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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.

In 2002 was 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.

Fire destroyed the building in 1805, ruining Maddox and bringing the theatre under Sate control, to be renamed the Imperial Theatre.

The company was briefly housed in a wooden building on Great Arbat Square, but this also succumbed to fire during Napoleon's invasion of 1812, and in 1824 Petrovskaya Square was rebuilt in the Classical style, with a new building for the theatre designed by Osip Bove. At the time it was second only to La Scala in size, with a 2,200-seat auditorium.

Fire struck again in 1853, once more destroying the theatre, but this time it only took three years before the present building was constructed by architect Albert Kavos, based on Bove's plans. It was reopened to coincide with the coronation of Aleksander II, in August 1856.

At the start of its life, the Moscow Imperial Theatre was something of a provincial cousin to its St Petersburg counterparts, but the arrival in the 1890s of the great choreographer Alexander Gorsky and, soon after, of such legendary singers as Fyodor Chaliapin, Leonid Sobinov, and Antonina Nezhdanova boosted its fortunes. Amongst other pre-revolutionary stars, Sergei Rachmaninov was the principle conductor from 1904-06.

After the Revolution, the theatre initially faced hostility from the Bolsheviks as a superfluous symbol of elitist bourgeois culture, and funding was cut dramatically. But traditions survived and, after the Second World War, the Bolshoi became a dominant force in ballet not just in Russia but throughout the world, producing star after star including ballerinas Galina Ulanova, Maria Plisetskaya, and Ekaterina Maksimovna, and male dancers such as Vladimir Vasiliev and Maris Liepa.

The collapse of the Soviet Union brought the Bolshoi the same headaches that the 1917 Revolution had. Funding was drastically slashed and all but the most die-hard fans lost interest. The 1990's witnessed a slump in fortunes, with many of the company's stars forced to find more lucrative work in the West. Productions were characterized by a stifling lack of innovation or

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direction. However, things are looking up, with a number of internationally praised recent productions and an energetic new Artistic Director for Ballet, Aleksei Ratmansky. Once the reconstruction, restoring the originally famed acoustics of the main theatre is complete, the hopes are that the Bolshoi will be back at the centre of the world stage.

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

artistic

state – of – art sound role

ticket

to book tickets theatre going theatre

public theatre ballet

opera

II. Complete the following abstracts in a logical way

1. After the Revolution, the theatre initially faced hostility from the Bolsheviks as a superfluous symbol of elitist bourgeois culture, and funding was cut dramatically. But traditions survived and, after the Second World War, the Bolshoi became a dominant force in ballet not just in Russia but throughout the world, producing star after star.

2.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.

3.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.

4.The company was briefly housed in a wooden building on Great Arbat Square, but this also succumbed to fire during Napoleon's invasion of 1812, and in 1824 Petrovskaya Square was rebuilt in the Classical style, with a new building for the theatre designed by Osip Bove. At the time it was second only to La Scala in size, with a 2,200-seat auditorium.

5.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.

III.Choose the correct variant of translation.

1. In 2002 was 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.

a.В 2002 г. была открыта новая сцена с современной звуковой техникой и освещением, в атмосфере, приближенной к театру при Царском дворе

b. В театре при Царском дворе была открыта новая сцена сцена с современной звуковой техникой и освещением.

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c.Современная звуковая техника и освещение позволили открыть новую сцену

2.But traditions survived and, after the Second World War, the Bolshoi became a dominant force in ballet not just in Russia but throughout the world.

a. Театр занял лидирующую позицию в балете только после второй мировой войны b. Но традиции сохранились и после второй мировой войны Большой театр занял лидирующую позицию в балете после Второй Мировой Войны

c. Только балет позволил Большому театру остаться в лидерах после Второй Мировой Войны.

