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Russian theatres, effectively nationalizing them under Bolshevik control. Meyerhold came down with tuberculosis in May 1919 and had to leave for the south. In his absence, the head of the Commissariat, Anatoly Lunacharsky, secured Vladimir Lenin's permission to revise government policy in favor of more traditional theatres and dismissed Kameneva in June 1919.After returning to Moscow, Meyerhold founded his own theatre in 1920, which was known from 1923 as the Meyerhold Theatre until 1938. Meyerhold confronted the principles of theatrical academism, claiming that they are incapable of finding a common language with the new reality. Meyerhold‘s methods of scenic constructivism and circus-style effects were used in his most successful works of the time: Nikolai Erdman's The Mandate, Vladimir Mayakovsky‘s MysteryBouffe, Fernand Crommelynck's Le Cocu magnifique (The Magnanimous Cuckold) and Aleksandr Sukhovo-Kobylin's Tarelkin's Death. Mayakovsky collaborated with Meyerhold several times, and Mayakovsky was said to write The Bed Bug especially for him; Meyerhold continued to stage Mayakovsky's productions even after the latter's suicide. The actors participating in Meyerhold‘s productions acted according to the principle of biomechanics (only distantly related to the present scientific use of the term), the system of actor training that was later taught in a special school created by Meyerhold.

Meyerhold gave initial boosts to the stage careers of some of the most distinguished comic actors of the USSR, including Sergey Martinson, Igor Ilyinsky and Erast Garin. His landmark production of Nikolai Gogol's The Government Inspector (1926) was described as the following: "Energetic, mischievous, charming Ilyinsky left his post to the nervous, fragile, suddenly freezing, grotesquely anxious Garin. Energy was replaced by trance, the dynamic with the static, happy jesting humour with bitter and glum satire".Meyerhold's acting technique had fundamental principles at odds with the American method actor's conception. Where method acting melded the character with the actor's own personal memories to create the character‘s internal motivation, Meyerhold connected psychological and physiological processes. He had actors focus on learning gestures and movements as a way of expressing emotion physically. Following Stanislavski's lead, he said that the emotional state of an actor was inextricably linked to his physical state (and vice versa), and that one could call up emotions in performance by practicing and assuming poses, gestures, and movements. He developed a number of body expressions that his actors would use to portray specific emotions and characters. (Stanislavski was also at odds with it, because like Meyerhold, his approach was psychophysical).

Meyerhold inspired revolutionary artists and filmmakers such as Sergei Eisenstein, who studied with Meyerhold. In his films, he used actors who worked in Meyerhold‘s tradition. Eisenstein cast actors based on what they looked like and their expression, and followed Meyerhold's stylized acting methods. In Strike, the bourgeois are always obese, drinking, eating, and smoking, whereas the workers are more athletic.

Meyerhold was strongly opposed to socialist realism. In the early 1930s, when Joseph Stalin repressed all avant-garde art and experimentation, his works were proclaimed antagonistic and alien to the Soviet people. His theatre was closed down in January 1938; the ailing Constantin Stanislavski, then the director of an opera theatre now known as Stanislavsky and NemirovichDanchenko Music Theatre, invited Meyerhold to lead his company. Stanislavski died in August 1938.

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 that he was in the theatre, to make him think. Meyerhold often acted purely from 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.

I. Try to match up the words in column a with their meaning in the column B.

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II.Complete the following abstracts in a logical way.

1.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 that he was in the theatre, to make him think. Meyerhold often acted purely from 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.

2. In his absence, the head of the Commissariat, Anatoly Lunacharsky, secured Vladimir Lenin's permission to revise government policy in favor of more traditional theatres and dismissed Kameneva in June 1919. After returning to Moscow, Meyerhold founded his own theatre in 1920, which was known from 1923 as the Meyerhold Theatre until 1938. Meyerhold confronted the principles of theatrical academism, claiming that they are incapable of finding a common language with the new reality.

3.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.

