- •Фгбоу впо
- •Пояснительная записка
- •Contents
- •Part I. Cinema lesson 1. Filmmaking and its constituents
- •Vocabulary
- •1. Fill in the blanks with the words from the list below; explain your choice.
- •3.Crossword.
- •4. Translate the sentences using the essential vocabulary.
- •6. Read Part 1 of Text 1 and check your answers to ex. 5.
- •7. Find the following expressions in Part 1 of Text 1; give the English definition and the Russian translation.
- •Text 1. The history of filmmaking
- •8. Answer the following questions taking into account the information given in Part 1 of Text 1:
- •9. Read Part 2 of Text 1 and fill in the gaps (1-7) with the following word combinations:
- •10. Answer the following questions taking into account the information given in Part 2 of Text 1:
- •11. Paraphrase the following sentences using the new vocabulary:
- •12. Prepare a summary of both parts of Text 1 (see Appendix 1). Mention the names in bold, try to use the new vocabulary and some additional information from Video 1.
- •16. Match the speakers’ names from the left column (1-6) with their points of view from the right column (a-f).
- •17. Read the following quotations about filmmaking. Which one do you like? Write an essay based on the one you’ve chosen.
- •Lesson 2. Professions and equipment
- •Vocabulary
- •1. Read the definitions and give the equivalents from the active vocabulary.
- •2. Match the word (1-9) with its definition (a-I).
- •3. Make up 5 sentences in Russian and 5 sentences in English using the active vocabulary from Lesson 1 and Lesson 2 for your group-mates to translate.
- •4. Find as many words from Lesson 1 and Lesson 2 as possible in the table below.
- •5. Read Text 2 carefully. Choose the correct title for each phase of the filmmaking process from the list given below:
- •6. Find the equivalents of the following expressions in Text 2, give the Russian translation:
- •Text 2. The filmmaking process
- •7. Use the information about the phases of filmmaking given in Text 2 and make up a dialogue:
- •8. Prepare a summary of Text 2 (see Appendix 1). Mention all the phases; try to use the new vocabulary.
- •9. Translate the sentences below from Russian into English:
- •11. Do you know the following stars? Add a correct proper name to each photograph. What are they famous for?
- •Audio 1
- •12. Read the following information before listening to Audio 1:
- •13. Listen to Audio 1. Choose whether the following statements are true or false, explain your choice:
- •14. Listen to Audio 1 one more time. Check your answers to ex. 12. Guess who the speaker is. Audio 2
- •15.Read the following information before listening to Audio 2:
- •16. Listen to Part 1 of Audio 2. Fill in the gaps.
- •17. Listen to Part 1 of Audio 2 one more time. Check your answers to ex. 15. Guess who the speaker is.
- •18. Listen to Part 2 of Audio 2 and choose the correct answers to the following questions:
- •19. Listen to Part 2 of Audio 2 one more time. Check your answers to ex. 17.
- •2. Choose the word that fits the content of the sentence best.
- •3. Match the columns.
- •4. Paraphrase the following sentences using the active vocabulary from Lesson 1, Lesson 2 and Lesson 3.
- •5. What do you know about the film genres? Match the titles of the popular films from the left column (1-10) with the proper genres from the right column (a-j).
- •6. Divide into 3 groups and read one film review by Roger Ebert, a famous film critic and a winner of the Pulitzer Prize (1975), choosing from Text 3, Text 4 or Text 5:
- •Text 3. Spirited away
- •7. Match the phrases from Text 3 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
- •8. Find the equivalents of the following expressions in Text 3, give the Russian translations. Use them in your summary.
- •10. Match the phrases from Text 4 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
- •11. Find the equivalents of the following expressions in Text 4, give the Russian translations. Use them in your summary.
- •12. Translate Paragraph 7 of Text 4 from English into Russian beginning with “After I saw InglouriousBasterds at Cannes…” up to “…not enough to see them once”. Text 5. Star wars
- •13. Match the phrases from Text 5 (1-7) with their definitions (a-g); use them in your summary. Try to translate the phrases into Russian.