3.The 1990's witnessed a slump in fortunes, with many of the company's stars forced to find more lucrative work in the West.

a. В 1990-х годах театр постигла серия неудач, касающихся многих ведущих актеров, которых заставили искать более выгодную работу на Западе.

b. В 1990-х годах актерам театра предложили более выгодную работу на Западе

c. В 1990-х годах актеры театра поехали на Запад в поисках более выгодной работы

4.The building itself is one of Moscow's most symbolic sites, a truly impressive example of Russian Classical architecture.

a. Русскую классическую архитектуру венчает здание Большого театра

b. Здание является одним из символов Москвы, по-настоящему впечатляющим образом русской классической архитектуры.

c. Большой театр претендовал на право считаться одним из символов Москвы

5.The company of the Bolshoi was originally founded in 1776 by Prince Peter Urusov and English impresario Michael Maddox as the Moscow Public Theatre.

a. Театральная компания Большого театра была основана в 1776 г. Князем Петром Урусовым и Английским импресарио Майклом Мэддоксом как Московский Народный театр.

b. Князь Петр Урусовов и Английский импресарио Майкл Мэддокс оснавали Большой театр в 1776 г.

c. 1776 г. – год основания Театральной компании.

6.It is possible to book tickets on the internet, but it works out considerably more expensive than going to the theatre box office.

a. В кассе театра заказать билеты дороже, чем по интернету.

b. Можно заказать билеты по интернету, но это дороже, чем придти в кассу театра. c.Билеты можно заказать только в кассе театра.

IV. Answer the following questions.

1.What does the building of the Bolshoi Theatre symbolize?

2.What event took place in 2002?

3.When was the company of the Bolshoi Theatre founded?

4.What happened with the theatre after Revolution?

5.What role did the collapse of the Soviet Union bring the Bolshoi Theatre to?

6.What must you do as a genuine lover of opera and ballet first before choosing the performance?

7.What are the hopes of the Bolshoi nowadays? Do you think they will come true?

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

TEXT VIII.

MOSCOW ART THEATRE

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The Moscow Art Theatre is a theatre company in Moscow that the Russian theatre practitioner Konstantin Stanislavski, together with the playwright and director Vladimir NemirovichDanchenko, founded in 1898. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were Russia's dominant form of theatre at the time. The theatre, the first to regularly put on shows implementing Stanislavski's system, proved hugely influential in the acting world and in the development of modern American theatre.At the end of the 19th century, Stanislavski and Nemirovich-Danchenko both wanted to reform Russian theatre to high-quality art that was available to the general public. They set about creating a private theatre over which they had total control (as opposed to trying to reform the government operated Maly Theatre, a move which would have given them far less artistic freedom). On June 22, 1897, the two men met for the first time at the Slavyanski Bazar for a lunch that started at 2 PM and did not end until 8 AM the next morning. While Stanislavski‘s approach to theatre revolved around the acting process, Nemirovich was far more concerned with the literary, intellectual angle. Their differences proved to be complementary, and they agreed to initially divide power over the theatre, with Nemirovich in charge of the literary decisions and Stanislavski in charge of all production decisions. Stanislavski interviewed all his actors, making sure they were hard working and devoted as well as talented. He made them live together in common housing for months at a time to foster community and trust, which he believed would raise the quality of their performances. Stanislavski's system, in which he trained actors via the acting studios he founded as part of the theatre, became central to every production the theatre put on. The system played a huge influence in the development of method acting.Stanislavski and Danchenko‘s initial goal of having an ―open theatre,‖ one that anyone could afford to attend, was quickly destroyed when they could neither obtain adequate funding from private investors, nor from the

Moscow City Council. The Art Theatre‘s first season included works by Aleksey Tolstoy (Tsar Fyodor Ioannovich), Henrik Ibsen, and William Shakespeare, but it wasn‘t until it staged Anton Chekhov's four major works, beginning with its production of The Seagull in 1898, with Stanislavski in the role of Trigorin, that the theatre achieved fame. This production was so successful that the theatre adopted the seagull as its emblem. After Chekhov‘s death in 1904, the theatre experienced a huge changeover; Chekhov had envisioned fellow playwright and friend Maxim Gorki as his successor as the Theatre‘s leading dramatist, but Nemirovich and

