanish plays during the Golden Age was unprecedented in the history of world theatre, surpassing, for example, the dramatic production of the English Renaissance by a factor of at least four. Although this volume has been as much a source of criticism as praise for Spanish Golden Age theatre, for emphasizing quantity before quality, a large number of the 10,000 to 30,000 plays of this period are still considered masterpieces.

Major artists of the period included Lope de Vega, a contemporary of Shakespeare, often, and contemporaneously, seen his parallel for the Spanish stage, and Calderon de la Barca, inventor of the zarzuela and Lope's successor as the preeminent Spanish dramatist. Gil Vicente, Lope de Rueda, and Juan del Encina helped to establish the foundations of Spanish theatre in the mid-sixteenth centuries, while Francisco de Rojas Zorrilla and Tirso de Molina made significant contributions in the later half of the Golden Age. Important performers included Lope de Rueda (previously mentioned among the playwrights) and later Juan Rana.

The sources of influence for the emerging national theatre of Spain were as diverse as the theatre that nation ended up producing. Storytelling traditions originating in Italian Commedia dell'arte and the uniquely Spanish expression of Western Europe's traveling minstrel entertainments contributed a populist influence on the narratives and the music, respectively, of early Spanish theatre. Neo-Aristotelian criticism and liturgical dramas, on the other hand, contributed literary and moralistic perspectives. In turn, Spanish Golden Age theatre has dramatically influenced the theatre of later generations in Europe and throughout the world. Spanish drama had an immediate and significant impact on the contemporary developments in English Renaissance theatre. It has also had a lasting impact on theatre throughout the Spanish speaking world. Additionally, a growing number of works are being translated, increasing the reach of Spanish Golden Age theatre and strengthening its reputation among critics and theatre patrons.

1.a belief or behavior passed down within a group or society with symbolic meaning or special significance with origins in the past.

2.adapts appearance, such as with costumes and stage makeup, etc.

3.a diverse range of human activities and the products of those activities

4.action or emotion expressions associated with drama

5.a dramatic composition or piece

6.an abstract object often associated with either theater and scene or point of progress

7.one of several prominent periodicals serving the metaphysical and postspiritual community in Australia.

8.a community of people who share a common language, culture, ethnicity, descent, or history

9.One who writes plays

10.a form of activity that holds the attention and interest of an audience, or gives pleasure and delight

11.a place where you can see a play staged

12.one who takes part in something

III.Fill in the blanks with the missing words in the fillowing sentences, the first letter of each word has been given to help you

1.Spain saw a monumental increase in the production of live t… within Spanish society.

2.Major a… of the period included Lope de Vega, a contemporary of Shakespeare.

3.The volume and variety of Spanish p… during the Golden Age was unprecedented in the history of world theatre

4.The sources of influence for the emerging national theatre of Spain were as diverse as the theatre that n… ended up producing

5.Spanish expression of Western Europe's traveling minstrel e… contributed a populist influence on the narratives and the music, respectively

6.Neo-Aristotelian c… and liturgical dramas, on the other hand, contributed literary and moralistic perspectives.

AMERICAN THEATRE

The American theatre is over two hundred years old, but American drama became American only in the 20th century when such prominent playwrights as Eugene O‘Neill, Robert

Sherwood and others began their creative work. The centre of the American theatrical world is in a section of New York City on and near Broadway. It is the aim of every talented actor, producer and playwright to get to Broadway. Success on Broadway guarantees success elsewhere.

Broadway is a wide avenue cutting through New York‘s Manhatten Island as a diagonal. Broadway is a mass of glittering lights and advertising signs. This centre of theatrical life still keeps its leading position but the taste of the audience has changed. People show more interest about entertaining shows, musicals, comedies than about serious drama. Experimental plays have not been successful on Broadway. Young actors and playwrights without any employment on Broadway began Off-Broadway productions in the late 1940s and early 1950s Theatre-goers come mostly from the society who can afford the price of the ticket. A visit to Broadway has become a sign of prestige. Unlike other countries, there is no national subsidized theatre in the United States. The Broadway theatre is a truly commercial enterprise and to ensure success the

producer must get a big famous star under contract. As usual, Broadway welcomes theatrical productions from abroad.

Few would deny that Broadway remains the prima donna of the American theatrical experience, a powerful magnet for the country‘s finest performers. But in the short period of few decades something has changed. Regional theatres across the United States have slowly challenged the might of Broadway regularly sending the best of their seasons to New York. There are 200 regional theatres in 40 states operate under the contracts from the theatrical unions. Approximately 200 professional theatres in the United States are devoted to children‘s productions.

America‘s most important playwrights are considered to be Eugene O‘Neill, Lilian Hellman, Tennessee Williams, Arthur Miller, Adwars Albee. Eugene O‘Neill was the first important American playwright of serious, nonmusical drama. He received the Nobel Prize in Literature in 1936, and he was the only dramatist to win the Pulitzer Prize in drama four times.