4. As director, simultaneously, of the Habima Theatre, Vakhtangov found in Jewish folklore a further field for the exercise of whimsy and grotesquerie. The Dybbuk, S. Ansky's tale of demoniac possession, was a particular success (1922). While far less extreme than Meyerhold, Vakhtangov did not hesitate to realize bold new interpretations. In his brilliant production of Carlo Gozzi's Chinese fairy tale Turandot, he introduced commedia dell'arte techniques and had actors dress and make up on the stage and stagehands change sets in view of the audience.

5. As director, simultaneously, of the Habima Theatre, Vakhtangov found in Jewish folklore a further field for the exercise of whimsy and grotesquerie. The Dybbuk, S. Ansky's tale of demoniac possession, was a particular success (1922). While far less extreme than Meyerhold, Vakhtangov did not hesitate to realize bold new interpretations. In his brilliant production of Carlo Gozzi's Chinese fairy tale Turandot, he introduced commedia dell'arte techniques and had actors dress and make up on the stage and stagehands change sets in view of the audience.

III.Choose the correct variant of translation.

1. Stanislavsky’s conceptions were greatly influenced by Shepkin who has been called the father of Russian realism. a.КонцепцииСтаниславскоговзначительноймереповлиялинаЩепкина, которогоназывалиотцомрусскогореализма.

b. Станиславский значительно повлиял своими концепциями на Щепкина

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– отцарусскогореализма

c.Значительное влияние на Щепкина, который считался отцом русского реализмаоказаликонцепцииСтаниславского

2. The Stanislavsky’s System played an outstanding role in the development of the theatre.

a.На развитие театра повлияла система Станиславского

b. Система Станиславского сыграла большую роль на развитие театра c.Театр развивался благодаря системе Станиславского

3. In contrast with Stanislavsky who wanted the spectators to lose themselves in

the atmosphere of the play, Meyerhold wanted the spectator remember that he was in the theatre, to make him think.

a.В противоположность Станиславскому, который хотел заставить зрителейпотеряться в атмосфере пьесы, Мейерхольд хотел, чтобы зрители помнили, что они были в театре, чтобы заставить их думать.

b.Станиславский, хотел заставить зрителей потеряться в атмосфере

пьесы, а Мейерхольд хотел, чтобы зрители помнили, что они были в театре чтобы заставить их думать.

с. В отличии от Станиславского, который хотел, чтобы зрительзатерялся в атмосфере пьесы, Мейерхольд хотел, чтобы зритель помнил, что он был втеатре, чтоьы заставить его задуматься.

4. As director, simultaneously, of the Habima Theatre, Vakhtangov found in Jewish folklore a further field for the exercise of whimsy and grotesquerie.

a.В тоже время режиссер театра Хабима Вахтангов обнаружил в Еврейском фолклоре явлений причудливости и гротескности

b.В то же время являясь режиссером театра Хабима Вахтангов обнаружил в Еврейском фолклоре элементы проявляения причудливости и гротескности.

c. Именно Вахтангов обнаружил в Еврейском фолклоре проявления

сцены в поисках театрального искусства

b.Маски, музыка, танец, абстрактные костюмы использовались для развития театра.

c.Маски, музыка, танец, абстрактные костюмы являлись показателями развития театра.

6.Stanislavsky and Meyerhold created the most complete drama theories. a.Теории Драмы были созданы Станиславским и Мейерхольдом b.Станиславский как и Мейерхольд создал теорию драмы c.Станиславский и Мейерхольд создали самые полные теории драмы

IV. Answer the following questions

1.What was the peculiarity of Stanislavsky‘s system?

2.What term did Stanislavsky use for actors?

3.What was Stanislavsky‘s moto?

4.When was Vakhtangov‘s career at a high point?

5.What things did Vakhtangov use to persuit the theatre?

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6.What aim had Meyerhold in staging classical plays?

7.According to what method did the actors participating in Meyerhold‘s plays?

V. Render the text in English (see the ex. on page 174) Part II

From his late twenties Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his "epic theatre", synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.

Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climacticcatharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable. Brecht's modernist concern with drama-as-a-medium led to his refinement of the "epic form" of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist "montage" in the cinema, and Picasso's introduction of cubist "collage" in the visual arts.

In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theatre to a new social use. In this regard he was a vital participant in the aesthetic debates of his era-particularly over the "high art/popular culture." Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger dubs him "the most important materialist writer of our time."