Stanislavski‘s reaction to his play Summerfolk was unenthusiastic, causing Gorki to leave. He took with him Savva Morozov, one of the theatre‘s main investors at the time. Now in dire straits, the theatre decided to accept invitations to go on an international tour in 1906, which started in Berlin and included Dresden, Frankfurt, Prague, and Vienna. The tour was a huge success, gaining the theatre international acclaim. However, the sudden change in fortune did not completely quell the company‘s internal strife; Stanislavski appointed friends to the theatre‘s management without consulting Nemirovich and opened studios attached to the theatre where he began to implement his acting system, cementing Nemirovich‘s fears that the theatre was becoming a mere extension of Stanislavski‘s own ideas and work. The tension between the two led Stanislavski to abandon his duties as a board member and to relinquish all his power over policy decisions. The theatre continued to thrive after the October Revolution of 1917 and was one of the foremost state-supported theatres of the Soviet Union, with an extensive repertoire of leading Russian and Western playwrights. Mikhail Bulgakov wrote several plays for the MAT and satirised the organisation mercilessly in his novel Black Snow Isaac Babel's Sunset was also performed there during the 1920s.

A significant number of Moscow Art Theatre's actors were awarded the prestigious title of People's Artist of the USSR. Many actors became nationally known and admired thanks to their film roles. However, the Civil War saw many of the theatre‘s actors being cut off from Moscow, and the support it received from the government diminished under Lenin‘s New Economic Policy. It was not until autumn of 1970 that Oleg Yefremov, an actor, producer, and former

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student of the Moscow Art Theatre Studios who wanted Russia to once again be a major contender in the theatre world, took over control of the theatre and began to reform it.

Yefremov began to reinstate Stanislavski‘s traditions, including emphasizing the importance of the studio and of the system, as well as interviewing every single candidate with special emphasis and attention placed on work ethic.

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.It was not until autumn of 1970 that Oleg Yefremov, an actor, producer, and former student of the Moscow Art Theatre Studios who wanted Russia to once again be a major contender in the theatre world, took over control of the theatre and began to reform it. Yefremov began to reinstate Stanislavski‘s traditions, including emphasizing the importance of the studio and of the system, as well as interviewing every single candidate with special emphasis and attention placed on work ethic.

2.The theatre continued to thrive after the October Revolution of 1917 and was one of the foremost state-supported theatres of the Soviet Union, with an extensive repertoire of leading Russian and Western playwrights. Mikhail Bulgakov wrote several plays for the MAT and satirised the organisation mercilessly in his novel Black Snow Isaac Babel's Sunset was also performed there during the 1920s.

3.After Chekhov‘s death in 1904, the theatre experienced a huge changeover; Chekhov had envisioned fellow playwright and friend Maxim Gorki as his successor as the Theatre‘s leading dramatist, but Nemirovich and Stanislavski‘s reaction to his play Summerfolk was unenthusiastic, causing Gorki to leave. He took with him Savva Morozov, one of the theatre‘s main investors at the time. Now in dire straits, the theatre decided to accept invitations to go on an international tour in 1906.

4.The Moscow Art Theatre is a theatre company in Moscow that the seminal Russian theatre practitioner Konstantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko, founded in 1898. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were Russia's dominant form of theatre at the time.

5.At the end of the 19th century, Stanislavski and Nemirovich-Danchenko both wanted to reform Russian theatre to high-quality art that was available to the general public. They set about creating a private theatre over which they had total control (as opposed to trying to reform the government operated Maly Theatre, a move which would have given them far less artistic freedom).

III.Choose the correct variant of translation.

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1.The Moscow Art Theatre is a theatre company in Moscow that the Russian theatre practitioner Konstantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko, founded in 1898.

a. Московский художественный театр – театральная компания, которая была основана русским театральным деятелем Константином Станиславским вместе с драматургом и режиссером Владимиром Немировичем – Данченко в 1898.

b. Константин Станиславский и Владимир Немирович – Данченко дали согласие на основание Московского Художественного театра.

c. Теат искусств в Москве основали выдающиеся деятели Константин Станиславский и Владимир Немирович - Данченко.

