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SPEECH PRACTICE

TOPIC: THEATRE

Topical Vocabulary

theatre,n: refers only to drama.e.g. Do you like opera and ballet?

- Not very much. I prefer the theatre.to go/to attend/to freuent the opera/ballet/theatre/cinema

syn. playhousetheatrical! ad".: theatrical circle/#orldopera-house! puppet theatre! open-air theatre! repertory theatre $ant. non-repertory%variety theatre $syn. music hall% a hall or theatre used for variety ofentertainments $e.g. songs! dances! acrobatic performances! "uggling! etc.%

Note: music hall must not be confused #ith concert hall.production! n: a version of a play. to put on a productione.g. a ne# production of &'amlet(. )ohn *ielgud(s production of &+ing ,ear(provoked a lot of controversy. his theatre is kno#n for its imaginative productions.perforance! n: a single enactment. to deliver/to put on/to give a performance

a breathtaking/inspired/superb/listless performance a never-to-be-forgottenperformance

first performance $syn. first night! opening night! premiere%e.g. I(ve seen that production several times but I think tonight(s performance

#as the best!ho"! n: any theatrical entertainmentvariety !ho"! n: one consisting of a series of numbers! such as songs! dances andother musical items. he sho# has a comere.

e.g. he sho# #as compered by ...actin#! n: the art of representing a character! esp. in a play or for a film or ontelevision

e.g. 0hat do you think of his acting?- he acting #as good/brilliant/mediocre/amateurish/terrible/poor

play! n: a drama! as the plays of 1hakespeare

to present/produce/put on/stage/rehearse/revive a playe.g. ,et(s go to the play $2 to the theatre%. 'e has #ritten a ne# 3 play.

he college drama society are going to put on a play. I didn(t like the play but I #asimpressed by the acting. he play ran for t#o years on 4road#ay.play"ri#ht,n: a #riter of playsplay$appear$be in! v:

e.g. 'e has appeared in many successful productions. - I sa# &+ing ,ear( yesterday. - 5h! yes? 0ho #as in it?

rehear!e! v: practise a play for public performancerehear!al! n. dress rehearsal. to put a play into rehearsalplay! n $syn. role% the main/leading part. a supporting part! a male/female part

e.g. In the play I take/play the part of a policeman. 'e spoke/acted his part #ell.

The %ain &enre! of the Theatre

tragedy! comedy! tragi-comedy! farce! drama! historical play/drama! melodrama! opera!musical/musical comedy! ballet! variety-sho#

Theatre Staff

ca!t! n: the actors in a play! film! etc. an all-star cast! a supporting caste.g. he cast is/are #aiting on the stage.

actor, actre!!! n.'!ta#e( director$syn. producer%! n: a person #ho arrange for the stage production of adramatic #ork.!ta#e ana#er,n: a person in charge of a theatre stage during a performance!ta#e$!et de!i#ner! n: a person #ho designs the props and sceneryco!tue de!i#ner! n: a person #ho designs clothes for the actorsa a)e*up arti!t! n: a person #ho puts make-up on the actorsunder!tudy! n: an actor #ho is ready to play as a substitutee+tra,n: an actor #ho has a very small part

e.g. 0e need a lot of e6tras for the big cro#d scene.propter! n: one #ho prompts actors on the stageattendant! n: $syn. usher/usherette% one #ho sho#s people to their seats

!ta#e*hand$syn. scene-shifter%! n: one #ho moves scenery

In!ide the Theatre

foyer! n: an entrance to a theatree.g. hey arranged to meet in the foyer ten minutes before the play started.bo+*office! n: a place in a theatre! cinema! concert hall! etc. #here tickets are sold.

e.g. ,et(s meet at the bo6-office. he play got bad revie#s! but in bo6-officeterms it #as great success. $2 it #as popular and therefore profitable%cloa)roo! n: a room! e.g. in a theatre #here hats! coats! etc. may be left for a shorttimeauditoriu! n: $syn. theatre! house% the space in the theatre #here people sit #henlistening to or #atching the performance

e.g. he theatre #as full.&'ouse full( $&1old out(! &7ll tickets sold(% a notice outside the theatre

Part! of the Theatre

!ta#e! n: a raised platform in a theatre on #hich a performance takes placee.g. he actor #as on stage for most of the play. 'e(d al#ays #anted to go on

stage. $2 to become an actor%!cenery $syn. !et%! n: furniture! etc. placed on a stage to represent the scene of theaction of the play

e.g. In addition to designing all the sets! he did the scene painting!cene! n: 8% part of a play or production! e.g. 1cene 8! 1cene 9.

e.g. In the first scene the family are preparing to #elcome the youngest son

home. he scene #here )ohn says godbye to 1usan is very moving.

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9% #here the action takes placee.g. he scene is set in pre-#ar osco#. here #as no change of scene during theplay.curtain! n: a sheet of heavy material to divide a stage from the part #here theaudience sits

e.g. he curtain rises/goes up/comes do#n/drops/falls"in#!! n: the sidesof the stage #here an actor is hidden from vie#. In the #ings.footli#ht!! n: a ro# of lights along the front edge of the floor of the stageorche!tra pit! n: a place assigned to musicians in front or partly under the stagethe !tall!! n: the front ro#s of the auditorium

e.g. I(d like to have a seat in the stalls.- 1orry! the stalls are sold out.

pit! n: the back ro#s of the stallsbo+! n: a small enclosed space #ith seats in a theatre! separate from the main seatingarea! e.g. a royal bo6dre!!*circle$7m. balcony, eanine%! n: the lo#est curved ro# of raised seats in atheatre#allery$syn. the #od!, balcony%! n: 8% the highest upper floor in a theatre

e.g. 0e #on(t get a very good vie# from the gallery.9% the people in these seats. o play to the gallery $2 to try to #in popularity by

appealing to lo# taste%ro"! n: a neat line of people or things side by side

e.g. 0e sat in the third ro# of the stallsai!le! n: a narro# passage bet#een ro#s in a theatre

e.g. *ive me t#o seats in the aisle! please

-uyin# Tic)et!

tic)et! n: free/complementary/standing/unsold tickets. 7 ticket for a concerte.g. 'ave you got any tickets for tonight?

to boo) a tic)et to buy a theatre ticket! as to book a seat for a performancee.g. 7ll seats are booked. 0e don(t take telephone bookings. ;ou(ll have to

book $up% #ell in advance if you #ant to see the sho#. I(m sorry! the play is sold out.

$2 all the seats have been booked%

The Audience and it! Reaction

audience,n: the people listening to or #atching a performance! speech! television!sho#! etc.appreciative/enthusiastic/$un%responsive/cold/passive/listless/$un%sympatheticaudience

e.g. he local drama group gave a really good performance. 0hat a pity thatthere #as such a thin audience. he audience applauded loudly at the end of theconcert.

to attract/dra#/pull a large audienceto electrify/grip/move an audience

Note: spectator is not used in conncetion #ith the theatre! cinema! etc. It is used in

conncetion #ith outdoor events! such as matches! races! etc. If #e mean one person! #emay use one/a member of the audience.e.g. 1ome members of the audience #ere shocked by the scenes of violence.applaud!v: to sho# approval by hand-clapping $1yn. to give a hand%

e.g. he actor #as loudly applauded.applau!e,n: heavy/lengthy/light/#eak/polite/enthusiastic/loud/thunderous applause

to get/#in applause fora strom of applause

applau!e bro)e oute.g. he band got a big round of applause at the end of the concert. he

applause at the end #as terrific.to brin# the audience to their feet, to brin# do"n the hou!e to gain an enthusiasticapproval of the audiencecurtain call! n: the appearance of the actors at the end of a performance for applause

e.g.

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audience got up and left/only a fe# people could stand it to the end.revie",n: a ne#spaper article that gives a "udgement on a ne# play! sho#! etc.

e.g. 0hat sort of revie#s did it get? - It got good/ favourable/ poor/terrible revie#s.recieve,v:e.g. he play/production/performance #as #ell/ favourably/ enthusiastically/ poorlyrecieved.

he actor recieved #ide acclaim for this role.prai!e,n: e6pression of admiratione.g. he play has aroused #ide interest and almost unanimous praise from thecritic!/

No praise could be too high for the brilliant acting and staging of the play.