A dominant figure in early twentieth-century Russian theater, Vladimir Nemirovich-Danchenko (1858-1943), together with Konstantin Stanislavsky, founded the Moscow Art Theatre and helped usher naturalism in theatrical performance and writing.

Vladimir Ivanovich Nemirovich-Danchenko was born in Ozurgety (now Makharadze), Georgia, on December 11, 1858. During the mid-1800s Georgia was annexed to Russia; falling to communist control during the Russian Revolution, in 1922 it would join the Union of Soviet Socialist Republics. From an early age Nemirovich-Danchenko exhibited a love of the theater. By age 13 he was acting and directing amateur theatricals and already trying out different stage techniques and effects. However, at age 18 he set aside his theatrical interests and went to Moscow, where he studied physics and mathematics at the Moscow State University from 1876 to 1879. Theater remained his first love, however, and during this time Nemirovich-Danchenko continued his involvement in the stage as a critic. After leaving school, he put increased effort into his work as a theater critic. Ultimately, while his criticism was much admired, NemirovichDanchenko's creative urges sought release in play-writing and fiction, balancing the analytical side of his personality.

In the 1890s Nemirovich-Danchenko became a well-known figure in Moscow and St. Petersburg as a result of his plays and his fiction. His first theatrical success, translated as The New Undertaking or New Business, premiered in St. Petersburg in 1890. Despite the early misgivings of some of the cast, and those of Nemirovich-Danchenko himself, the play proved a hit with the most important critic of the day, Flerov-Vassiliev. Nemirovich-Danchenko was awarded Russia's Griboyedov prize-named for 19th-century playwright Aleksandr Sergeyevich Griboyedovas author of the best play of the season by the Russian Society of Dramatists. Nemirovich-

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Danchenko's other plays included Gold, produced in 1895, which had the distinction of being the first play to hold a dress rehearsal in the history of Russian theater, and The Worth of Life, produced in Moscow in 1896. The Worth of Life was also awarded the Griboyedov prize, beating out Anton Chekhov's The Seagull. Nemirovich-Danchenko, who had encouraged Chekhov to write his play, tried to convince the award judges to reverse their decision, but with no success. Nemirovich-Danchenko's plays were produced at the Maly ("small") Theater in Moscow, the Alexandrinskii Theater in St. Petersburg, and on stages throughout the Russian provinces.

In 1891 Nemirovich-Danchenko used his success with the play The New Undertaking as a springboard for furthering his career in the theater. On the recommendation of acting instructor Aleksandr Yuzhin, he was offered the post of instructor in dramatic art at the Moscow Philharmonic Society. The post was considered a humble one; the Philharmonic's school was considered second compared to the Moscow Imperial school, and there was little prestige in teaching lower-level courses. However, on the strength of Yuzhin's recommendation, as well as Nemirovich-Danchenko's theater criticism and his play, it was viewed as a coup that a non-actor was hired to teach acting. However, as he later wrote in his autobiography My Life in the Russian Theatre, translated by John Cournos, Nemirovich-Danchenko admitted not only that the school had a "bad reputation, but also that "there was among the pupils a terrible lot of riffraff.… The majority came here to be taught in the speediest manner possible how to act, so that they might be given good roles in a graduation play. The educative aim of the school was wholly ignored." To his students Nemirovich-Danchenko stressed the need for longer, better-organized rehearsal and a more flexible acting style. At first the playwright regretted his decision to teach acting, but as he began to weed out the nonserious students and as his principles took hold, the graduation performances at the Moscow Philharmonic Society drama school soon rivaled those of the Imperial School.

During the years he taught at the Philharmonic School Nemirovich-Danchenko published, in addition to plays, a book on acting translated as Drama behind the Scenes (1896), as well as two works of fiction: 1896's The Governor's Inspection and 1898's Dreams. Dreams would be Nemirovich-Danchenko's last work of fiction, as by the time it was published his career had already begun to take a new, historic turn.