2.After Chekhov’s death in 1904, the theatre experienced a huge changeover

a.Чехов скончался в 1904 г. и театр испытал большие изменения.

b.После смерти Чехова в 1904 г. Театр претерпел большие перемены

c.Театр изменился в 1904 г.

3.The theatre continued to thrive after the October Revolution of 1917 and was one of the foremost state-supported theatres of the Soviet Union.

a. Театр перерос после Революции 1917 г. в самый процветающий в Советском Союзе.

b. Театр продолжал развиваться после Октябрьской революции 1917 года и был одним из первых, поддерживаемых государством театров Советского Союза.

c. Государство стало поддерживать театр после революции 1917 г.

4.The Stanislavski's system played a huge influence in the development of method acting. a. Система Станиславского играла важную роль в развитии методики актерской игры

b. Система Станиславского оказала большое влияние на развитие методики актерской игры

c. Система Станиславского стала основой актерского искусства

5.This production was so successful that the theatre adopted the seagull as its

emblem.

a.Чайка стала символом театра и одноименной пьесой Чехова

b.Выход пьесы «Чайка» Чехова было настолько успешным, что театр принял Чайку в качкстве эмблемы

c.Пьеса Чехова «Чайка» дала эмблему театру.

IV. Answer the following questions.

1.Who was Moscow Art Thetre founded by?

2.What did Stanislavski and Nemirovich – Dnchenko want to do with the theatre and what for?

3. What was the theatre conceived as?

4.What was the influence of October revolution in 1917 on the theatre?

5.What happened with the actors in the Theatre during the Civil War?

6.What played a huge influence in the development of method acting in this theatre?

7.Who took over control of the theatre and began to reform it?

V. Make a reference of the text (see the ex. on page174)

Text IX.

THE RUSSIAN STATE PUSHKIN ACADEMY DRAMA THEATRE.

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The Russian State Pushkin Academy Drama Theatre - the legendary Alexandrinsky Theater - is the oldest Russian national theatre. It was founded by the Senate‘s Decree, signed by

Empress Elizabeth (daughter of Peter the Great) on August 30, 1756, the day of Saint Alexander Nevsky. This theatre is the progenitor of all Russian theaters and the date of its foundation is the birthday of the Russian professional theatre. Foundation of the theatre gave a start to the Russian state policy in the field of theatre arts.

The Russian State Drama Theatre served as an attribute of the Russian state system for over two and a half centuries. In the 18th, 19th and early 20th centuries it was the main imperial theater; Russian emperors had been directly involved with its guidance.

Since 1832, the Russian State Drama Theatre has resided in a magnificent building (built by a project of the great architect Carlo Rossi) in the very center of Nevsky avenue, the main thoroughfare of St. Petersburg. The building was named the Alexandrinsky Theatre (in the honor of Alexandra Fedorovna, the spouse of Emperor Nikolay the First) and since then the name of Alexandrinsky theatre has been tightly bound to the world theatrics history. The theatre crowns a unique ensemble of Rossi‘s buildings, which was named to the UNESCO World Heritage List.

The theatre has a 5-circle auditorium, a spacious stage, palace style lobbies, and a grandiose facade, which became one of the emblems of the Imperial Capital of Russia. The walls of the Alexandrinsky remember the greatest public figures of the Russian state, politicians, military men, and people of arts. A. Pushkin, M. Lermontov, F. Dostoevsky, L. Tolstoy, A. Chekhov, P. Tchaikovsky, A. Gorchakov, S. Vitte, V. Stolypin, K. Mannerheim and numerous members of European royal families visited it.

Here, at the Alexandrinsky Theatre, took place premieres of practically all plays of the Russian drama classics: from the "Woe of Wit" by A. Griboyedov to the plays by A. Ostrovsky and A. Chekhov. The Alexandrinsky Theater is a textbook of Russian theatrics. A number of renowned actors performed on its stage - from V. Karatygin and A. Martynov to N. Simonov, N. Cherkasov, V. Merkuriev, I. Gorbachev, and B. Freindlikh. Talents of famous Russian actresses had flourished on this stage - from E. Semyonova, M. Savina (founder of the Russian Union of Theater Artists), V. Komissarzhevskaya to E. Korchagina-Alexandrovskaya, E. Time, and N. Urgant. Today, the stage is home to such actors as S. Parshin, V. Smirnov, N. Burov, N. Marton, I. Volkov, A. Devotchenko, S. Smirnova, I. Voznesenskaya, M. Kuznetsova, K. Petrova and many others.

