- •Immensely solid. On it stood in a massive silver frame a photograph of herself
- •In which he kept his private paper in case he wanted to write a letter in his
- •In point of fact there was grilled sole, grilled cutlets and spinach, and stewed
- •Italian chairs, and the young man in the middle on a chair that was not at all
- •Very different play we produced from the one the author submitted to us."
- •Very well play young lovers, and authors don't seem to write the parts they
- •In the same cupboard.
- •Very beginning pasted in a series of large books.
- •In the papers.
- •It was a pity she had never had a chance of playing Rosalind, she would have
- •Verse. Her voice, her rather low rich voice, with that effective hoarseness,
- •Very different matter when he rehearsed his cast; then he would suffer
- •It happened that when Michael kept the appointment he had asked for,
- •In love with her. Feel as if your bones were melting inside you and if an
- •It was two years later that Jimmie Langton discovered her. She was on tour in
- •In my life."
- •Information.
- •It was a well-known fact that it was one of the best houses of its period, one
- •Insisted on this.
- •It gave Julia a good deal of satisfaction to discover that Michael's father was a
- •In Benson's company, and golf when he got the chance, and that sort of thing
- •I wrote poetry."
- •Views on marriage.
- •Inspiration.
- •It was getting on for Easter, and Jimmie Langton always closed his theatre
- •Ingenuous girl who had lived a quiet country life.
- •In a moment the Colonel and Mrs. Gosselyn came in. They bore a look of
- •Indeed, that she was quite willing to become his mistress, but this he refused.
- •It was quite clear that he had accepted with alacrity. The thought of refusing
- •I'd go and live at home so as not to spend any money."
- •Very clever little trick.
- •Indifferent acting was little noticed, and in this he finished the season. There
- •Into the carriage he took her hand and patted it.
- •In the empty carriage and looked at herself in the glass.
- •It took Julia a second or two to understand what he meant.
- •It infuriated her that when she worked herself up into a passion of tears he
- •Italian organ-grinder."
- •Illustrated papers.
- •It was just before the end of the war that she fell out of love with him.
- •Very small, but taken altogether they amounted, in her shrewd, calculating
- •It were rather a joke, or a declaration as though he were laughing at himself,
- •In a manner that the audience found engaging. He never attempted to play
- •Inherited nearly four thousand pounds, and this with his own savings and
- •It was a warm beautiful night. Michael had bought options, though it wrung
- •It was disconcerting the way Julia knew what he was thinking. You couldn't
- •Vernon. And we can get him. I'll play George."
- •Ingenuity in disguising old sets so that they looked new, and by ringing the
- •Very profitable discoveries.
- •Interested in management.
- •Intolerable. He could describe nothing without circumstantial detail. Nor was
- •Into it.
- •It made Julia a little sad to think how much she had loved him. Because her
- •In a vase.
- •It. The only foundation for it was that Charles had been madly in love with
- •It was a large party and she was being made much of Lady Charles, a woman
- •Very good-looking but of distinguished appearance. He looked very well-bred,
- •Vitality which were outside his experience. He went to see her act several times
- •In love with Michael. When Charles realized that he loved her his manner
- •It's only common sense that we shouldn't see one another any more."
- •Into the bathroom to wash her face and eyes. She felt wonderfully exhilarated.
- •Idea of appearing as intervener. For two or three weeks she was very jittery.
- •It was a little more difficult when Charles, with his fine sensitiveness, saw that
- •In some hole in Italy!"
- •It had been long agreed, with all the delicacy that might be expected from his
- •It was nice of him to have suggested that. He might so easily have mentioned
- •In her life. She was so taken aback that she never thought of doing anything.
- •Incident would have no sequel.
- •I'm forty and I don't care who knows it."
- •Into her dressing-room.
- •Inquiry the whole story and gave him her opinion of the travel agency, the
- •It gave him a curious look. With his black hair, drooping eyelids and rather
- •In a quarter of an hour with a conductor and told her that he had got her a
It was two years later that Jimmie Langton discovered her. She was on tour in
a melodrama that had been successful in London; in the part of an Italian
adventuress, whose machinations were eventually exposed, she was trying
somewhat inadequately to represent a woman of forty. Since the heroine, a
blonde person of mature years, was playing a young girl, the performance
lacked verisimilitude. Jimmie was taking a short holiday, which he spent in
going every night to the theatre in one town after another. At the end of the
piece he went round to see Julia. He was well enough known in the theatrical
world for her to be flattered by the compliments he paid her, and when he
asked her to lunch with him next day she accepted.
They had no sooner sat down to table (как только они сели за стол: «они не
намного раньше сели за стол») than he went straight to the point (он перешел
сразу прямо к делу: «чем он перешел прямо к делу»).