Ipre!!ion! of the Perforance

The Scenery

he sound and light effects helped the audience to concentrate on the dialogues andthe actingI #as delighted by the costumes and sceneryhe scene #as laid in the #oods! $in the castle! in ancient ngland ...%hough being symbolic! the scenery produced a favourable impression on the

audiencehe scenery #as magnificent! realistic! symbolic! beautifully decorated! beautifullyilluminated! fading! bright! colourless1taying opportunities #ere endless! but there #as a concomitant challenge to thedirector to s#im and not to sink in this great theatrical e6panseDecor and properties #ere pleasing and e6ceedingly #ell suited to the narrativehe scenery #as une6pressive! fading and didn(t help to create a tense atmosphereon the stageIt #as a lavish production! #ith #ell-staged lights! real horses and an atmosphere ofbattle you can almost smell1ome truth to life! the costume comedy theatrical artificiality! the realistic play heldthe attention of the audience.

The %u!ic

he music! though old-fashioned! fitted perfectly all the scenes and dancesI #as enchanted/charmed a#ay by the musiche music helped to create a tense atmosphere on the stagehe music intensified the impression of the actor(s playinghe music #as s#eet $melodious! deep! impressive! amusing! e6pressive! tender% and#ent to the spectators( heartshe singer #as touching in his tragic ardour! singing #ith a #arm soft po#erhe actress gave us a #onderfully affecting0illo# 1ong! most delicately moulded and firmly intonedhe music #as madly eclectic in style and modern-fashioned

he @rokofiev classic #as handsome and imaginative

he famous prelude to the last act of A,a raviataB depicts the abandoned and dying#oman in her final hours #ith softly falling harmonies.

The Actin#

I #as moved by the performance of 1. he actor moved the audience to tears.very gesture of the ballet-dancer #ent straight to my heart1he played her part convincingly $artistically! #ith convinction and passion%N. Cuite touched the heart #ith his sensitive portrayal of the hero.

he actress confirmed her early promise #ith a delightful rendering of the leading rolehe actors #ho brought the characters to life so successfully #ell - deserved thetremendous cheers #hich they recieved on the opening nighthe actress appeared to understand the role thoroughly and! in conseuence! one drankin her #ords and #atched her #ith gro#ing respecthe actress #as a touching Desdemonahe action #as beyond admirationhe dancing #as superb $effective! impressive! touching! natural! true to life! moving!graceful%he cast of actors #as e6cellent $distinguished%he rendering #as good! the actor gave an e6cellent portrayal of the main characterhere #as much of emotion in the actor(s playing

he actress should have sho#n more inspiration in the scene ... there #as a lack offeelings in the acting of ...he character of ... #as treated convincinglyhe actress $actor% played her $his% best that eveninghe playing of the actors #as so natural and realistic that I began to feel for her as inreal lifeI liked the style of actinghe actors didn(t even kno# their lines properly1ome actors "ust rattled off their te6t #ithout the slightest regard for its meaninghe actress #as aching in a completely naturalistic #ay! not creating any obvioustheatrical dimensionshe actress managed to create a character of such depth and pathos that half the

audience #as #eepinghe dancer danced beautifully and charminglyhe ballerina #as e6cellent both in classicism and in character'e is an elegant dancer #ith dramatic talent and an accomplished techniue!e6ceptional light elevation and forceful personalityhe singer has a temperament! subtle! artistic intuition! charm and e6cellent voice1he is a real primadonne #ith a voice of rare lyric beauty3ivien ,eigh confirmed her early praise #ith a delightful rendering of the leading roleichael edgrave touched the heart #ith his sensitive portrayal of the hero,aurence 5livier(s first appearance as a never-to-be-forgotten 5thello in the Nationalheatre(s production #as brilliantly successful. 5thello #as played magnificently!5liver really entered into the part

he techniue of the ballet dancer #as faultless $immaculate! precise! graceful!

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he plays are performed on the ...ach act consists of several ...4efore the play is ready to be performed the actors must practise their parts in ...

Rehearsals, theatre, stage, scenes

8/ 1ho i! in the theatre9 %atch the "ord! '2*28( on the left "ith a !uitable

definition 'a*p( on the ri#ht/

8.actor! actress . prompter 9. audience 8>. make-up artist. cast 88. set designer . company 89. stage hand=. choreographer 8. stage manager w. critic 8. understudyx. director 8=. usher! usherette. play#right 8w. costume designer

a% the person #ho #rites revie#s of ne# plays! musicals! etc.b% all the people #ho act in a play or a musicalc% learns another actor(s part in order to be able to take his place if he or she is ill

or unable to performd% reminds the actors of their ne6t line in a speech if they forget ite% sho#s people coming to #atch the play or musical to their seatsf% puts make-up on the actors( facesg% makes up or arranges the steps for the dancers #ho perfom on stageh% designs the scenery! etc. on stagei% a group of actors! singers or dancers #ho #ork together! e.g. he oyal

1hakespeare zzzzzz"% the people #ho come to #atch a play or a musicalk% helps behind the scenes during a production! e.g. by moving scenery! etc.l% a person #ho #rites playsm% is responsible for everything that happens on stage during a performance

n% a person #hose "ob is actingo% decides ho# a play is performed tells the actors #hat to dop% designs the clothes the actors #ear

/ In!ert the i!!in# "ord! in the !entence! belo"/ Choo!e fro the

follo"in#:

Aisle, applause ,auditorium, box office, circle (or balcony), curtain, dress,

rehearsal, dressing-room, first night, foyer, interval, matinee, (orchestra) pit,

performance, programme, rehearse (verb), row, stage, stalls, wings

8. 0e picked up the tickets #e had ordered at the theatre zzzzzzzzzzzzzz.9. he zzzzzzzzzzz is the large area "ust inside the main doors of a theatre #here

people meet and #ait! #hile the zzzzzzzzzzzz is the part of a theatre #here the

audience sit.. 'e #as given the vening 1tandard 7ctor of the ;ear a#ard for his zzzzzzzzz in. I never go to see a play on its zzzzzzzzz . I prefer to #ait a fe# #eeks. It(susually better then.88. In front of the stage is an area #here the musicians sit. his is called thezzzzzzzzzzz.89. If you #ant to kno# more about the play or the actors in it! you can al#ays buy a

zzzzzzzzzz before the performance.8. he audience became silent as the zzzzzzzzzz #ent up and the play began.8. 4efore going on stage! the actors often #ait in the zzzzzzzzzzzzz! that is! the areato the side of the stage! hidden from the audience.8=. here is usually a short zzzzzzzzzzzzz of about 8=-9> minutes bet#een the actsof a play.8w. hey normally zzzzz for at least t#o months before they perform in public.8x. he actors put on their costumes and make-up in the zzzzzzzzzzzz.

;/ Say "hat they u!ually do: a dancer! a conductor! a ticket-taker! a prompter! aspectator! a play#right! a musician! a composer! an usher! a ticket-taker.

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theatre very much but can(t buy the tickets beforehand?

23/ %a)e up !ituation! or dialo#ue! to illu!trate the!e !entence!:

8. 0ell! I do kno# him. 9. 0hat do you take him for? . 7re you so sure of hisfailure? . hey have nothing in common. =. Do you kno# #hat he(s getting at?

25/ Ho" "ill you act and "hat "ill you !ay if:

;ou #ant to kno# #hat is on

;ou don(t kno# ho# to get to the theatre;ou come to the bo6-office to buy tickets;ou can(t find your seat;ou #ant to kno# the cast;ou are eager to listen and your neighbour is talking all the time;ou come home very late.

26/ Chan#e the !entence! into the oppo!ite!:

hey say his ne# play is a complete failure #ith the public.verybody agrees that )ohnson #as at the #orst yesterday.his play is still on at the 7rt heatre.y friend said that he had en"oyed every minute of the play.

'er acting today #as true to life.0hen one sits on the front ro#s one has a good vie# of the stage.he play #as so dull that the spectators #ere bored to death.y brother often goes to matinees.