Outstanding theater directors, such as V. Meyerhold, L. Vivien, G. Kozintsev, G. Tovstonogov, and N. Akimov, worked at the theatre. Today the theater is directed by an acclaimed director,

People‘s Artist of Russia, Laureate of State Awards Valery Fokin. Alexandrinsky‘s productions are catalogued in all world theater encyclopedias. A whole number of great artists, such as A. Benua, K. Korovin, A. Golovin, N. Altma, and famous composers like A. Glazunov, D. Shostakovich, R. Shchedrin cooperated with the theater. The Alexandrinsky Theatre occupies an honorable place among the oldest national theaters of Europe, including the Comedie Francaise in Paris, the Burgtheater in Vienna, the Drury Lane in London, and the Deutsches Theater in Berlin, serving as a symbol of the Russian national theater.

The theatre holds a unique collection of decoration sets, costumes, furniture, theater properties, and weapons -- the richest museum stock that could be exhibited both in Russia, and abroad in the most prestigious exhibition premises.

Academician Dmitry Lihachev had not once mentioned in his speeches and writings that the Alexandrinsky Theatre was the true national treasure of Russia.During the season of 2005/2006, the Alexandrinsky Theater had undergone a general reconstruction, resulting in restoration of the historical image of the building‘s interiors. At the same time, the Alexandrinsky will turn into one of the most technically perfect theater venues. The grand opening of the reconstructed Alexandrinsky Theatre took place on August 30,2006, in the course of celebration of the 250th anniversary of the oldest state drama theater of Russia.

The opening of the renovated Alexandrinsky stage became the culmination of the anniversary festivities and was held in the presence of the state leaders.Celebration of this

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anniversary was the major event of the public policy in the field of dramatic arts. Based on the instruction 352 of the President of Russia, a decree of the Russian "On the celebration of the 250th anniversary of Russian state theater establishment" as of 12.05.2005 had been adopted; in accordance with it, the basic events were carried out in the premises of the Alexandrinsky Theater throughout the entire year of 2006.

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.Here, at the Alexandrinsky Theatre, took place premieres of practically all plays of the Russian drama classics: from the "Woes of Wits" by A. Griboyedov to the plays by A. Ostrovsky and A. Chekhov. The Alexandrinsky Theater is a textbook of Russian theatrics. A number of renowned actors performed on its stage - from V. Karatygin and A. Martynov to N. Simonov, N. Cherkasov, V. Merkuriev, I. Gorbachev, and B. Freindlikh.

2.The opening of the renovated Alexandrinsky stage became the culmination of the anniversary festivities and was held in the presence of the state leaders.Celebration of this anniversary was the major event of the public policy in the field of dramatic arts. Based on the instruction 352 of the President of the Russia, a decree of the Russian Government "On the celebration of the 250th anniversary of Russian state theatre establishment" as of 12.05.2005 had been adopted.

3.The Russian State Pushkin Academy Drama Theatre - the legendary Alexandrinsky Theater - is the oldest Russian national theater. It was founded by the Senate‘s Decree, signed by Empress

Elizabeth (daughter of Peter the Great) on August 30, 1756, the day of Saint Alexander Nevsky. This theatre is the progenitor of all Russian theaters and the date of its foundation is the birthday of the Russian professional theatre.

4.Outstanding theatre directors, such as V. Meyerhold, L. Vivien, G. Kozintsev, G. Tovstonogov, and N. Akimov, worked at the theatre. Today the theatre is directed by an acclaimed director, People‘s Artist of Russia, Laureate of State Awards Valery Fokin.

Alexandrinsky‘s productions are catalogued in all world theater encyclopedias.