M. S. Schepkin

―Without a school there are no artists and without artisis there is no theatre‖. This simple truth was acknowledged in Russia two centuries ago. That is when the first professional theatre was opened in Moscow at the decree of Tzar Alexander I ij the framework of the imperial theatres. Today this educational establishment bears the title the Schepkin Theatre Colledge.

Theatre companies of the imperial theatres on the borderline of the 18th – 19th centuries were chiefly augmented by bondsmen – artists from landowners‘ own theatres. The moment they join State theatrical service they relinquished their fetters, and were no longer the property of their owners. That was the case with great Russian actor Mikhail Schepkin.

He was born in serfdom. His grandfather and father were bondsmen, although the Schepkins came from a long family line of clergyman. It so happened that Schepkin's grandfather, who possessed a resonant voice, caught the fancy of Count Volkenstein, and the latter made him his serf. In the 18th century, when serfdom was rampant, this was quite a common occurrence.

However, it was in fact a blessing in disguise. The Count's estate boasted a home theatre and choir, and Schepkin's grandfather, and later father, were granted the opportunity to embrace theatrical art. When Mikhail turned 7, his father took him to the theatre. The performance had a tremendous impact on the boy. "That evening," Schepkin later recalled, "sealed all my future life." Mikhail Schepkin became an actor, yet up until the age of 34 he remained a serf. It was his numerous fans who helped him obtain manumission, after they had collected a most impressive sum of money. Upon acquiring freedom, Schepkin, already a well-known actor of one of the provincial theatres, set off for Moscow to seek his fortune. And find it he did - almost

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immediately: he was taken on by the celebrated Maly Theatre and became its leading and best actor.

Schepkin's popularity was tremendous. He was equally excellent in comedy and drama. "Schepkin could "climb into any character's skin," says Boris Liubimov, Rector of the Schepkin

Theatre College. "According to his contemporaries, he really did ‗live' on stage.

However, before he was able to achieve such natural ease, he had to work very hard, indeed. He painstakingly studied the psychological character type of whomever he was supposed to personify on stage, and managed to come across as remarkably convincing.

Schepkin's art became a new phenomenon in theatre art. In effect, the Russian realism theatre takes its source from Mikhail Schepkin.

Schepkin was the first really grand-scale actor and teacher in the history of Russian theatre.

He taught at the Maly theatre acting school, which today bears his name. Instructing the aspiring young actors, he would say: "When reading a part, do your utmost to think and feel as the character you intend to portray; but before achieving such potent truth in acting art, students of the theatre college traverse a thorny path to acting skill. There are a great many subjects on the curriculum of the college: from stage speech and plastics to fencing, tap-dancing, the latter perfected right out in the stairways in between lectures. Every auditorium is an audience hall with a stage...

What sets the Schepkin college apart from the rest is that it holds true to the traditions of Russian psychological theatre, laid down by the great actor who asserted in the theatre clarity and austerity of stage form, dedication to one's chosen métier, and "conscientiousness of genius".

I. Try to match up the words in column a with their meaning in the column B

II. Complete the following abstracts in a logical way.

1.However, it was in fact a blessing in disguise. The Count's estate boasted a home theatre and choir, and Schepkin's grandfather, and later father, were granted the opportunity to embrace theatrical art. When Mikhail turned 7, his father took him to the theatre. The performance had a tremendous impact on the boy. "That evening," Schepkin later recalled, "sealed all my future life." Mikhail Schepkin became an actor, yet up until the age of 34 he remained a serf.

2. Schepkin's art became a new phenomenon in theatre art. In effect, the Russian realism theatre takes its source from Mikhail Schepkin. Schepkin was the first really grand-scale actor and teacher in the history of Russian theatre.He taught at the Maly theatre acting school, which today bears his name. Instructing the aspiring young actors, he would say: "When reading a part, do your utmost to think anfeel as the character you intend to portray; but before achieving such potent truth in acting art, students of the theatre college traverse a thorny path to acting skill.

3.From his late twenties Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his "epic theatre", synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.Epic Theatre proposed that a play

122

should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage.

4.In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theatre to a new social use. In this regard he was a vital participant in the aesthetic debates of his era-particularly over the "high art/popular culture." Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties.