"I never slept a wink all night (я не сомкнул глаз целую ночь; not to sleep a wink
— глаз не сомкнуть, a wink — моргание, мигание) for thinking of you (так как
думал о тебе)," he said (сказал он).
"This is very sudden (это очень неожиданно). Is your proposal honourable or
dishonourable (ваше предложение честное или бесчестное; honourable —
честный, благородный, с честью)?"
He took no notice (он не обратил внимание на) of the flippant rejoinder (этот
легкомысленный/дерзкий ответ).
"I've been at this game (я живу в этой профессии: «был и есть в этой игре») for
twenty-five years (двадцать пять лет). I've been a call-boy (я вызывал актеров
на сцену; call-boy — мальчик, вызывающий актеров на сцену), a stage-hand (я
был помощником по сцене), a stage-manager (я был помощником режиссера),
an actor (актером), a publicity man (работал сотрудником по связям с
общественностью; publicity — рекламирование), damn it (черт побери), I've
even been a critic (я даже был критиком). I've lived in the theatre (я жил в
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театре) since I was a kid (с тех самых пор, когда я был щенком: «ребенком»;
kid — козленок; /разг./ малыш) just out of a board school (только что из
пансиона), and what I don't know about acting (и то, что я не знаю об актерской
игре) isn't worth knowing (не стоит и знать). I think you're a genius (я думаю,
что ты гениальна)."
"It's sweet of you (очень мило с вашей стороны) to say so (говорить так)."
honourable ['On(q)rqb(q)l] rejoinder [rI'dZOIndq] genius ['dZi:nIqs]
They had no sooner sat down to table than he went straight to the point.
"I never slept a wink all night for thinking of you," he said.
"This is very sudden. Is your proposal honourable or dishonourable?"
He took no notice of the flippant rejoinder.
"I've been at this game for twenty-five years. I've been a call-boy, a stage-
hand, a stage-manager, an actor, a publicity man, damn it, I've even been a
critic. I've lived in the theatre since I was a kid just out of a board school, and
what I don't know about acting isn't worth knowing. I think you're a genius."
"It's sweet of you to say so."
"Shut up (заткнись). Leave me to do the talking (говорить буду только я:
«оставь весь разговор мне»; to do all the talking — говорить одному все
время). You've got everything (у тебя есть все). You're the right height (ты
правильного роста), you've got a good figure (у тебя хорошая фигура), you've
got an India rubber face (у тебя резиновое лицо; rubber — резина, каучук)."
"Flattering, aren't you (очень лестно, не так ли: «/вы мне/ льстите, не так ли»)?"
"That's just what I am (да, именно лестно: «да, именно это я и /делаю/»). That's
the face an actress wants (именно такое лицо и нужно актрисе: «это лицо,
которое актриса хочет»). The face that can look anything (лицо, которое может
выглядеть как угодно), even beautiful (даже красивым), the face that can show
every thought (лицо которое может выражать: «показывать» каждую мысль)
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that passes through the mind (которая проходит через мозг: «ум»). That's the
face Duse's got (именно такое лицо было у Дузе). Last night (вчера вечером:
«ночью») even though you weren't really thinking (даже хотя ты и не думала в
действительности) about what you were doing (о том, что /именно/ ты делала)
every now and then (время от времени) the words you were saying (слова,
которые ты говорила) wrote themselves on your face (/сами/ писали себя на
твоем лице; to write (wrote; written) — писать, написать, сочинять)."
"It's such a rotten part (это отвратительная: «гнилая» роль). How could I give it
my attention (как могу я уделять ей мое внимание)? Did you hear the things I
had to say (вы слышали, что: «какие вещи» я должна говорить)?"
India(-)rubber ["IndIq'rAbq] themselves [Dqm'selvz] night [naIt]
"Shut up. Leave me to do the talking. You've got everything. You're the right
height, you've got a good figure, you've got an India rubber face."
"Flattering, aren't you?"
"That's just what I am. That's the face an actress wants. The face that can
look anything, even beautiful, the face that can show every thought that passes
through the mind. That's the face Duse's got. Last night even though you
weren't really thinking about what you were doing every now and then the
words you were saying wrote themselves on your face."
"It's such a rotten part. How could I give it my attention? Did you hear the
things I had to say?"
"Actors are rotten (актеры отвратительны), not parts (а не роли). You've got a
wonderful voice (у тебя удивительный голос), the voice that can wring an
audience's heart (голос, который может терзать: «выжимать» сердце
аудитории), I don't know about your comedy (я не знаю, какова ты в комедии:
«о твоей комедии»), I'm prepared to risk that (я готов рискнуть этим; to prepare
— приготавливать, подготавливать, готовить)."
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"What d'you mean by that (что вы имеете в виду, говоря так: «под этим»)?"
