из электронной библиотеки / 801672544097528.pdf
.pdf5.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.
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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 OffBroadway 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
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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 theatregoing 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
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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 Stanislavsky and Nemirovich-Danchenko had taught. Influenced by the German Meiningen Company, Stanislavsky began to develop a system of training for actors that would enable them to perform realistically in any sort of role and situation.
After some 70 rehearsals, the Moscow Art Theatre opened with Aleksey Tolstoy’s Tsar Fyodor Ioannovich in October 1898. For its fifth production it staged Anton Chekhov’s The Seagull, a play that had failed in its first production. With its revival of The Seagull, the Art Theatre not only achieved its first major success but also began a long artistic association with one of Russia’s most celebrated playwrights: in Chekhov’s artistic realism, the Art Theatre discovered a writer suited to its aesthetic sensibilities. In The Seagull, as in all of Chekhov’s plays, the Art Theatre emphasized the subtext, the underlying meaning of the playwright’s thought.
Artistically, the Art Theatre tried all that was new. Its repertoire included works of Maksim Gorky, L.N. Andreyev, Leo Tolstoy, Maurice Maeterlinck, and Gerhart Hauptmann, among others, and it staged works of political and social significance as well as satires, fantasies, and comedies.
After the Russian Revolution it received crucial support from V.I. Lenin and A.V. Lunacharsky, first commissar of education in the Soviet Union, and in 1922 the Art Theatre toured Europe and the United States, garnering critical acclaim wherever it performed. Returning to Moscow in 1924, the theatre continued to produce new Soviet plays and Russian classics. Two successful tours of London in the late 1950s and early ’60s reestablished its preeminence in world theatre. The Art Theatre has exercised a tremendous influence on theatres all over the world: it fostered a number of experimental studios (e.g., Vakhtangov Theatre, Realistic Theatre, Habima Theatre, Musical Studio of Nemirovich-Danchenko), and, today, virtually all professional training in acting uses some aspects of Konstantin Stanislavsky’s method.
In 1987 the theatre split into two companies-the Moscow Art Academic Theatre of Gorky and the Moscow Art Theatre of Chekhov-because of professional differences.
M.S. Shchepkin Belgorod State Academic Drama Theatre
M.S. Shchepkin Belgorod State Academic Drama Theatre... The first archive records of it are dating back to 1936. At that time Belgorod Kolkhoz and Sovkhoz Theatre, serving to introduce the true examples of socialist art to the kolkhoz peasantry, began its work. But the roots of Belgorod dramatic art are going much deeper - to the cultural layers, the pure springs of the 19th century. The very name of Mikhail Semyonovich Shchepkin is always perceived not as an addition to the title but as a blessing of Destiny.
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The Belgorod Drama is continually following the artistic commandments and traditions of Russian psychological theatre. At the times of the World War II the theatre went through the battlefront areas, through Samarkand, Tashkent, Kyzyl-Orda but, according to the Arts Department of the Council of People’s Comissars of the RSFSR, it «preserved itself as an artistic group, saved its evacuated values, was working continuously without state subsidies». In April 1944 the theatre opened a new season in a building destroyed by the War.
The turning point in the history of the region and the theatre was 1954. That year the Belgorod Region was formed and the theatre got the regional status. In a two years time it also got a name of a famous Russian actor, a Belgorodian, Mikhail Shchepkin. In 1962 the theatre moved to a new building specially built in the centre of the city. In 1998 the theatre got the Academic status in its title.
A great contribution to the establishment and development of Belgorod Drama Theatre was made by its first producers N.G. Belokon and S.M. Kozlova, directors
A.S. Garsky, A.P. Troitsky, S.I. Muzili and A.I. Muzili (of Maly Theatre’s famous artistic dynasty), A.E. Rebnik. Some highlights of the Theatre’s life are also connected with the creative activity of the directors A.A. Pikovsky, R.G. Bayer, V.I. Ilyin, G.A. Kosyukov, V.V. Kaznacheev... Many years were devoted to the theatrical work by the Honoured Artists of Russia A.P. Mamontov, G.I. Gritchin, M.E. Parakhnenko, artist N.N. Melnikova... The names of certain actors, favourites of different generations of the public, are written down in the history of the Theatre:
People’s Artiste of the RSFSR V. Bondaruk, Honoured Artiste of the RSFSR V.