- •14. Find the equivalents of the following expressions in Text 5, give the Russian translations. Try to use them in your summary.
- •15. Translate Paragraph 2 of Text 5 from English into Russian beginning with “Star Wars was a technical watershed that…” up to “…you can only observe how well it did it”.
- •16. Translate the following sentences from Russian into English.
- •Vocabulary
- •1. Paraphrase the first sentences using the words given (do not change them). You can use between 4 and 8 words, including the word given.
- •2. Fill in the gaps using only one word (a verb, preposition, noun, etc).
- •3. Make up 5 sentences in Russian and 5 sentences in English using the active vocabulary from Lesson 3 and Lesson 4 for your group-mates to translate.
- •4. Fill in the gaps with the given words in the suitable forms.
- •5. In the extract below find 14 mistakes, they might concern the grammar, spelling, article determination, etc.
- •6. Fill in the blanks with the words from the list below.
- •7. Read 4 parts (a-d) of Text 6 carefully. Single out the most important sentences in each paragraph.
- •8. Look through Text 6 once again. Find at least 3 metaphors.
- •9. Find the following words and word combinations in Text 6. Give the English definitions and translate them into Russian.
- •Text 6. Current state of animation industries around the world
- •10. Read the following sentences. Which part (a-d) of Text 6 gives these pieces of information?
- •11. Complete these sentences with the information from Text 6. Try not to look into the text!
- •12. Make up 5 questions based on the information given in Text 6 for your group-mates to answer.
- •13. Prepare a summary of 4 parts (a-d) of Text 6 (see Appendix 1):
- •14. Translate the sentences below from Russian into English:
- •1. Read Text 7. Suggest the Russian equivalents for the words and expressions in bold and translate the sentences containing them into Russian. Text 7. 100 greatest movies: the wizard of oz
- •2. Answer the following questions taking into account the information given in Text 7.
- •3. Find the equivalents of the following expressions in Text 7, give the Russian translation.
- •4. Use the equivalents you’ve found to fill in the gaps in the following sentences (2 sentences for each word):
- •5. Translate the following sentences into English using the new vocabulary from exercises 1 and 3.
- •6. Find in Text 7 at least 5 more words and expressions concerning the film industry and make up 10 sentences of your own (5 in English, 5 in Russian) for your group-mates to translate.
- •7. Prepare a summary of Text 7 (see Appendix 1). Use the new vocabulary. Part II
- •1. Are you an expert in the field of famous soundtracks? Listen to some of them and check your knowledge using the following table.
- •2. Read the following information before listening to Audio 4:
- •Audio 4
- •3. Listen to Audio 4. Fill in the gaps.
- •4. Listen to Audio 4 one more time. Check your answers to ex. 3.
- •5. As is known “Over the Rainbow”became Garland’s signature song. Read the quotation given below.
- •6. Answer the following questions:
- •Part III
- •1. Read Text 8 and fill in the gaps with the following word combinations:
- •2. Look through Text 8 again. Which sentence can be used as a headline for the whole review? Suggest your own variant of the headline also.
- •3. Does the review correspond to the classical scheme of film analysis (see Appendix 3)? What parts are included and what parts are skipped?
- •4. List the advantages and disadvantages of The Wizard of Oz 3d conversion pointed out by the author.
- •5. Paraphrase the following sentences using the new vocabulary.
- •6. Using the new vocabulary make up 10 sentences of your own (5 in English, 5 in Russian) for your group-mates to translate.
- •Frank Morgan (1890-1949)
- •Ray Boldger (1904-1987)
- •Bert Lahr (1895-1967)
- •Jack Haley (1898-1979)
- •Writing
- •13. Which one do you like? Write an essay based on the one you’ve chosen.