"Your timing is almost perfect (твое чувство ритма почти совершенно). That
couldn't have been taught (этому не могли научить), you must have that by
nature (ты, должно быть, обладаешь им от рождения: «природы»; nature —
природа, сущность, характер, нрав). That's the far, far better way (так даже
гораздо, гораздо лучше). Now let's come down to brass tacks (теперь давай
перейдем к делу; to come /get/ down to brass tacks — докопаться до сути,
внести полную ясность; brass — латунь, медь, a tack — гвоздь, кнопка). I've
been making inquiries about you (я навел справки о тебе: «я делал запросы о
тебе»). It appears you speak French like a Frenchwoman (кажется, что ты
говоришь по-французски, как француженка; appear — показываться;
появляться; иметь вид) and so they give you broken English parts (и из-за этого
/они/ дают тебе роли, /где нужен/ плохой: «ломанный» английский). That's
not going to lead you anywhere (это не приведет тебя ни к чему), you know (ты
понимаешь: «знаешь»)."
"That's all I can get (это все, что я могу получить)."
audience ['O:dIqns] inquiry [In'kwaI(q)rI] perfect ['pq:fIkt]
"Actors are rotten, not parts. You've got a wonderful voice, the voice that can
wring an audience's heart, I don't know about your comedy, I'm prepared to
risk that."
"What d'you mean by that?"
"Your timing is almost perfect. That couldn't have been taught, you must
have that by nature. That's the far, far better way. Now let's come down to
brass tacks. I've been making inquiries about you. It appears you speak
French like a Frenchwoman and so they give you broken English parts. That's
not going to lead you anywhere, you know."
"That's all I can get."
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"Are you satisfied (ты удовлетворена /тем, что будешь/) to go on playing those
sort of parts (продолжать играть этот тип ролей; to go on — идти дальше,
продолжать) for ever (навсегда)? You'll get stuck in them (ты завязнешь:
«застрянешь» в них; to stick) and the public won't take you in anything else (и
публика не захочет увидеть тебя в других ролях: «не примет тебя в чем-
нибудь еще»). Seconds (вторые роли), that's all you'll play (вот и все, что ты
будешь играть).
Twenty pounds a week (двадцать фунтов в неделю) at the outside (это самое
большое) and a great talent wasted (и растраченный великий талант; to waste —
расточать, растрачивать без пользы)."
"I've always thought (я всегда думала) that some day or other (что в один из
дней) I should get a chance of a straight part (мне выпадет шанс: «я получу
шанс» /сыграть/ драматическую роль; straight — прямой /неизогнутый/;
искренний)."
"When (когда)? You may have to wait ten years (тебе может быть придется
ждать десять лет). How old are you now (сколько тебе лет)?"
"Twenty (двадцать)."
"What are you getting (сколько ты получаешь)?"
"Fifteen pounds a week (пятнадцать фунтов в неделю)."
satisfied ['sxtIsfaId] talent ['txlqnt] pound [paVnd]
"Are you satisfied to go on playing those sort of parts for ever? You'll get
stuck in them and the public won't take you in anything else. Seconds, that's
all you'll play.
Twenty pounds a week at the outside and a great talent wasted."
"I've always thought that some day or other I should get a chance of a
straight part."
"When? You may have to wait ten years. How old are you now?"
"Twenty."
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"What are you getting?"
"Fifteen pounds a week."
"That's a lie (это ложь). You're getting twelve (ты получаешь двенадцать), and
it's a damned sight more (и это черт возьми гораздо больше) than you're worth
(чем ты действительно стоишь). You've got everything to learn (тебе
необходимо всему научиться; to learn — учить, изучать). Your gestures are
commonplace (твои жесты банальны; commonplace — избитый, плоский,
неинтересный). You don't know (ты не знаешь) that every gesture (что каждый
жест) must mean something (должен что-либо означать; to mean —
подразумевать, иметь в виду, думать). You don't know (ты не знаешь) how to
get an audience to look at you (как заставить публику смотреть на тебя) before
you speak (до того, как ты заговоришь). You make up too much (ты слишком
сильно накладываешь грим). With your sort of face (с твоим лицом) the less
make-up the better (чем меньше грима, тем лучше). Wouldn't you like to be a
star (не ужели ты не хочешь быть звездой)?"
"Who wouldn't (кто же не хочет)?"
damned [dxmd] commonplace ['kOmqnpleIs] better ['betq]
"That's a lie. You're getting twelve, and it's a damned sight more than you're
worth. You've got everything to learn. Your gestures are commonplace. You
don't know that every gesture must mean something. You don't know how to
get an audience to look at you before you speak. You make up too much. With
your sort of face the less make-up the better. Wouldn't you like to be a star?"
"Who wouldn't?"