27/ .ill in the blan)! "ith article! if nece!!ary and retell the te+t/

Ira 7ldridge! famous tragic actor of ... 8th century! #as ... 7merican Negro. 'epaid his first visit to ussia at ... end of 8= #hen he #as at ..| height of his fame.'is first appearance on ... ussian stage made ... deep impression on ... great}krainian poet 1hevchenko #ho #as particularly impressed by ... actor~s convincingperformance of ... tragic parts. 1oon they became friends. ... great }krainianpainted ... picture of .. great Negro! and gave it to him as ... present. ... leading

ussian actors of ... time never missed ... opportunity to go to ... performances in#hich 7ldridge took part. During ... month~s stay in 1t. @etersburg! 7ldridgeplayed ... roles of 5thello! +ing ,ear and 1hylock. In 8w 7ldridge came toosco#! #here he appeared for over ... month #ith .. . aly heatre company.

7ldridge #as particularly friendly #ith great actor ikhail 1hchepkin! ... sonof ... peasant! and himself ... former serf. 5n ...picture of himself #hich he presentedto 1hchepkin! 7ldridge #rote ... follo#ing #ords: |o ... father of ... ussian stage!1hchepkin! #ith the lasting respect of Ira 7ldridge. osco#! 9xth 5ctober! 8w.|

28/ Put one of the follo"in# "ord! in each of the !pace! belo":

To, in, behind, during, at, on

0e sat zzz the stalls.

he usherette sho#ed us zzz our seats.here #ere t#o actors zzz the stage.;ou(d better ask zzz the bo6 office.y favourite actress #as zzz the play.During the performance! #ork is going on zzz the scenes.@eople usually have a drink or a cigarette zzz the interval.5ur seats #ere zzz the third ro#.'e prefers to sit zzz the front she likes to be zzz the back.

I like to sit zzz the middle.

2/ Put each of the follo"in# "ord! or phra!e! in it! correct place in the

pa!!a#e belo"

Reviews, performances, audience, rehearsals, first night, director, run, theatre-

goers, parts, hit, cast, flop, critics, playwright, matinees, applause, auditions

he person #ho directs the preparation of a play is the zzzzzzzzzz. 1ometimesthe zzzzzzzzz! #ho #rote the play #orks #ith him. 5ne of the first things to be doneis to choose zzzzzzz! the actors and actresses. or this purpose! zzzzzzz are held at#hich actors perform short pieces and the most suitable are chosen for the zzzzzzz inthe play. 4efore the play is performed in front of an zzzzzzz of hundreds of zzzzzzzz!of course there are a lot of zzzzzzzzzz. 7t last! the zzzzzzzzz 0hen the curtain goes

do#n at the end! #ill there be enthusiasm zzzzzzzz or silence? 0ill the ne#spaperzzzzzzzzz be good or bad? 0hat #ill the zzzzzzzzz think? veryone hopes for azzzzzzzz that #ill zzzzzzzzzzzz for months or even years! but the play might be azzzzzzzzz and only last for a fe# days. It(s hard #ork in the theatre. here are eveningzzzzzzzzzz si6 nights a #eek and afternoon sho#s! called zzzzzzzzzzzzzzzz! onceor t#ice as #ell.

2;/ Replace the underlined "ord! "ith one of the follo"in# phra!al verb!, in

the appropriate for:come on, get across/over (to), get in/into, go up, pac out, puton, sell out/out of, sit through, tae off!

8. he National heatre is staging a ne# version of A@igmalionB by 4. 1ha#.9. he ne# musical #as not very original and audiences #ere so small that it #as

removed after a month.. hey didn(t manage to get tickets for the theatre! as all the performances #erefully booked.. he 5pera 'ouse #as absolutely full for the first night of Ahe Cueen of 1padesB.=. 7 fe# minutes later the curtain rose.w. 7t last the famous actress appeared on the stage.x. he cast communicated the hopelessness of the unemployed very #ell.. he play #as so boring that I hardly managed to stay in my seat till the end.

2

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. y friend said that he had en"oyed every minute of play.=. N(s acting #as true to life.w. 0hen one sits on the front ro#s one has a good vie# of the stage.x. he play #as so dull that spectators #ere bored to death.. y brother often goes to matinees.

3=/ Coplete the !entence!/

8. ,et(s take the opera-glasses ...

9. he best seats are .... I(ll try to get tickets .... ,et(s buy a programme ...=. he public admires ...w. It is not easy to get tickets for this play as ...x. he bell is ringing! let(s .... ,et(s ask the usher .... he play is very popular ...8>. he theatre #as so full that ...88. 0hen the curtain rose #e sa# ...89. I #as deeply impressed by ...8. I en"oyed the play greatly because ...

8. I(d have en"oyed the play much more if ...8=. he performance #as a failure because ...8w. 1ince/as the play #as boring I ...8x. I should prefer the theatre to start later as ...8. Never arrive late at the theatre because ...8. I like old theatres best because ...

32/ %a)e up dialo#ue! u!in# the "ord! and "ord cobination! #iven belo"/

I Intending to go to the theatre: to read a poster! to be on! to be #orth! to praise!in my opinion! an e6cellent idea! to look up the time of! to see an announcement! tobe in great demand! to choose to prefer! to look for#ard to

II 4ooking a ticket for the theatre: a ro#! the stalls $the gallery! the pit! the

balcony! a bo6%! as a matter of fact! to prefer! these seats #ill doIII*oing to the theatre: to #ear! to look nice to keep somebody #aiting! hurryup! I(d rather! to take a ta6i! to be held up! nearly! needn(t

IV Impressions of a play: to be #orth! e6pressive! cast! e6cellent! opinion! tolook upon as! to do #ell! to be impressed! to find interesting! as a matter of fact!a plot! to be familiar! to look for#ard to

33/ ?e!cribe the preparation! for the aateur perforance, u!in# !oe of

the!e "ord! and "ord cobination!:7n amateur performance! to look for#ard to! to discuss! to complain! to think of!

to take an interest in! to choose! acting! the leading roles! to take advantage of! theattitude! to put do#n to! to be cross! to try to convince! to agree! to give in! to be

e6cited! a rehearsal! at the e6pense of! as a result! fame! to spread! to be eager! to

invite.

35/ Tran!late into En#li!h/

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Read and tell the!e 4o)e!:

85nce! #hen a young musician(s concert #as poorly received by the critics!

1ibelius patted him gently on the shoulder. Aemember! sonB! he consoled the young

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man! Athere is no city any#here in the #orld #here they have erected a statue to acriticB.

9)immy 1aphier! the talent agent! ans#ered his phone recently and #as asked for

a "ob. AI can sing! dance! balance a banana on my noseB said a voice.AI(m sorry! but it(s a slack season. I don(t have any spots for novelty actsB.A0ait! )immy! don(t hang up I can play the musical sa# #hile sa#ing a girl in

half! and I do a s#imming act #here I play a ten minute harmonica solo under

#aterBA1orryB! )immy told the voice. ANot unusual enoughB.A0ait! don(t hang up! )immy. here(s one more thing I(m a dogBA0here do you suppose those 'olly#ood scenario #riters get their ideas?BA0ell! "udging by their productions! I should say they get them from each

otherB.Dramatist: I #ish I could think of a big strong situation that #ould fill the

audience #ith tears.heatre anager: I(m looking for one that #ill fill the tiers #ith audience.

Read the 4o)e, thin) of it! be#innin# and tell the 4o)e "ith a! any detail!a! you can add to it/

During the performance a man in the pit #as much annoyed by a young couplene6t to him! #ho kept on #hispering.

A6cuse meB! he said! Abut I can(t hear a #ord that is being said.BAI like that!B e6claimed the talkative young man. AIt(s no business of yours! sir!

#hat I(m telling my #ife.B

A!) your partner the follo"in# >ue!tion!/

8. 7re you keen on theatre? 9. 0hich do you prefer: cinema or theatre? . 0hichof the insk theatres do you like best? . 0hen did you last go to the theatre? =. Didyou book a ticket in advance or on the day of the performance? w. 0hat performance

did you see? x. 0ho #as in the cast? . Did you like the acting and the sets? . 0asthe house full? 8>. Did you see the stage #ell from your seat? 88. Do you en"oyopera and ballet? 89. Do you often go to the 5pera and 4allet 'ouse? 8. 0hat didyou like in particular: music! singing! dancing! the sets? 8. Do you think theatre isbecoming less popular no#adays? 8=. 0ho are the most popular actors! singers andballet dancers in your country? 8w. 0ho is the most prominent play#right of today inyour country? 7re his/her novels staged? 8x. Do the cinema and theatre have aneducational role? If so! #hat? 8. 'ave you ever performed? Did you en"oy doing it?