- •14. How carefully were you watching “The Wizard of Oz”? Take the test to see how well you know it! The Wizard of Oz Quiz
- •Part II. Theatre lesson 1. Theatre and drama, types of play
- •Vocabulary
- •1. Give your associations with the word “Theatre”.
- •2.What springs to mind when you hear the word ‘theatre’?Fill in the mind map.
- •3. Translate the following sentences from English into Russian.
- •4. Fill in the table with the definitions and exemplary sentences given below.
- •5. Fill in the gaps with the appropriate words (drama or theatre).
- •6. Find the correct words for:
- •7. For further extension of your knowledge about types of play translate the following text into English.
- •9. Find the following expressions in Text 9; give the English definition and the Russian translation.
- •Text 9.Subsidized and commercial theatres (ingreat britain)
- •10. Answer the following questions taking into account the information given in the text:
- •11. Comment on the difference between subsidized and commercial theatres.
- •12. Are the resubsidized and commercial theatres in Russia? How does the system function in this country?
- •13. Translate the following sentences from Russian into English.
- •14. Translate the following sentences from Russian into English.
- •15.Render Text9 (seeAppendix2). Use the new vocabulary, mention the names of theatres, dates and numbers related to them.
- •16. Read Text 10 and give definitions to the following words and expressions. Give the synonyms to them (if possible). Comment on the shades of meaning:
- •Text 10.The earliest english comedies
- •17. Answer the following questions taking into account the information given in the text:
- •18. Work in mini-groups. Write down the key words and share your list with other groups. Render the text with the help of the list of keywords you have got.
- •19. You are going to read the text on British theatre. Before reading comment on the following:
- •20. Nine sentences (or parts of sentences) have been removed from Text 11. Choose among the sentences a – j the one which fits each gap (1 – 9). There is one extra sentence. Check yourself.
- •Text11. British theatre today
- •21. Answer the following questions:
- •22. To learn about theatres in Russia and Yekaterinburg render the following text into English (see Appendix 2). Театральный десант
- •Video 7
- •24. Give the English definition and the Russian translation to the following words:
- •25. Fill in the gaps with the words or word combinations from the video. Read the sentences beforehand!
- •26. Ask and answer the following questions with your partner:
- •28. Read the following quotations about theatre. Which one do you like? Write an essay based on the one you’ve chosen.
- •Lesson 2. Inside the theatre
- •Vocabulary
- •Vocabulary
- •1. Translate the following sentences from English into Russian.
- •2. Fill in the blanks with the words from the list below; explain your choice.
- •3. Answer the following questions.
- •4. Match the word (1-10) with its definition (a-j).
- •5. Comment on the seating plans below pointing out the following things:
- •7. Translate the sentences using the essential vocabulary.
- •8. ReadText12andgivetheequivalentstothefollowingwordsandexpressions.
- •9. Fill in the blanks with the words from ex. 8:
- •10. Make up 5 sentences in Russian and 5 sentences in English using the from ex. 7 for your group-mates to translate. Text 12. The early london theatres
- •11. Comment on the scenery and peculiarities of play productions and performances at the early British theatres. Compare and contrast them with the modern ones.
- •14.In what respect were the following names mentioned in the audio?
- •18. Fill in the gaps with the words or word combinations from the video. Read the sentences beforehand!
- •19. Ask and answer the following questions with your partner?
- •Vocabulary
- •1. Read the definitions and give the equivalents from the active vocabulary.
- •2. Match the word (1-7) with its definition (a-g).
- •3. Find the English equivalents from the active vocabulary to the following words and word combinations:
- •4. Find as many words from active vocabulary as possible in the table below.
- •5. TranslatethefollowingsentencesfromRussianintoEnglish.
- •6. Translate the following sentences from Russian into English.
- •7. Read Text 13 part 1. Match the headings (a-h) with the corresponding paragraphs (1-8).
- •8. Translate the words in bold from the text. Text 13. Who works in a theatre?