At the age of Enlightenment folk dramas, carnivals were very popular. The genre of tragedy is the oldest of all but later comedies, operettas, variety shows appeared on the stage.

Two important developments in recent years are the "theatre of absurd" and the "black theatre". There are also some experiments with music and lighting, body movements to replace spoken words in expressing ideas, and spontaneous audience participation in some performances.

I. Fill in the blanks with the articles a, an, the where necessary.

Few would deny that Broadway remains … prima donna of … American theatrical experience … powerful magnet for … country‘s finest performers. But in … short period of few decades something has changed. Regional theatres across …United States have slowly challenged the might of Broadway regularly sending …best of their seasons to … New York. There are 200 regional theatres in 40 states operate under … contracts from …theatrical unions. Approximately 200 professional theatres in … United States are devoted to children‘s productions.

At … age of Enlightenment folk dramas, carnivals were very popular. …genre of tragedy is … oldest of all but later comedies, operettas; variety shows appeared on

…stage.

II.Put the verbs into Present Simple Tense.

1.The American theatre (to be) over two hundred years old.

2.The centre of theatrical life still (to keep) its leading position

3.People (to show) more interest about shows, musicals.

4.Theatre – goers (to come) mostly from the society who can (to afford) the price of the ticket.

5.Often they (to want) to perform in a new and experimental place.

6.Some of the theatres (to follow) repertory schedules.

III.Insert prepositions

1.American drama became American only …the 20* century.

2.Success … Broadway guarantees success elsewhere.

3.Young actors and playwrights … any employment … Broadway began Off-Broadway productions.

4.Unlike other countries, there is no national subsidized theatre … the United States.

5.But in the short period … few decades something has changed.

6.Approximately 200 professional theatres … the United States are devoted … children‘s productions.

7.Eugene O‘Neill received the Nobel Prize… Literature … 1936.

8.As usual, Broadway welcomes theatrical productions … abroad.

9.… the age of Enlightenment folk dramas, carnivals were very popular.

10. Later comedies, operettas, variety shows appeared … the stage

The Bolshoi Theatre

Although in recent years the Bolshoi has been beset by financial and artistic difficulties, and somewhat overshadowed by the remarkable resurgence of St Petersburg's Kirov, it is still one of the greatest theatres in the world, with its own proud traditions and unforgettable atmosphere. An evening at the Bolshoi really is an essential part of a visit to Moscow.

The building itself is one of Moscow's most symbolic sites, a truly impressive example of Russian Classical architecture that faces the Kremlin walls, and some fairly tacky open air bars and restaurants, with proud indifference. The Bolshoi is the second biggest opera house in Europe (after La Scala), and grandeur and artistic strength are combined in everything from the impressive statue of Apollo that crowns the facade to the ballet's famously muscular style of choreography.

2002 saw the opening of a new stage, with state-of-the-art sound and lighting equipment and a more intimate atmosphere akin to that of a Tsarist court theatre.

The Bolshoi takes its role as Russia's national theatre seriously, and the policy is to ensure that 70% of its repertoire is made up of Russian masterpieces. In recent years the company has made every effort to increase the number of works by 20th century Russian composers not performed or little performed in the Soviet Union, and some of the most exciting recent additions to the repertoire have been ballets and operas by Prokofiev, Shostakovich, Stravinsky, etc.

For genuine lovers of opera and ballet, it is worth doing some research before choosing the performance you wish to attend, as quality can be variable. For the rest of us, the breathtaking beauty of the setting, the idiosyncrasies of Russian theatre-going and the historic atmosphere should be more than enough to guarantee a truly memorable evening out.

It is possible to book tickets on the internet, but it works out considerably more expensive than going to the theatre box office. However, some performances sell out very fast, so it may be worth the extra cost. See the "Useful Information" section for details.

The main stage of the Bolshoi Theatre will be closed for reconstruction until 2008. Performances of larger productions may be staged at the State Kremlin Palace.

The company of the Bolshoi was originally founded in 1776 by Prince Peter Urusov and English impresario Michael Maddox as the Moscow Public Theatre. Maddox became the sole owner in 1780, and a building was constructed for the company on Petrovskaya (now Teatralnaya) Square, on the site of the present theatre.

Moscow Art Theatre

Moscow Art Theatre, in full Moscow Art Academic Theatre, Russian Moscovsky Akademichesky Khudozhestvenny Teatr, or Moscovsky Khudozhestvenny Teatr, outstanding Russian theatre of theatrical naturalism founded in 1898 by two teachers of dramatic art, Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko. Its purpose was to establish a theatre of new art forms, with a fresh approach to its function. Sharing similar theatrical experience and interests, the cofounders met and it was agreed that Stanislavsky was to have absolute control over stage direction while Nemirovich-Danchenko was assigned the literary and administrative duties. The original ensemble was made up of amateur actors from the Society of Art and Literature and from the dramatic classes of the Moscow Philharmonic Society, where