Readin#/ Spea)in#

2/ @ou are in 0ondon/ @ou have a free evenin#/ @oud li)e to #o to the

theatre/ Study the inforation ho" to boo) your theatre tic)et! in 0ondon/

HO1 TO -OOB @OR THEATRE TICBETS

*o in person to the heatre 4o6 5ffice generally open from 8>.>> am until thestart of the evening performance. @ay in cash! by credit card! cheue or 0est ndheatre *ift okens.

0rite to the heatre 4o6 5ffice stating the performance you #ish to see! #ithalternatives if possible! and enclosing a cheue! postal order or 0est nd heatre *iftokens! plus s.a.e.

elephone the heatre 4o6 5ffice to make a reservation. hen either pay inperson or send payment! usually #ithin days.

}se your credit card most theatres accept credit card bookings by telephone. ;ou#ill be asked to present your credit card #hen you collect your tickets. ;ou can alsobook by credit card at ticket agencies! #ho may add an additional booking fee to thecost of your ticket. elephone numbers to call for credit card booking at 4o6 5fficesand ticket agencies are listed in this guide.

4e a#are of ticket touts a ticket should al#ays have its original face valueclearly displayed. If you are sold a ticket at more than its face value! and if that value isnot sho#n or made kno#n to you! please let the 1ociety of 0est nd heatre kno# bycalling >x8-w 8.

3/ ?evelop the follo"in# !tateent! into !ituation! or !hort !torie!/8. 0ill you go and buy tickets for me?9. I(d rather go to the Drama heatre.. I #onder if somebody #ould "oin us.. I suggest #e start at w o(clock. he doors of the 'ouse shut at x.=. It(s a shame you can(t go #ith us tonight. 0hat about ne6t 1unday?w. 0e are going to see a ne# ballet at the 4olshoi heatre. #ould you "oin us?x. I #onder if anybody #ould like to go #ith me to book the tickets for the play?

5/ Role*playin#

Theatre*&oer! Role!:

8. ;ou are calling the @alace heatre to book t#o tickets for the concert ne6t

0ednesday evening. ;ou #ant t#o seats in the circle.

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9. ;ou are in the Ne# heatre bo6 office. here are plenty of tickets for theballet on riday and 1aturday. ;ou have seats in the stalls at .=> and in the circleat 9.=>. you do not take telephone bookings.

. ;ou are in the *rand heatre bo6 office. 7ll tickets for the @erformance ofA7ntony and ebruary at x.>pm)anuary 99 - a sign-interpreted and audio-introduced performance~7le6ander @olianichko of the +irov 5pera!.. beautifully conveying the tender

melancholy of the score as #ell as its brilliant passages~ichael +ennedy. 1unday elegraph

&)ulia 'ollander~s beautiful ne# production of 5negin does everything chaikovsky#ould #ant his opera to do~

7le6ander 0augh! vening 1tandardugene 5negin coasts a country house party! a 1t @etersburg ball and a fatalduel! but it is the #armth! intimacy and tenderness #hich the composer lavishes onthe characters that make it not only chaikovsky~s most popular opera. but also oneof the best-loved of all ussian operas.

he composer himself fell in love #ith alyana! the shy country girl #hosecrush on the moody. 4ored 5negin is brushed aside - until they meet again yearslater. he famous ~,etter 1cene~ in #hich the young girl pours out her soul in a raptadmission of love is one of opera~s great moments.

7lter successes at home and abroad! 3ivian ierney returns to N5 to singalyana. 5negin is sung by the young 7merican baritone 7ndre# 1chroeder. #hoseuropean debut at oulouse in the same role #on immense praise. ,ensky. the

friend he kills alter a senseless uarrel! is %?irector - )ulia 'ollanderSet ?e!i#ner- otini DimouCo!tue ?e!i#ner- ahra +haribian0i#htin# ?e!i#ner- )enny

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- I(m afraid that #on(t do either. y father-in-la# is terribly short-sighted. 'e#ouldn(t see much from the pit! #ould he?- 'm... @erhaps! you(d care to take a bo6?- in theevening. 0e suggest that you arrive half an hour before the performance aslatecomers can(t be allo#ed in until the interval.Client: ;es! I see. 7nd ho# much are the tickets?

A#ent:0ell! #e have "ust a fe# seats available at .>>. 4ut there are uite a fe# at89.=> and 8.>>.Client: 0hat are the .>> seats like?A#ent: hey(re at the side of the stage! but the more e6pensive ones are right in frontof it. ;ou(d have a better vie#.Client: ight then. for the x.> performance onhursday 9th ay.A#ent: 3ery #ell! r obinson. If you send us a cheue for x.=> #e(ll send youthe tickets. ;ou have our address?Client: ;es...

PAFTO%I%ES

Sally:ony! there(s an advertisement in the local paper saying that the theatre in the

'igh 1treet is putting on A

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/ Role Play/

Divide into groups of three. #o of you should discuss #hich 4road#ay play you#ould like to see. Decide #hen you #ould like to go. 'ave a second choice in mind!"ust in case your first pick is sold out. 0hen you have made these decisions! call thetheater bo6 office for tickets. he third person in the group is the ticket agent.

5' +7; - 7 fun musical #ith all your favorite *ersh#in songs enskoffheater ===->x ues.-1at. at :>>! 0ed. and 1at. at 9:>>! 1un. at :>> - >-=w>

$9hrs. 9> mins.%>! 0ed. and 1at. at9:>>! 1un. at 9:>> 19=-1w> 9>> discounted tickets are available at the bo6 office forstudents and senior citiens. $hrs. 8= min.%

' 15}ND 5 }1I< - 7 romantic musical about the 3on rapp family andtheir unusual governess. +entucky heather ===-x> ues-1at. at :>>! 0ed. and1at. at 9:>>! 1un. at :>> 1==-1== $9hrs. > mins.%

7 18>9 on.-1at. at :>>! 0ed. and1at. at 9:>> x=>-==> $9hrs.%

;/ Read the te+t and !ay "hat theatre i!/ 1here doe! the "ord Gtheatrecoe fro9 I! theatre the !ae a! draa9

Theatre

heatre! also spelled theatre! is a live performance before an audience. Itincludes all every form of entertainment form the circus to plays. In more traditionalterms! theatre is an art form in #hich script is acted out by performers. heperformers! usually #ith the help of a director! interpret the characters and situationscreated by a play#right. he performance takes place before an audience in a spacedesignated for the performance.

he #ord theatre comes from a *reek #ord meaning a place for seeing. In thissense! the #ord refers to the space #here performances are staged. 'o#ever! theatrein a broad sense includes everything that is involved in a production: script! the

stage! the performing company! and the audience. In addition! theatre refers to a partof human culture that began during primitive times.heatre is not the same as drama! though the #ords are freuently used

interchangeably. Drama refers to the literary part of a performance that is! the play.1ome critics believe that a play is not really a play until it has been performed beforean audience. 5thers argue that the script is only a blueprint that the director and otherinterpretative artists use as the basis for performance.

he theatre is one of the most comple6 of the arts. It reuires many kinds ofartists for its creation. hese specialists include the play#right! performers! director!scene director! scene designer! costumer! lighting designer! and various technicians!and a choreographer are needed. he theatre is sometimes called a mi6ed art becauseit combines the script of the play#right! the environment created by the scene

designer! and the speech and movement of the performers.

In the earliest theatrical performances! the dramatist performed all artisticfunctions! including acting. *radually different theatre arts emerged. In the moderntheatre! a director is used to integrate all aspects of production! including scenery!costumes! lighting! sound effects! music and dancing! but perhaps his most important"ob is to guide the performers.

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romantic comedy tries to arouse "oy.arce is sometimes considered a distinct dramatic form! but it is essentially a

type of comedy. arce uses ridiculous situations and broad physical clo#ning for itshumorous effects.