Logvinova, Honoured Artiste of the RSFSR Y. Yartseva, Honoured Artiste of the RF V. Yarmak, Honoured Artiste of the RF V. Podmogilny, actors I. Lebedev, V. Ignatov, Y. Zorina, S. Ovsyannikova, A. Baratov, P. Samsonov, V. Protasova, A. Negina, G. Yezhova, and veterans of the Shchepkin stage - People’s Artiste of the RF N. Chernysh, actresses I. Banina, M. Baskova...
One of the highlights in the history of the Theatre is the All-Russian festival Actors of Russia to Mikhail Shchepkin - the first festival of actors in Russia. Belgorod Theatre became its organizer and moving force. Born in 1988, in the year of the 200th anniversary of the great actor, it has since gathered more than sixty theatres from Russia, Belarus, Ukraine, Serbia and taken a deserved place in the theatre life of the country.
The Theatre gets a great attention and active support from the Government of Belgorod Region and its Governor E.S. Savchenko.
THE MARIINSKY THEATRE TODAY
Under Yuri Temirkhanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of bth modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic director of the entire Theatre.
The Opera Company has entered a new era of artistic excellence and creativity.
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Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world’s great opera houses, including royal opera house, Covent Garden, the Metropolitan Opera, the Opera Bastile, La Scala, La Fenice, the Washington National Opera. Today, the Opera Company regularly tours to most of these cities.
Gergieve has also been innovative as far as Russian opera is concerned in 1989, there was an all – Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s.
Operas by non – Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trands. The annual
―Stars of the White Night festival‖ in Saint Petersburg,started by Gergievin 1993, has also put the Mariinski on the world’s culture map.
Presently, the Company lists on its roster 22 sopranos, 13 mezzo – sopranos. 23 tenors, 8 baritones and 14 basses. With Gergiev in charge overall, there is a head of Stage Administration , a Stage Director, Stage Manager and Assistants, along with 14 accompanies.
REFORMERS OF THE STAGE
The XX century gave the world such innovators and stage reformers as Stanislavsky and Vakgtangov on the one hand and Breht and Meyerhold on the other.
Stanislavsky and Breht were both practitioners and theorists. They created the most complete drama theories. Each of them has his own working methods and their achievements brought them general acclaim. Their influence on the world theatre and their appeal don’t lessen with time.
Stanislavski is an outstanding Soviet actor, stage director and theorist who looked for the new ways of scenic expressiveness; he strove to sum up the experience of the world stage masters.Stanislavsky’s conceptions were greatly influenced by
Shepkin who has been called the father of Russian realism, and the plays by Anton Chechov.
The Stanislavsky’s system fought against overacting,clichés and mannerism.
Before Stanislavsky drama schools everywhere in the world had been teaching only physical elements of an actor’s playing: ballet, fencing, speech, diction. There had been no inner acting technique. Stanislavsky developed the technique which helped actors to build the inner world of the person portrayed on the stage. His demand for truth and simplicitydid’t mean only external presentation of naturalness. Stanislavsky’s ―art of adaptation‖ concerned everything from the actor’s make – up to the inner identification with the character.He believed that theatre became art only through professionalism.
The Stanislavsky’s System played an outstanding role in the development of the theatreAll over the world actors, directors, and teachersof acting follow his method. However we should remember that the method is not dogmatic.The great innovator did not look upon his method as an end in itself. ―Create your own method‖, he used to say to his actors. ―Don’t depend on mine, but keep breaking traditions‖.
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Vakhtangov was Stanislavsky’s greatest pupil. He was an inspired artist who left his mark on all his creations.
It is interesting to note that during the short years of Stsnislavsky’s creative effort he was much interested in the work of V. Meyerhold, the famous innovator whose productions arosed heated and contradictory discussions. Meyerhold’s ambition was to find the sensational new stage laws. He never repeated himself never stopped experimenting. In contrast with Stanislavsky who wanted the spectators to lose themselves in the atmosphere of the play, Meyerhold wanted the spectator remember thzt he was in the theatre, to make him think.Meyerhold often acted purely frov a desire to reject the old and used the form which had little connection with the essence of the play.Meyerhold strove for the same purpose as Stanislavsky – fighting against everything trivial.
As far as Brecht is conserned, his art has very much in common with the art of Meyerhold. Like Meyerhold,Brect used open directorial devices., demonstrated emphasis of his own point of view, and an epic form of drama. But Brecht’s main contribution is innovatory drama heritage.
Brecht’s attitude to Stanislavsky’s System was contradictory. On the one hand, it appealed to him as an integral aesthetic theory, but on the other hand, he rejected the ―day – dreaming theatre‖ as he called it. The difference between their approaches can be explained by the difference in their historical tasks and national traditions. The Stanislavsky’s System and Brecht’s epic drama grew out of the deep and continuous desire to better the level of acting.