5.Since 1832, the Russian State Drama Theatre has resided in a magnificent building (built by a project of the great architect Carlo Rossi) in the very center of Nevsky avenue, the main thoroughfare of St. Petersburg. The building was named the Alexandrinsky Theatre (in the honor of Alexandra Fedorovna, the spouse of Emperor Nikolay the First).

III.Choose the correct variant of translation.

1. Outstanding theater directors, such as V. Meyerhold, L. Vivien, G. Kozintsev, G. Tovstonogov, and N. Akimov, worked at the theatre.

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a.Такие выдающиеся театральные деятели, как В. Мейерхольд, Л. Вивьен, Г. Козинцев, Г. Товстоногов и Н. Акимов также работали в театре.

b.Выдающиеся театральные деятели В. Мейерхольд, Л. Вивьен, Г. Козинцев, Г. Товстоногов и Н. Акимов основали Александринский театр.

c.В театре работали такие выдающиеся театральные деятели, как В. Мейерхольд, Л. Вивьен, Г. Козинцев, Г. Товстоногов и Н. Акимов.

2.The Russian State Pushkin Academy Drama Theatre - the legendary Alexandrinsky Theater - is the oldest Russian national theater.

a. Российский Государственный театр им. Пушкина является одним из старейших драматических театров

b. Российский Государственный Академический Драматический Театр им. Пушкина – легендарный Александринский Театр является старейшим в России национальным театром.

c. Российский Государственный Академический Драматический Театр им. Пушкина старше, чем легендарный Александринский Театр.

3.Foundation of the theatre gave a start to the Russian state policy in the field of theater arts.

a. Образование театра дало старт Российской государственной политике в области театрального искусства.

b. С образованием театра стартовала Российская Государственная Театральная политика c. Российская Государственная Театральная политика основала театр.

4.The building was named the Alexandrinsky Theatre (in the honor of Alexandra Fedorovna, the spouse of Emperor Nikolay the First).

a. В здании располагался Александринский театр, названный так в честь супруги Николая Первого.

b. Император Николай Первый основал Александринский театр.

c. Здание было названо Александринским театром (в честь Александры Федоровны, супруги Императора Николая Первого).

5.Here, at the Alexandrinsky Theatre, took place premieres of practically all plays of the Russian drama classics.

a. Здесь в Александринском театре, были показаны премьеры практически всех пьес классиков русской драмы

b. Пьесы классиков русской драмы ставились только в Александринском театре c. Первые показы русской классики прошли в Александринском театре

IV. Answer the following questions.

1.When was Alexandrinsky Theatre founded and according to what document?

2.Why was the building named the Alexandrinsky Theatre?

3.What did the theatre interior look like?

4.Who worked at the theatre?

5.Premieres of what kind of plaes took place in the theatre?

6.Who performed on the stage of the theatre?

7.What happened with the theatre in 2005/2006?

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

TEXT X.