2=/ Read the te+t/ An!"er the >ue!tion! that follo"/

1HAT IS A P0A@9

7 play is a story devised to be presented by actors on a stage before an audience.his plain statement of fact presents an e6ceedingly simple definition of the

drama! - a definition so simple indeed as to seem at the first glance easily obviousand therefore scarcely #orthy of e6pression. 4ut if #e e6amine the statementthoroughly! phrase by phrase! #e shall see that it sums up #ithin itself the entiretheory of the theatre! and that from this primary a6iom #e may deduce the #holepractical philosophy of dramatic criticism.

It is unnecessary to linger long over an e6planation of the #ord story. 7 story isa representation of a series of events linked together by the la# of cause and effectand marching for#ard to#ard a predestined culmination! - each event e6hibitingimagined characters performing imagined acts in an appropriate imagined setting.

he phrase &devised to be presented( distinguishes the dramasharply from all

other forms of narrative. In particular it must be noted that a play is not a story that is#ritten to be read. 4y no means must the drama be considered primarily as adepartment of literature! - like the epic or the novel! for e6ample. ather! from thestandpoint of the theatre! should literary method be considered as only one of amultitude of means #hich the dramatist must employ to convey his story effectivelyto the audience. he great *reek dramatists needed a sense of sculpture as #ell as asense of poetry and in the contemporary theatre the play#right must manifest theimagination of the painter as #ell as the imagination of the man of letters. he eppealof a play is primarily visual rather than auditory. 5n the contemporary stage!charactersc properly costumed must be e6hibited #ithin a carefully designed andpainted setting illuminated #ith appropriate effects of light and shado# and the artof music is often called upon to render incidental aid to the general impression. he

dramatist! therefore! must be endo#ed not only #ith literary sense! but also #ith aclear eye for the graphic and plastic elements of pictorial effect! a sense of rhythmand of music! and a thorough kno#ledge of the art of acting. 1ince the dramatistmust! at the same time and in the same #ork! harness and harmonise the methods ofso many of the arts! it #ould be uncritical to centre studious consideration solely onhis dialogue and to praise him or condemn him on the literaryground alone.

It is! of course! true that the very greatest plays have al#ays been great literatureas #ell as great drama. he purely literary element the final touch of style indialogue is the only sure antidote against the opium of time. No# that 7eschylus isno longer performed regularly as a play#right! #e read him as a poet. 4ut on theother hand it must be granted that many plays that stand very high as drama do notfall #ithin the range of literature.

$rom: 'amilton > professional theatres in 4ritain. ,ondon is the theatrical centre #ith8>> theatres in the 0est nd and suburbs. he National heatre

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the country present light operas! particularly the comic operas of *ilbert and1ullivan.

7 selection of play#rights 89>-=>: *.4. 1ha# $d. 8=>%! )ohn *als#orthy $d.8%! 1ean 5(

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&props(! such as crockery and table lamps! are bought or constructed by theproperties department.

=. No# it is time to advertise the ne# production. he press office keeps themedia informed about #hat is happening! and tickets are sent to the critics. 7nillustrated programme is produced. he marketing department organises advertisingcampaigns! has leaflets and posters printed and distributed! arranges the price oftickets #ith the bo6 office! and offers advance booking through the mailing list.

w. ehearsals become more freuent! using real furniture and props! and

costume fittings are arranged. 0ith the transfer from rehearsal room to stage! thereare e6tensive lighting and sound rehearsals! follo#ed by full-scale dress rehearsals.@roduction photographs are taken for issuing to the media and for display in thetheatre foyers.

x. 5n the first night! the play usually begins early! to give the critics time to#rite their revie#s for the ne6t morning(s ne#spapers. *ood luck cards andtelegrams are taken from the stage door to the actors( dressing rooms. 7fter theperformance the cast normally celebrate #ith a first night party. 7 ne# productionhas been launched.

. It is t#enty #eeks before the opening night. ake sentences saying #hathas to be done. }se some of these verbs: choose! construct! design! distribute! make!print! publicise! rehearse.

. It is no# half #ay through the rehearsal period. ake sentences saying#hat is being done.8>. ead the te6t again and check #hether you have left anything out.

28/ Can you #ue!! "hat frin#e theatre i!9

1HAT IS A .RIF&E9

AringeB theatre is the performance of plays that are unusual or that try to makepeople think differently.

@resenting live theatre in an informal! accessible and ine6pensive environment!the ringe strives to break do#n traditional boundaries bet#een audience and artist!encouraging open dialogue bet#een theatre-goers and theatre-creators. 7udiences are

invited to e6perience the #ork of seasoned veterans alongside that of emergingartists. ,ocal! national and international performing companies benefit from #orkingtogether and learning from each other in a vibrant and e6citing festival atmosphere.In order to stimulate artistic innovation! applications for participation in ringefestivals are accepted on a non-"uried! first-come! first-entered basis.

'I15;ringe estivals have been entertaining audiences for over => years beginning

#ith the original festival in dinburgh! 1cotland. In time these artistic celebrationsspread around the #orld. 5ver the past 9> years! the ringe movement in ma"or professionalstages and the over => off-4road#ay e6perimental theatres that bring to mind7merican play#rights such as 5(Neill! iller! 1aroyan! 0illiams! Inge! 7lbee! )ones!1imon! and 1hephard. here are over 8=!>>> professional actors in Ne# ;ork alone!and another 9>!>>> or so in the state of >> professional musiciansand composers live in Ne# ;ork! and almost 9!>>> more in

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the country~s finest performers. ;et in terms of creativity!~ productivity! andoriginality! 4road#ay presently is no more than a first among euals as the upstartregionals have transformed! themselves into the crucible in #hich virtually all ne##ork for the 7merican stage is being molded. No# these theatres have slo#ly butsurely challenged the: might and main of 4road-#ay by regularly sending the best oftheir seasons to Ne# ;ork. 6amples abound:

- *o #est to the 1eattle epertory heatre and you might #itness the #orldpremiere of an Important 7merican play. In 8 the 1eattle ep presented 0endy

0asserstein~s he 'eidi

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Copo!e a dialo#ue bet"een a -elaru!ian theatre*#oer and an Aerican one/

3=/ ?o you )no" anythin# about the developent of theatre in -elaru!9 Read the

follo"in# article and render it in En#li!h/ &ive a brief !uary of it/

UWXY Z[W[U \U[]^

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32/ Read the te+t and !pea) about the theatrical life in -elaru!/ Copare it

"ith that in -ritain and the SA/

Theatre in -elaru!

he ;anka +upala 4yelorussian 1tate 7cademic theatre $the National heatre of4elarus% is the oldest in the republic! it #as founded in 89>. its famous actors suchas *lebov! olchanov! @latonov! akhlenko! Dedushko! hetskaya! 1tomma are#ell kno#n in this country.

he 1tate 7cademic 4olshoi heatre of 5pera and 4allet of 4elarus #as openedin 8. operas and ballets not only by 4yelorussian $ sikotsky! urankov!

4ogatyrov% but also by ussian and foreign composers are staged there.he a6im *orky 1tate ussian Drama heatre of 4elarus #as organised in89! the 1tate @uppet heatre in 8=>! the ;oung 1pectator(s heatre in 8=w!the 1tate usical

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33/ 0oo) at the title and #ue!! "ho the inforation i! about/ 1hat do you

)no" about thi! per!on9 Read the follo"in# inforation and an!"er the

>ue!tion! follo"in# it/

Stratford*on*Avon

1tratford-on-7von is the place #here the greatest dramatist and poet of thenglish literature 0illiam 1hakespeare #as born and died $8=w-8w8w%. 7pril 9rd isthe day on #hich 1hakespeare #as born and also the day on #hich he died.

1tratford is a very interesting to#n in the centre of ngland. 1o 1hakespeare #asborn right in the heart of ngland and in the midst of the country. here are beautiful#oods! green fields! a 1hakespeare #as born and died $8=w-8w8w8. 7pril 9rd is theday on #hich 1hakespeare #as born and also the day on #hich he died.

1tratford is uite a busy to#n! especially on market day #hen the farmers fromthe country-side round 1tratford come to buy or sell co#s or pigs or sheep.

