Text 12

Exercise 1. Read and translate the dialogues

Names: Mozart ['mo:tsa:t] - Моцарт

Haydn[ haidn] - Гайдн

Rossini [ra'sini ] - Россини

Houston ['hju:stn] - г. Хьюстон

Texas ['teksәs] - штат Техас

Alfred Leathers - Альфред Летерс

Martin Cheveril - Мартин Чиврил

Seward - Сьюард

Notes: 1. the Moscow Chamber ['t∫eimbә] Musical Theatre - Московский камерный музыкальный театр

2. smaller opera - малая (камерная) опера

3. "Play-house Director" - «Директор театра»

4. "Apothecary" - «Аптекарь»

5. "Marriage Bill" - «Брачный вексель»

6. the French Charles Cros Academy — академия названа по имени известного французского поэта Шарля Кроса (1842—1888)

7. Grand Prix - «Гран при» (Большая премия, Главная премия), высшая награда на фестивале, конкурсе и т.п.

8. "The Echelon"- «Эшелон»

9. I've had it. - С меня достаточно, (театра)

10. We might as well admit it - и мы могли бы также признать это

11. Sir Henry Irving (1838—1905) - сэр Генри Ирвинг, английский актер

12. Ellen Terry (1847—1928) - Эллен Терри, английская актриса

13. Sir Herbert Tree (1853—1917) - сэр Герберт Три, английский актер

A. BOOKING SEATS FOR THE THEATRE.

Peter Nikolayev: Have you got two seats for tomorrow's performance?

Booking clerk: The first or second performance?

Peter: I usually prefer the second.

Booking clerk: I've got a few stalls and two circle seats.

Peter: How much are the seats in the circle?

Booking clerk: Two and a half pounds each. I'll show you where they are on the plan. Here they are in the middle of the second row.

Peter: I'll take those. What time does the second performance begin?

Booking clerk: Eight — fifteen, sir.

B. TALK ABOUT THE THEATRE.

1. Diana Andrews: I know you're an admirer of the opera, Anna. Last night I heard on the radio that the Moscow Chamber Musical Theatre was starting its new theatrical season. I've never heard of this theatre. Could you tell me about it?

Anna Fyodorova: Though it has existed for quite a time, most theatre-goers still call it "the new opera theatre". It was set up for the purpose of developing the genre of "smaller opera".

Diana: What operas does the theatre stage?

Anna: Both classical and modern. Its repertoire includes over 15 productions, "Play-house Director" by Mozart, "Apothecary" by Haydn and "Marriage Bill" by Rossini, to name only a few

Diana: Did the theatre produce any operas by Russian composers?

Anna: Yes, I think three or four operas were staged. The first was "The Nose" by Dmitri Shostakovich. The composer himself took an active part in its production. The opera has always been a tremendous success with the public. A few years ago the French Charles Cros Academy awarded Grand Prix to the recording of this opera by this company.

Diana: Did you happen to see it?

Anna: Yes, and I enjoyed every minute of it.

Diana: I'd like to see a few operas at this theatre. Is it possible to book seats?

Anna: I'd say it's next to impossible. The theatre is small, it seats only 220 people. I suppose it's already been sold out. But I'll try to help you. A friend of mine is an actor at this theatre. I'll ask him to get seats for you.

Diana: Thank you very much. It's very kind of you.

2. John Spencer: I saw Roschin's play "The Echelon" at the Sovremennik Theatre yesterday.

Michael Vetrov: How did you like it?

John: It impressed me greatly. It's a story of the World War II days, the tale of those who survived when survival seemed impossible.

Michael: I saw the play at the Art Theatre and I liked it very much, too.

John: By the way Roschin's play was staged in the USA. It was the first production by a Russian producer — Galina Volchek was invited to stage it in Houston, Texas.

John: As far as I know it was a great success.

C. THE BRITISH THEATRE IS DYING.

A conversation between Alfred Leathers, an old actor, and Martin Cheveril, a playwright and producer.

Alfred: Martin, my boy, I've been acting too long and — as the youngsters are to say — I've had it.

Martin: Nonsense, Alfred.

Alfred: No, no. Mean what I say. In fact the Theatre's had it. The Theatre's finished and we might as well admit it.

Martin: It was different when you were young, of course — eh?

Alfred: Different? I should think it was.

Martin: You've seen some great nights in the Theatre, I imagine, Alfred—eh? (It is like a prompt.)

Alfred: I have, Martin. Great nights! And they'll never come again. Don't forget that in my time I've played with Irving, Ellen Terry and Tree.

Martin: Great names, Alfred.

Alfred: Ah — but the Theatre was the Theatre in those days, Martin. It was all the public had, and so we all did our best with it. None of your films and radio and television and the rest of them then. It was the Theatre — and the Theatre as it ought to be.

Martin: The Theatre's dying — though it may last out our time.

Alfred: Yes, thank God. But I don't give it much longer.

Martin (smiles at him): Well, you see, Alfred, I know that speech about the dying Theatre. I've heard it before.

Alfred: Exactly. And everything goes to prove.

Martin: That you're an elderly actor, Alfred, and that the Theatre's dying for you. It's always been dying for the old hands. And it's always been born again for the new ones. And that's not its weakness — that's its strength. It lives — really lives and not merely exists, but lives as humanity lives — just because it's for ever dying and being born, because it's always renewing its life.

Alfred (not convinced): Now wait. It's dying for me, we'll say but who is it being born for?

(The door opens and Otley comes in.)

Otley: Miss Seward's here.

Martin (to Otley): Send her in. (To Alfred) Your answer's here.

Exercise 2. Quote the sentences in which these words and word combinations are used in the dialogues and translate them.

circle seats, a theatre-goer, to set up, classical, repertoire, to seat, to sell out, to seem, to stage, success, to account for, to take up, activities, to admit, to forget, the rest of, to prove, humanity, to convince.

Exercise 3. Find in the dialogues English equivalents for these word combinations and sentences

1. имеется несколько мест в партере. 2. в середине второго ряда. 3. начинается новый театральный сезон. 4. Композитор сам принимал активное участие в ее постановке. 5. Я бы сказала, что это почти невозможно. 6. когда спасение казалось невозможным. 7. Насколько я знаю он (спектакль) имел большой успех. 8. Как вы объясните успех пьес на производственную тему? 9. вопросы, которые поднимают пьесы. 10. Современный человек проводит много времени на работе. 11. Не забывайте, что в мое время я играл с... 12. и всего прочего. 13. и в этом не слабость, а сила театра.

Exercise 4. Make up your own short dialogues.