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THEATRE, DRAMA, COMPANY, TROUP
APPENDIX 1
HOW TO RENDER AN ARTICLE
A rendering is a text based on the notional compression of the original with the aim of rendering its general matter.
You should consider the following steps to succeed in your rendering:
1.introduction (includes all necessary background information such as the title and source of the passage and the main idea);
2.body (develops the main idea);
3.conclusion on the passage;
4.personal opinion of the problem (position) introduced in the passage.
Remember to follow basic principals while rendering:
1.decide on what should be expressed and what should be suppressed;
2.express facts as plain statements with reference to the author of the article;
3.avoid evaluative words, phrases and statements in the body;
4.avoid figurative language;
5.use link words and introductory to make your rendering sound
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The following strategies will assist you in rendering:
1.read the text and grasp the main idea and identify the topic;
2.read the text again and divide it into logical parts;
3.single out the main idea of each part;
4.give a summary of each part;
5.look for minor peculiarities of the article;
6.identify the author’s opinion;
7.state the questions which remained unanswered in the article;
8.speak on the conclusion the author comes to;
9.point out the facts that turned out to be new for you;
10.state what places of the article contradict your former views; 11.express your own point of view on the problem discussed;
12.if it is possible add your tail to the questions which remained unanswered in the article.
The introductory formulas listed below can be of use:
1.The headline of the article is ... The article is headlined ... The headline of the article I've read is...
2.The author of the article is...
3.The article is taken from the...
4.The central idea of the article is about... The main idea of the article is... The article is devoted to... The article deals with... The article touches upon... The purpose of the article is to give the reader some information on... The aim of the article is to provide a reader with some material on...
5.The paper (article) discusses some problems relating to (deals with some aspects of, considers the problem of, presents the basic theory)... The paper
(article) is concerned with (devoted to)…
6.The paper (article) begins with a short discussion on (deals firstly with the problem of)... The first paragraph deals with...
7.First (at first, at the beginning) the author points out that (notes that, describes)...
8.Then follows a discussion on... Then the author goes on to the problem of...
The next (following) paragraph deals with (presents, discusses, describes)...
After discussing... the author turns to... Next (further, then) the author tries to (indicates that, explains that)... It must be emphasized that (should be noted that, is evident that, is clear that, is interesting to note that)...
9.The final paragraph states (describes, ends with)... The conclusion is that the problem is... The author concludes that (summarizes the)... To sum up (to summarize, to conclude) the author emphasizes (points out, admits that...)
Finally (In the end) the author admits (emphasizes) that...
10.In my opinion (To my mind, I think)... The paper (article) is interesting (not
interesting), of great importance (of no importance), valuable (invaluable),
up-to-date (out-of-date), useful (useless)......
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It would be a good idea to link ideas by means of discursive words and phrases: first, firstly, first of all, to start with, to begin with, secondly, thirdly, moreover, in addition, finally, lastly, not only…but also, on the one hand, on the other hand, as a result, for this reason, therefore, thus, because of this, in consequence however, nevertheless, in spite of, despite this, even though, for example, for instance, such as, in my opinion, to my mind, as I see it, I believe (that), some people believe that, according to, it is said (that), to conclude, in summary, to sum up, in conclusion, to conclude.
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Материалы тестовых заданий
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Блок 1. |
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Задание 1 (выберите один вариант ответа). |
|
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On our journey to ................. |
France, we crossed ................. |
Atlantic Ocean. |
Варианты ответов:
a)the, the
b)the, -
c)-, the
d)-, -
Задание 2 (выберите один вариант ответа).
It’s an ancient table. … table was designed by a famous designer in 1966.
Варианты ответов:
a)An
b)A
c)The
d)–
Задание 3 (выберите один вариант ответа).
… milk that I bought in the supermarket turned sour in just … day.
Варианты ответов:
a)the/the
b)a/a
c)-/-
d)the/a
Задание 4 (выберите один вариант ответа).
…Sun never rises in …West. - Really? To tell … truth I didn’t know it.
Варианты ответов:
a)a/the/a
b)the/the/the
c)a/a/a
d)-/a/the
Задание 5 (выберите один вариант ответа).
The … are very fragile, please, wash them carefully.
Варианты ответов:
a)glass
b)glases
c)glasses
d)glassis
Задание 6 (выберите один вариант ответа).
I don’t want … or help..
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