5f all the buildings in 1tratford! none possesses greater fascination and interestthan those associated #ith 1hakespeare and his family. hey are maintained as amemorial to the poet.

he main centres of interest include the 4irthplace itself! 7nne 'atha#ay~s

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pieces! and after a time #as given a small part to act. 4ut he soon sho#ed that hecould make himself most useful in changing old plays #hich the actors themselvescould not do. very old play that 1hakespeare took in hand! he made into somethingdifferent and far better. hen he began to #rite plays himself.

1hakespeare #rote x plays altogether. 'e is also kno#n as the author of t#opoems and 8= sonnets.

SHABESPEARE_S -IRTH?A@ CERE%OF@

4y an odd chance! ngland~s greatest #riter! 0illiam 1hakespeare! #as born on1t. *eorge~s Day! 8=w! in 1tratford-on-7von! 0ar#ickshire! and also died on thesaint~s day in 8w8w. very 9rd 7pril is no# a day of special pageantry in 1tratford.

he birthday al#ays begins early in the morning #ith the ringing of the bells of'oly rinity > tallpoles have been put up. 1oon bugles are blo#n and then one after another a flagappears at the top of each pole. ach flag is of a different country.

In the afternoon a band playing music and follo#ed by many people marches upthe street. he ayor leads a distinguished procession to lay flo#ers on1hakespeare(s grave at 'oly rinity -8w>%final years and retirement $8w88%death $8w8w%.. 0hat can you say about the ceremony of 0illiam 1hakespeare(s birthday in

1tratford-upon-7von?=. 0hat is the aim of 1hakespeare

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35/ Roeo and Duliet are t"o of the o!t faou! lover! in hi!tory, and their

!tory i! one of the #reate!t tra#edie!/ -efore you read the !uary of

Sha)e!peare! play, !ay "hat you )no" about the !tory/

Read RO%EO AF? D0IET and an!"er the!e >ue!tion!`

0hy did omeo and )uliet marry in secret?0hy did omeo kill ybalt?0hy did omeo leave 3erona?0hy didn(t omeo kno# that )uliet #as alive?

0hy did omeo kill himself?0hy did )uliet kill herself?

Roeo and Duliet

omeo ontague and )uliet ue!tion!:

Does he like her?Does she like him?0hat happened in the end?

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console $8% zzzz that even in your e6hausted state you are using 1hakespeare(s#ords. AI have not slept one #inkB is from the play . ven $% zzzz it is not a popular play! #e are using hisline in $% zzzz daily lives four hundred later.

0hen a guest devours absolutely $=% zzz in your kitchen cupboard! you $w%zzzcomplain that you Ahave been eaten out of house and homeB. It is 1hakespeareagain. A'e hath eaten me out of house and homeB comes from 'enry 3.

,ines from 1hakespeare crop $x% zzzz in all kinds of places! $% zzzz titles of

films and novels. 1hakespeare #as #riting #hen it had $% zzzzfashionable forauthors to give up ,atin in favour of nglish $8>% zzzz the language of literature.4ut there #ere not enough nglish #ords to e6press all their ideas! $88% zzzz #ritersbegan making #ords up. 1hakespeare introduced about w>> ne# #ords into nglish.hese include many that #e could hardly imagine $89% zzzz #ithout: admirable!educate! generous and tranuil. 'e also made up compounds such as lack-lustre andsharp-toothed.

0ords #ere usually made up from ,atin! but #riters also turned $8% zzzzrench. his is $8% zzzz #e have so many #ords to describe almost the same thing!and in nearly all of $8=% zzzz there is a slight difference of feeling. or e6ample! #ehave the nglish #ord end! the rench-derived finish and the ,atin-derivedconclude.

Coplete the te+t by "ritin# one "ord in each nubered #ap/

Here are !oe ore e+pre!!ion! ta)en fro Sha)e!peare/ They are all u!ed

in odern En#li!h/ ?i!cu!! "hat you thin) they ean, in "hat type of !ituation!

"ould you u!e the9

'e(s a to#er of strength.here(s method in his madness.'e(s more sinned against than sinning.It(s neither here nor there.'e loved not #isely but too #ell.If music be the food of love! play on.

38/ Ho" do you !ee the role of the theatre in the odern "orld9 Ha! it

chan#ed a lot !ince Sha)e!peare! tie9 Read the follo"in# conver!ation and

!ay ho" the !pea)er! under!tand it:

- criticie the #ay the play is staged- criticie the morality of the play- discuss themes that modern theatre should symbolie.

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1hat! your opinion on the >ue!tion! di!cu!!ed9

- 0ell! #hat did you think of the play?- errible. I didn(t like the element of cruelty in the play. 0hat about the scene

#here one of the patients has his glasses stolen and he(s on his hands and kneeslooking for them! and the others are standing around "eering at him. hat #as reallysadistic.

- 0ell! that(s #hat like is like. 7s I see it! the theatre has got to be realistic! anddeal #ith contemporary issues. It(s no use pretending that these things don(t happen.3iolence and cruelty are features of our life. hey concern all of us.

- I don(t agree. he vast ma"ority of people live their lives #ithout having suche6periences. 6cept in the theatre. here(s too much emphasis on violence thesedays.

- 0ell! I agree #ith you but the theatre should reflect reality! not provide ameans of escape from it.

- It all depends on #hat you mean by reality.- 4ut don(t you see? hat scene you referred to symbolies the helplessness of

the individual in a society. It(s a universal reality of our day.- Cuite so.

- In my opinion! most people are not interested in their relations #ith society.Not for most of the time! any#ay. hey are most interested in personal situations!family ro#s! conflicts at the pffice! that kind of things. any of them are reallycruel.

- I think sho#ing violence and cruelty on the stage has a bad effect on publicmorality. uaint you "ith !even per!on! e+pre!!in# their

vie"! on theatrical proble!/ Enact the onolo#ue! in the for of intervie"!/

!e the follo"in# conver!ational forula! encoura#in# people to !pea) andavoidin# bein# i!under!tood/

Do tell us #hat you think about it! #ill you? eally 1o! #hat do you suggest? ;oudon(t care for it! you mean. and #hat is #rong #ith it? 0hat about ...? It(s veryinteresting indeed. 4ut don(t you think ...? 6plain it! please. ;ou mean to say that ...

@lease! don(t misunderstand me. I mean ... Don(t get me #rong. ;ou haven(t got

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the point! I think. No#! I didn(t say that. No! I mean something different. No ... "ustlet me finish. I #as about to say that ... I(m not implying that ... 0ell! I didn(t reallymean that ...

?avid Stone, 63, arti!t:

I am uite fond of the theatre! even though I don(t go there too often. In myopinion! the value of the theatre is rather the same as of art in the broad sense of the#ord: it is the focus of the spiritual life of the nation. 7s for the contemporary

theatre! I think that it sadly lacks genuine poetry! harmony and heroic spirit. heprevailing tendency of today is to stage the tragedy in such a #ay that it loses itsnoble spirit and lofty passions. I don(t think that is the appropriate #ay to bridge thegap bet#een! let us say! 1hakespeare and the contemporary audiences. 1omeho#!1hakespearen atmosphere should be preserved. I am all for high tragedy.

Charle! Sander!, 5=, u!ician:

he theatre is a splendid art. It is also a very difficault art! and a defenceless one!because everyone sees only the tip of the iceberg but is uite sure that he sees it all!and has something to say about it.

@ersonally I am not a passionate theatre-goer. I prefer to sit at home and read theplay. he theatre dictates to me: they put their dish before me and insist on my

s#allo#ing it. I #on(t have it. I prefer to have my o#n vision of the play.5f course! one mustn(t lose sight of the educational role of the theatre. buteducation should by no means become the primary aim! it shouldn(t be too obvious!too didactic. he educational aim is best achieved #hen suddenly some secret springis touched! and the spectator feels: here is the moment of ruth. It is for this preciousmoment of ruth that people go to the theatre.

Eu#ene %orri!, 37, "or)er:

I(ve never given a thought to the reason #hy I go to the theatre. y parents tookme #hen I #as a child! and the habit stuck.

0ith me! the theatre is rest! #ork and a festive occasion. 7 good play makes onethink: is it true to life? 0hat should I have done in his place?