Bolshoi Drama Theatre named after G. A. Tovstonogov

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Tovstonogov Bolshoi Drama theatre (BDT), academic theatre located at 65 Fontanka Embankment, founded in 1919 by the joint effort of A.A. Blok (director), M. Gorky (in 1932-92 bore his name) and M.F. Andreeva, serving as a theatre for classic repertoire, staging mainly plays by W. Shakespeare and F. Schiller. Initially it was housed on the premises of the Grand Hall of Petrograd Conservatory, and in 1920 it was relocated to the present building. The first important BDT personnel included actors Y.M. Yuryev, N.F. Monakhov, V.V. Maximov, and V.Y. Sofronov, directors A.N. Lavrentyev, N.V. Petrov, and B.M. Sushkevich, set designers V.A. Shchuko, M.V. Dobuzhinsky, and A.N. Benois, and composers B.V. Asafyev and Y.A. Shaporin. Early productions exhibited both the eclecticism of the BDT's repertoire and its adherence to form of heroic performance. In the early 1920s, the BDT turned to modern drama, passing through a phase of dramatic expressionism (exemplified by Gas by G. Keiser, 1922, The Revolt of the Machines by A.N. Tolstoy, 1924, director K.P. Khokhlov, artist Y.P. Annenkov), enthusiasm for the "cinemafication" of the theatre (like Man with the Briefcase by A.M. Faiko, 1928, director K.K. Tverskoy, set designer M.Z. Levin; and Enemies by B.A. Lavrenev, 1929, director Lavrentyev, set designer N.P. Akimov), and other formal experiments. Tverskoy, the BDT's main director in 1929-35, finally reoriented the theatre towards the staging of straightforward modern drama (The Conspiracy of Feelings by Y.K. Olesha, The Town of Winds by V.M. Kirshon, 1929; Sonata Pathetique by M. Kulish, 1931; Egor Bulychov and others by Gorky, My Friend by N.F. Pogodin, 1932). Some of the people working at the BDT in the 1930s included directors V.V. Lutze, A.D. Diky (main director in 1936-37), and B.A. Babochkin (main director in 1938-40), and actors O.G. Kaziko, K.V. Skorobogatov, V.P. Politseimako, E.M. Granovskaya. In 1941-43, the theatre was evacuated to Kirov (Vyatka). In the 1940-50s, despite a crisis in direction, G.M. Kozintsev, V.P. Kozhich, N.S. Rashevskaya (main director in 194650) and K.P. Khokhlov (main director in 1954-56) managed to stage plays at the BDT. The BDT's golden age came during the period of G.A. Tovstonogov's direction (1956-89), who harmoniously presented topical interpretations of classics and universalized modern drama and prose. The most significant of Tovstonogov's productions are The Idiot, based on F.M. Dostoevsky's novel (1957), Five Evenings (1959) and My Elder Sister (1961) by A.M. Volodin, Woe from Wit by A.S. Griboedov (1962), Three Sisters by A.P. Chekhov (1965), Henry IV by Shakespeare (1969), A History of a Horse based on L.N. Tolstoy's Kholstomer (1975), Barbarians (1959), Petit-Bourgeois (1966), Dachniki (1976), The Lower Depths (1987) by Gorky. Tovstonogov developed a brilliant ensemble of outstanding actors including E.Z. Kopelyan, E.A. Lebedev, I.M. Smoktunovsky, T.V. Doronina, P.B. Luspekaev, S.Y. Yursky, O.I. Borisov, N.N. Trofimov, O.V. Basilashvili, Z.M. Sharko, K.Y. Lavrov, O.V. Volkova, L.I. Makarova, E.A. Popova, V.I. Strzhelchik, A.B. Freindlikh, L.I. Malevannaya, Y.V. Tolubeev, G.P. Bogachev, and V.M. Ivchenko, all united by a common psychological artistic method. In 1964 the BDT was granted the status of an Academic theatre. E.S. Kochergin, the theatre's main designer since 1972, became Tovstonogov's co-creator for many of the latter's productions. A special page of the BDT history is devoted to the productions of Polish director E. Axer, whom Tovstonogov invited to work at the theatre. In 1992, the BDT was named after G.A. Tovstonogov (memorial plaque installed), who was followed by K.Y. Lavrov. Director T.N. Chkheidze has worked at the BDT since 1991, and the theatre continued to regularly invite young directors such as G.M. Kozlov, G.I. Dityatkovsky. The theatre building, which boasts elements of Baroque and Renaissance styles, was built by Count A.S. Apraksin (1878, architect L.F. Fontana) and leased to the Imperial Theatres Board as the second stage for performances from the Alexandrinsky Theatre, holding the name Maly Theatre, Imperial Maly Theatre, Apraksinsky Theatre). In the 1880-90s, the theatre was rented by various impresarios for dramas and operettas, mainly guest performances. E.N. Goreva, M.T. Ivanov-Kozelsky, E. Rossi, E. Duse, S. Bernhardt, J. Mounet-Sully and other actors gave performances on its stage. In 18951917 the building housed the theatre of the Literary Artistic Society, in 1918-20 the Jewish Chamber Theatre-Studio, and in 1919-20 the Maly Drama Theatre. Its main hall seats 1,114 people, its small hall 123.

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