5.In the 1890s Nemirovich-Danchenko became a well-known figure in Moscow and St. Petersburg as a result of his plays and his fiction. His first theatrical success, translated as The New Undertaking or New Business, premiered in St. Petersburg in 1890. Despite the early misgivings of some of the cast, and those of Nemirovich-Danchenko himself, the play proved a hit with the most important critic of the day, Flerov-Vassiliev. Nemirovich-Danchenko was awarded Russia's Griboyedov prize-named for 19th-century playwright.

III.Choose the correct variant of translation

1. Today this educational establishment bears the title the Schepkin theatre Colledge. a.Сегодня театральный колледж им. Щепкина является учебным учреждением

b.В настоящее время это учебное заведение носит название – театральное училише им. Щепкина.

c.Сегодня в этом учебном заведении открыт колледж им. Щепкина

2.Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself.

a. Брехт использовал технологии, которые напоминали зрителю, что спектакль – это действие приближенное к реальности, а не сама реальность.

b.Брехт использовал технологии, которые вводили зрителя в спектакль. Как в приближение к реальности

c. Благодаря технологиям Брехта зритель узнал, что он является участником нереального действия

3.In the 1890s Nemirovich-Danchenko became a well-known figure in Moscow and St. Petersburg as a result of his plays and his fiction.

a.В 1980 г.Немирович – Данченко становится популярной фигурой в Москве и Санкт – Петербурге из – за своих пьес и литературных произведений.

b.В 1890 г. Немирович – Данченко стал известной личностью в Москве и Санкт – Петербурге как результат своих спектаклей и литературных произведений.

с. Спектакли и литературные произведения сделали Немировича – Данченко известной личностью в Москве и Санкт – Петербурге.

4.Nemirovich-Danchenko, who had encouraged Chekhov to write his play, tried to convince the award judges to reverse their decision, but with no success.

a.Немирович – Данченко безуспешно пытался убедить комиссию по наградам изменить свое решение в пользу Чехова, которого он поддержал в написании пьесы.

b.Немирович – Данченко, поддержавший Чехова в написании его пьесы попытался убедить комиссию по наградам изменить свое мнение в пользу Чехова, но безуспешно c.Немирович – Данченко поддержал Чехова в написании пьесы и безуспешно пытался убедить комиссию по наградам изменить свое решение.

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5. Schepkinwas the first really grand-scale actor and teacher in the history of Russian theatre.

a.Щепкин был действительно первым выдающимся актером и учителем в истории Русского театра.

b.История Русского театра подарила действительно выдающегося актера и учителя Щепкина.

c.В истории русского театра появился по настоящему выдающийся актер и учитель – Щепкин.

6.Schepkin taught at the Maly theatre acting school, which today bears his name. a.Щепкин преподавал в своем театральном училище при Малом театре b.Щепкин учился в театральном училище при малом театре.

c.Щепкин преподавал в театральном училище при Малом театре, которое сейчас носит его имя.

IV. Answer the following questions

1.What did Brecht‘s modernist concern with drsma – as – a medium led to?

2. What techniques did Brecht use in order to recognise social injustice and exploitation and to be moved to go forth from the theatre?

3What kind of artists were theatre companies of the18th – 19th centuries augmented by? 4.What role did Schepkin's art play in theatre art?

5.What play didNemirovich-Danchenko usehis success with in 1891 for furthering his career in the theater.

6. What did Brecht‘s Epic Theatre propose?

7.What was Schepkin's popularity in?

V. Make a reference of the text (seetheex. on page 174)

Text III.

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.

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

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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 theatricalwork by the Honoured Artists of Russia A.P. Mamontov, G.I. Gritchin, M.E. Parakhnenko, artist N.N. Melnikova...

Today a talented creative group is working in M.S. Shchepkin BSADT. Since 1973 it has been run by an Honoured Art Worker of Russia Vitaly Ivanovich Slobodchuk.

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 Artist of the RSFSR Y. Yartseva, Honoured Artist of the RF V. Yarmak, Honoured Artist of the RF V. and veteran of the Shchepkin stage - People‘s Artist of the RF N. Chernysh.