0hat I don(t like in our contemporary theatre is the prevailing insistence on thecharacter #ho is a hopeless failure. 0hat is the purpose of such plays? I #ant to seea hero on the stage! a man #hom I could admire and try to imitate. 5f course! I don(tmean an AidealB hero: no one is likely to believe in him. I mean a strong! honest man!but also kind and tolerant. It is difficult for me to dictate to dramatists! but I hope yousee #hat I mean.

Peter 1yndha, 57, producer:

0hen a child I didn(t go to the theatre. once or t#ice my grandmother took meto the opera. 5ne day #e #ere late and arrived at the moment #hen a terriblethunderstorm had "ust broken out on the stage.

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I don(t #ant to spend my life covering myself up in #igs and muck. I don(t believeacting has anything to do #ith imitation.B

AI can(t imagine #hat you(re an actor for then!B said ichael. AIf you don(t haveany interest in the parts you(re playing! or the people #ho are #atching you! then#hat are you doing it for?B

A5h! for myself!B said David. Aor myself. o discover about me. 0ith eachne# part I play! I find out more about me. 7nd if people #ill pay to see it! that(s theiroutlook! not mine.B

$rom: he *arrick ;ear by argaret Drabble. 7bridged.%

.ind in the e+tract the ain point! of ar#uent/ State "ith "hich of the

!pea)er! you a#ree/ %otivate your opinion/

Reproduce the dialo#ue/

?ebate the follo"in#/ Beep it in ind that !oe of the !tateent! are

di!putable/

he actor! #hen on the stage! should #holly concentrate on his part and onhis co-actors. 'e should act as if the audience didn(t e6ist. Note: it is actually theproblem of the Afourth #allB raised in his time by 1tanislavsky. here is a

pronounced tendency in the contemporary stage-direction to try and destroy Athefourth #allB! i.e. Ato play for the houseB. he actor should convey to the audience his o#n vision of his part and not

#hat he thinks they e6pect from him. 7cting is an art. 7cting consists in communication. Note: the important point here is

#hether communication can be achieved only through Aplaying for the galleryB. 7cting is basically entertainment! the actor isn(t there to instruct! he(s there

to amuse. he actor must al#ays be himself. 7cting has nothing to do #ith imitation.

he actor is not supposed to ad"ust himself to every ne# role. 1tage acting is a lost art it has been ruined by films and 3.

52/ Read the te+t and an!"er the >ue!tion! follo"in# it/

Strainin# Every Ferve

he #hole day from the moment you get up to the moment you hit the sack islike no other. If anything it~s like some peculiar birthday. verybody is e6tremelynice to you. here #ill be telegrams and cards possibly presents and flo#ers. ;ourdressing room begins to resemble a hospital #ard or a funeral parlour. 0hether thedirector has called you in or not you~re unlikely to be able to resist the magnetic pullof the theatre. ;ou(ll pick at your lunch. ;ou~ll drink many cups of black coffee.here #ill be a number of people in the audience most of #hom #ill have seen itbefore #hen they didn~t laugh. No# they #on~t laugh again. hose #ho haven~t seenit before #on~t laugh either or if they do! it~ll be in uite the #rong place. he play

#ill seem to last eight and a half hours. ;ou #ill barely be thinking of yourperformance because you~re haunted by the fact that the lighting plan appears to havebeen designed by embrandt. ;ou can~t see your fello# actors so ho# can theaudience? 7ll in all. you "ust long for the #hole thing to be over.

heatre auditions generally take place in the auditorium of a theatre other than theone in #hich the play #ill go on. he director! the assistant director! the casting agent!possibly the theatre~s artistic director! probably the producer are all lounging in thestalls #ith their feet on the back of the seat in front? here are t#enty or thirty plastic

cups #ith cigarette butts lying in an inch of coffee littering the aisles. he air is thick#ith smoke and raucous laughter. he director has been telling a "oke. 7bout theprevious actor you think darkly and they~ll have a little "oke about you too #hen you~vegone. @eople leap up to greet you! the casting director introduces you to everyone! youshake the director as firmly by the hand as you can #ithout betraying your tension.;our voice is trembling oddly. ;ou long for a cigarette even though you don~t smokebut you don~t take the one offered to you because it might seem unprofessional andyour mouth is already so dry that it~s painful to s#allo#.

|;ou deserve a rest.| No. he only thing I deserve! I hope is a "ob. If you have a"ob a fe# #eeks hence! then a gap of a fe# #eeks #ill be most #elcome. 4ut any time!any day not #orking and #ithout the prospect of #ork! is dead time! grey time an6iousand haunted times. ;ou could learn *erman! take driving lessons! night classes in the

'istory of 7rt. No! you couldn~t. ven if you~ve got any money! #hich is unlikely! it~simpossible to settle to anything. here~s something #rong! something missing.8. Is being an actor a vocation or can anybody do this? Does it reuire special

education? 0hy?9. 'ave you ever thought of becoming an actor? 0hy?. Describe your e6perience of acting.. 0rite an argumentative essay on the topic A7dvantages and disadvantages of

being an actorB.

56/ Spea) about your favourite actor$actre!!/

?i!cu!!ion

2/ 1or) in !all #roup!/ &ive rea!on! for your vie"! and di!cu!! the "ithyour partner'!(/

he theatre in the }nited 1tates is not state-financed. heatrical activity is paidthrough donations from individuals! private groups! corporations! and nonprofitfoundations. Is it true for your country?

0hat do you consider the greatest play of the year $of the decade%?0hich do you prefer: comedies or dramas? 0hy?'o# do 3 plays compare #ith stage plays $screen play%?Do you prefer grand opera in a foreign language or in your mother tongue?

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actually dying.any people believe that it(s much more convenient to #atch a performance on

3 at home. ;ou don(t have to bother about the tickets! a baby-sitter! transport! etc.

3/ Arran#e di!cu!!ion! and round*table tal)! on the follo"in#/

0hy do people go to the theatre?0hat is a play? 7musement? Instruction? )ust a story enacted on the stage?he educational role of the theatre.

he theatre versus films and 3.he actor and the problems pf play-acting.Dialogue. Its role in the play.1cenery and music. heir role in the play.

5/ ?i!cu!! the follo"in# !tateent! "ith your partner'!( and coent on

the/

7ll the #orld(s stage!7nd all the men and #omen merely players ...

1hakespeare! 0illiamheatre is a magnifying glass.

. Neyelova

y character must live inside me for uite some time and I must believe in thisidentity more strongly than even the director does.3. ikhonov

7n actor certainly needs success and popularity.,. *urtchenko

I can see poetry every#here! even in the grass.7. Demidova

7 director is a person employed to set up the fact of actors( disabilities to play.)ame igat

6/ Role*play

Roleplay 2/Role card for St/ A:;ou #ant your colleague(s impressions of a play $3 play%. 7sk#hy he liked or disliked it. 0ere the characters true to life? 0ere the situationsdramatic and at the same time credible? 0ere the background scenery and minorcharacters #ell dra#n? 0as the author(s style simple or complicated? etc.Role card for St/ -: 1hare #ith your collegue$s% your impressions of a play $3play% you have seen. 7ns#er his $their% uestions.

Roleplay 3/

Role card for St/ A:;ou #ant to take your foreign guest to the theatre in your hometo#n. ind out his tastes and together #ith him choose a performance you #ill see$use brochures or advertisements in ne#spapers%.Role card for St/ -:;ou are a foreign guest in this city. ;our friend #ants to take

you to the theatre. 1ay #hat you #ould like to see and together #ith him choose aperformance.

Roleplay 5/

Role card for St/ A:;ou are calling the Ne# heatre about the ballet on riday and1aturday. ind out the cost of tickets and if they have any left. 4ook one seat on eitherriday or 1aturday if you can.Role card for St/ -:;ou are in the Ne# heatre bo6 office. here are plenty of tickets

for the ballet on riday and 1aturday. ;ou have seats in the stalls at .=> and in thecircle at 9.=>. ;ou do not take telephone bookings.

Roleplay 6/

Role card for St/ A:;ou are calling the *rand heatre. ;ou #ant tickets for theperformance of 7ntony and

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room! too! for the gravediggers and the final fight. he impression is more of ami6ture of desert and prison than a formal court. he use of lighting by *iorgieskhishvili #ho also designed the set! has moments of sheer brilliance.