"Come to me (приходи ко мне /в труппу/) and I'll make you the greatest actress
in England (и я сделаю из тебя самую великую актрису Англии). Are you a
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quick study (ты быстро учишь /роли/; study — изучение, занятия, наука)? You
ought to be at your age (ты должна, в твоем-то возрасте)."
"I think I can be word-perfect in any part (я думаю, что могу выучить назубок
любую роль; word-perfect — знающий наизусть, назубок) in forty-eight hours
(за сорок восемь часов)."
"It's experience you want (опыт — вот что тебе необходимо) and me to produce
you (и я, чтобы выпустить тебя на сцену; to produce — представлять,
ставить пьесу, создавать, производить). Come to me (приходи ко мне) and
I'll let you play twenty parts a year (и я разрешу тебе играть по двадцать ролей
в год). Ibsen, Shaw, Barker, Sudermann, Hankin, Galsworthy (Ибсен, Шоу,
Баркер, Зудерман, Хэнкин, Голсуорси). You've got magnetism (ты обладаешь
магнетизмом; magnetism — магнетизм, личное обаяние, привлекательность)
and you don't seem to have an idea how to use it (и ты, кажется, не имеешь ни
малейшего представления: «идеи», как использовать его)." He chuckled (он
усмехнулся; to chuckle — посмеиваться, хихикать, фыркать, крякать,
chuckle — сдавленный смех, хихиканье). "By God (ей-богу), if you had (если бы
ты знала), that old hag (то та старая ведьма) would have had you out of the play
(вышибла бы тебе из пьесы) you're in now (в которой ты сейчас /играешь/)
before you could say knife (в один момент; before one could say knife —
немедленно, тотчас же, моментально; knife (мн.ч. knives) — нож, ножик).
actress ['xktrIs] experience [Ik'spI(q)rIqns] magnetism ['mxgnItIz(q)m]
"Come to me and I'll make you the greatest actress in England. Are you a
quick study? You ought to be at your age."
"I think I can be word-perfect in any part in forty-eight hours."
"It's experience you want and me to produce you. Come to me and I'll let you
play twenty parts a year. Ibsen, Shaw, Barker, Sudermann, Hankin,
Galsworthy. You've got magnetism and you don't seem to have an idea how to
use it." He chuckled. "By God, if you had, that old hag would have had you
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out of the play you're in now before you could say knife.
You've got to take an audience by the throat (ты должна взять аудиторию за
горло) and say, now, you dogs (и сказать, эй, вы собаки), you pay attention to me
(вы должны обратить на меня свое внимание). You've got to dominate them (ты
должна господствовать над ними; to dominate — властвовать, преобладать,
доминировать). If you haven't got the gift (если у тебя нет таланта) no one can
give it you (никто не может дать его тебе), but if you have (но если /он/ у тебя
есть) you can be taught (тебя можно научить) how to use it (как им
пользоваться). I tell you (/я/ говорю тебе), you've got the makings of a great
actress (у тебя задатки: «необходимые качества» великой актрисы). I've never
been so sure of anything in my life (я никогда не был так уверен в чем-либо за
всю свою жизнь; to be sure — быть уверенным)."
"I know I want experience (я знаю, что мне нужен опыт). I'd have to think it over
of course (я должна буду это обдумать, конечно). I wouldn't mind coming to
you for a season (я бы не возражала, прийти к вам /в труппу/ на один сезон; to
mind — возражать, заботиться, волноваться).
"Go to hell (иди к черту; hell — ад). Do you think (неужели ты думаешь) I can
make an actress of you (что я могу сделать из тебя актрису) in a season (за один
сезон)? Do you think (неужели ты думаешь) I'm going to work my guts out (что
я собираюсь лезть из кожи вон; work one’s guts out — надрываться, тянуть
жилы, «пахать», вкалывать, guts — кишки, внутренности, брюхо) to make
you give a few decent performances (чтобы заставить тебя дать несколько
приличных выступлений) and then have you go away (и затем отпустить тебя)
to play some twopenny-halfpenny part (играть в какой-нибудь дрянной:
«грошовой» роли) in a commercial play in London (в коммерческой пьесе в
Лондоне)? What sort of a bloody fool do you take me for (за какого чертового
дурака ты меня принимаешь; bloody — кровавый, проклятый)? I'll give you a
three years' contract (я дам тебе контракт на три года), I'll give you eight pounds
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a week (я дам тебе восемь фунтов в неделю) and you'll have to work like a horse
(и ты должна будешь работать, как лошадь)."
throat [TrqVt] gut [gAt] twopenny-halfpenny ["tAp(q)nI'heIp(q)nI]
horse [hO:s]
You've got to take an audience by the throat and say, now, you dogs, you pay
attention to me. You've got to dominate them. If you haven't got the gift no
one can give it you, but if you have you can be taught how to use it. I tell you,
you've got the makings of a great actress. I've never been so sure of anything