The basis of the troupe consists of experienced, professionally mature actors having worked in the Theatre for many years. Among them are an actor and a People‘s Artists of the RF V. Starikov and M. Rusakova, Honoured Artists of the RF I. Drapkina, I. Kirillov, V. Bgavin, O. Bgavina, a tallented actor and brilliant choreographer Andrey Manokhin, actresses Liudmila Shmelyova, G. Yezhova, actors A. Beloyarov I. Starzhinskiy, D Kononenko, P. Ryzhikov. The talented youth proves themselves to be bright actors. Among them are the laureates of international and Russian festivals. Igor Tkachov and Oksana Bgavina are the laureates of the

Russian literature and theatre prize Viktor Rozov‘s Chrystal Roze.

The Small Stage and the Lobby Theatre are working in the Theatre. Famous directors collaborated and collaborate with the Theatre: V. Andreev, B. Morozov, P. Khomsky, I. Reihelhaus, A. Vilkin, M. Mokeev, Y. Ioffe, A. Litvin, A. Girba, V. Varetsky, A. Ogaryov, V. Danziger, V. Belyakovich, stage designers I. Sumbatashvili, E. Kochergin, Y. Kharikov, M. Rybasova, Y. Dolomanov, A. Klimov, A. Glebova, M. Obrezkov, O. Sidorina...

The Shchepkin troupe has been touring the cities of Russia, Ukraine, Baltic States, Poland, Serbia. Exchange tours have become a good tradition. The Theatre performed on tour in Moscow three times. The Drama Theatre has been taking part in Russian and international theatre festivals: Ostrovsky in Ostrovsky‘s House (Moscow), A.N. Ostrovsky‘s Drama (Kostroma), Russian Classics (Oryol), Voices of History (Vologda), Vampilov‘s Festival (Irkutsk), F. Volkov‘s Festival (Yaroslavl), N.K. Rybakov‘s Festival (Tambov), Oldest Theatres of Russia (Kaluga), Stars of Victory (Ryazan), At the Golden Gate (Vladimir), On the Volga

(Togliatti), White Tower (Brest), At A.P. Chekhov‘s Homeplace (Taganrog), Lipetsk Theatre

Meetings (Lipetsk), Odessa Meetings (Odessa), Arbat Meetings (Moscow).

Beside that, M.S. Shchepkin BSADT was presented on the playbills of the III International A.P.

Chekhov‘s Festival (Moscow), II and IV International Forums Golden Vityaz (Moscow). At the

X Theatre Forum Golden Vityaz M.S. Shchepkin BSADT received the highest award - Golden Vityaz statuette and a Diploma for the Best Large Form Performance. The Theatre was awarded a silver medal at the I International Delphic Games, became a laureate of the Windows to Russia contest in the nomination Theatre of the Year ‘99, was awarded the first Central Federal District

Prize for the Achievements in Theatrical Art in 2006. In June 2011 Belgorod Drama Theatre was invited to participate in the Theatre Olympus of Sochi festival - the main theatrical event of Russia timed to the Year of Theatre.

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.

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I. Try to match up the words in column a with their meaning in the column B

II. Complete the following abstracts in a logical way.

1. 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.

2.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 theatricalwork by the Honoured Artists of Russia A.P. Mamontov, G.I. Gritchin, M.E. Parakhnenko, artist N.N. Melnikova...

3.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.

4.The basis of the troupe consists of experienced, professionally mature actors having worked in the Theatre for many years. Among them are an actor and a People‘s Artists of the RF V.

Starikov and M. Rusakova, Honoured Artists of the RF I. Drapkina, I. Kirillov, V. Bgavin, O. Bgavina, a tallented actor and brilliant choreographer Andrey Manokhin, actresses Liudmila Shmelyova, G. Yezhova, actors A. Beloyarov I. Starzhinskiy, D Kononenko, P. Ryzhikov. The talented youth proves themselves to be bright actors. Among them are the laureates of international and Russian festivals.

5.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».

III.Choose the correct variant of translation

1. The first archive records of the theatre are dating to 1936 a.Первые заметки о театре появились в архиве в 1936г. d.Впервые записи о появлении театра появились в 1936 г.

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