If ickman is a uietly convincing! almost conventional 'amlet! the directionby obert 1turua has its surprises. 5sric is played not as a precious young fop! but asa fussy middle-aged man #ith foppish tendencies! bo#ler hat and spats. ,aertis isdifferent from any previous conception kno#n to this revie#er. 'e #ears spectacles!is much smaller than 'amlet and! #hether in sports "acket or old leather and "eans!

looks like a student #ho #ould genuinely prefer to be at the 1orbonne rather than thecourt of Denmark.5ne #eakness is @olonius. nglish production have tended traditionally to play

him as a buffoon. odern east uropean productions have portrayed him as a statebureaucrat. his @olonius falls bet#een all stools and is nothing in particular. I also#onder #hether it is #ise to have David 4urke playing both

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In such a setting! a fee #as charged to playgoers for entering the inn yard! and thenan additional fee #as added on if they #anted to go up to a balcony level. he finestsurviving galleried inn in ngland is Ne# Inn! *loucester! itself a venue for bothliabethan and modern performances. It #as the commercial success of suchproductions that gave rise to the first purpose built theatre in ,ondon! appropriatelycalled ~he heatre~ and built in 1horeditch in 8=xw.

he age of arly odern theatre building in ,ondon is restricted to the period8=xw-8w8 and in this time a total of ten building e6isted. hese #ere as follo#s:

8=xw: he heatre! insbury ields! 1horeditch 8=xw: Ne#ington 4utts! 1outh#ark! 1urrey 8=xx: he >: he ortune! *olding ,ane! >: he 4oar~s 'ead! 0hitechapel 8w>: he ed 4ull!

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7nd so every day at t#o o~clock in the afternoon in the city of ,ondonsometimes t#o sometimes three plays are given in different places! #hich compete#ith each other and those #hich perform best have the largest number of listeners.he playing places are so constructed that the actors play on a raised scaffold! andeveryone can see everything. 'o#ever there are different areas and galleries #hereone can sit more comfortably and better! and #here one accordingly pays more. hus#hoever #ants to stand belo# pays only one nglish penny! but if he #ishes to sit!he enters through another door #here he gives a further penny! but if he #ants to sit

in the most comfortable place on a cushion! #here he #ill not only see everythingbut also be seen! he gives at another door a further nglish penny. 7nd during eachplay things to eat and drink are brought round among the people! of #hich one maypartake for #hatever one cares to pay. he actors are dressed in a very e6pensive andsplendid fashion! since it is the custom in ngland #hen notable lords or knights diethey beueath and leave their servants almost the finest of their clothes #hich!because it is not fitting for them to #ear such clothes! they offer them for purchaseto the actors for a small sum of money. 'o# much time they can happily spend eachday at the play! everyone kno#s #ho has seen them act or perform.

he site of the ose #as discovered during building #orks in 8. 7fter ama"or campaign! part of the foundations has remained on vie# in the basement of amodern commercial building. he e6cavations sho# clearly the polygonal shape of

this building. It #as also apparent from a study of the remains that the building hadbeen e6panded in the course of its life.

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festival produce an interesting variety of plays by less established companies.7mong other such festivals are those held at 4ath! 7ldeburgh $connected #ith thecomposer 4en"amin 4ritten%! @itlochry in the 1cottish 'ighlands and ,langollen innorth-central 0ales. he hree

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yesterday!| she began. |'e #as the last to take the e6am!| she added! seeing that heropening declaration #as not sufficient to remind the principal of the young man inuestion. hen the old lady #ent on to say ho# long her nephe# had been practisingthe passage for the e6am! ho# upset he #as because of his failure! ho# she hadal#ays shared all his "oys and sorro#s! etc. |7 hard case!| the principal said tohimself. 'e had already realied that the old #oman #as a remarkable bore! andthought that it had been very foolish of the secretary to let her in.

he first moment she stopped to take breath! he took advantage of the situation

and hurriedly began:|;ou see! an actor must act. In the proper sense of the #ord acting meansturning into another person! #hich I think is beyond ...|

'e didn~t finish his sentence! for the |old lady| took off her hat together #ith thegray #ig and the glasses! and through the cleverly put on make-up the principalcould see the familiar boyish features #hich could not be called e6actly ugly but#ere ordinary! uite ordinary...

ake up a story about the future life of the young man #ho the above te6t isabout.

Te!t your!elf

2( 1rite !ynony!, !ynonyou! e+pre!!ion! or En#li!h e>uivalent! of:QJHQ! O]ZLJHQ! S]QPL $%OPQSPL $9%MHPFLQLQLJY HOJF! ]OL^QGLJYO $9%LFQR OHT $9%JHLJ $9%OHLQR $9%SHYHL $%LHQLOFMQJY L ZF] $%P]SQJY! LPLLJY QHJ $9%

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3( &ue!! the "ord $phra!e:

heatrical performance based on fairy tale! #ith music and "okes usually at

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#hether ... ne# production is ... lasting success. x. ... young ballerina #as ...revelation. . No #onder ... 1oviet film |'amlet| #on ... acclaim throughout the#orld. *reat credit is due not only to ... leading actors but also to ... art director! ...director of photography! ... make up artists and above all to ... producer of the film.

7/ Read the te+t and coplete u!in# the vocabulary/ To help you the fir!t

letter of each "ord i! #iven/

he dzzzz of a group of amateur azzzzs has a difficult "ob. irst! he has go find

a czzzz capable of #orking together. It is easy enough to persuade people to take thepzzzzs of the hzzzz ! hzzzz! and vzzzz! but no one #ants a minor rzzzz! andfinding someone #illing to be szzzz mzzzzz is even harder. 5ur last pzzzz had allthe signs of being a disaster. 7t the dress rzzzz! the night before the first pzzzz! theleading azzzz fell do#n! tore her czzzz and t#isted her ankle. 0e had not got anuzzzz! so she had to go on the fzzzz nzzzzz #ith a stick.

7s I #atched the azzzz taking their places in the szzzzs before the curtain #entup! I feared the #orst but it #as #orse than I had feared. In the first azzzz! the heroforgot his lzzzzs! couldn(t hear the pzzzz! and made an ezzzz into the #zzzzs tofind out #hat he had to say ne6t. he actor on szzzz #ith him didn(t notice! and#ent on #ith his ne6t szzzz. he heroine #as #earing a long dress because of hert#isted ankle. 1he got too close to the fzzzz! sa# smoke rising from her feet!

screamed and fainted! "ust as the villain! making his ezzzz! came on and tripped overher.During the izzzz! my #ife! #ho #as helping out by acting as an uzzzz! sho#ing

people to their seats! said: ADon(t #orry hey love it. 7 man in the second rzzzz"ust said to me: AI didn(t realise this #as a czzzz. I haven(t laughed so much foryearsB.

8/ Tran!late the!e !entence! into En#li!h u!in# active "ord!/

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Revi!ion

2/ %a)e up dialo#ue! on the follo"in# !ituation!:

;ou discuss #ith your friend #hat performance to see ne6t #eek.;ou describe to your small brother $sister% the interior of a theatre.;ou talk #ith your friend about the repertory and the uality of productions of a

particular theatre.;ou tell the friend of yours the plot of the performance you sa#.;ou describe to a visitor to your city $to#n% its theatrical life and recommend to

see some particular performances.he house being sold out long before! you fish for a ticket at the entrance of the

theatre asking the coming spectators for an e6tra one.

;ou ask a spectator to change seats #ith you or your friend so as to sit together.3/ 0oo) at the follo"in# topic!/ Choo!e any you li)e and !pea) on it for a

inute/

8. he role of the play#right! the stage director and the actor in the present daytheatre.

9. 7dvantages and disadvantages of the profession of actor.y vie#s of the theatre.y ideal of an actor $an actress%.y impressions of the play.heatre and cinema in the modern life.he educational value of the theatre.heatre and drama.4ritish! 7merican and 4elarusian theatres: similarities and differences.0hat is more important at the theatre: setting! scenario or acting?

Pro4ect 1or)

Design a theatre ticket. 0hat information #ill you reflect on it? ry to sho# therethe most prominent things of that particular theatre! e.g. its history! the place #here it issituated! the architecture of the building! etc.

Divide into groups and think of a theatre of your o#n $classicaal! modern! etc.%!cast! repertoire! etc.