- •9. Give the definitions to the words in bold from the text, read the words and their definitions for your partner to write down.
- •10. Render the text to your partner. Use the words in bold from the text.
- •11. Read Text 13 part 2. Match the headings (a-I) with the corresponding paragraphs (1-9).
- •12. Translate the words in bold from the text.
- •13. Give the definitions to the words in bold from the text, read the words and their definitions for your partner to write down.
- •18. You are going to listen to the text about Mo Crow, a show manager at the Royal Albert Hall in London. Listen to Episode 1 and fill in the missing parts.
- •19. Listen to Episode 2. Fill in the missing parts. Say what is being described.
- •21. Listen to Episode 4. Fill in the missing parts.
- •22. Listen to the whole text again. Answer the questions.
- •Lesson 4.Actors and acting
- •Vocabulary
- •1. Translate the following sentences from English into Russian.
- •2. Fill in the blanks with the words from the list below; explain your choice.
- •3. Fill in the gaps with the words from the list below. Act out the dialogues.
- •4. Dramatize the following situations.
- •5. Read Text 14and find the English equivalents to the words in the list below.
- •6. Think of a famous actor/actress. Describe the way he/she builds up his/her part. Use the words and word combinations from Text 14. Let your group mates guess who it is.
- •7. Read Text 15and find the English equivalents to the words in the list below.
- •Text 15.The art of acting
- •8. Translate the following sentences from Russian into English.
- •10. They say some parts may be fatal for the actors performing them, e. G. Voland, Ivan the Great, etc. Can a part influence an actor’s life and fate? Provide illustrations.
- •11. Prepare reports on the following topics:
- •12. Pre-read about the following topics:
- •16. Why are the following dates significant for the history of British drama: 1574, 1576, 1598, 1599, 1613?
- •22. Ask and answer the following questions with your partner.
- •Impression
- •Vocabulary
- •1.Translate the following sentences from English into Russian.
- •2.Fill in the gaps with the words from the list below. Act out the dialogues.
- •3. Translate the following sentences from Russian into English.
- •4. Crossword.
- •5.Dramatize the following situations.
- •6. Round table “Theatre Today”. Present any theatre (Russian, foreign, local) according to the following plan:
- •7. Read Text 17. What issues does this review high light?
- •8. Underline the epithets used in the review, give their definitions. Text 17. The importance of beeing earnest at regent’s park
- •Video 9. Five truths
- •10. Watch Video 8.Fill in the gaps in Ophelia’s monologue with the words from the list below.
- •11. Compare and contrast the two performances, share your impression of each of them.
- •How to write a review
- •Quiz 2 «inside the theatre»
- •Quiz 4 «actors and acting»
- •Quiz 5 «the success or failure of a production or performance»
- •Final rendering “cinema” современное кино – коммерция или искусство?
- •Finalrendering “theatre”
- •Final project
- •Interview (preliminary prepared)
- •Commentary
- •References
15.Render Text9 (seeAppendix2). Use the new vocabulary, mention the names of theatres, dates and numbers related to them.
16. Read Text 10 and give definitions to the following words and expressions. Give the synonyms to them (if possible). Comment on the shades of meaning:
1) half-witted |
10) delineation |
19) to tempt the intellect |
2) to be entangled |
11) loaf about |
20) the brand of humour |
3) grudges |
12) emerge from…into |
21) avowedly |
4) interlude |
13) vagabonds |
22) the intricacy of plot |
5) buffoonery |
14) an agreeable atmosphere |
23) the air of restraint |
6) bounty |
15) first-hand acquaintance |
24) progenitor |
7) grotesquery |
16) lusty farce |
25) English to the core |
8) bragging |
17) an exploit |
26) reincarnation |
9) slapstick |
18) accustomed to |
|
Text 10.The earliest english comedies
It was upon native material such as The Four P’s* and similar interludes that English comedy was built. It is plain, however, that there was need of design, or form, which would enable writers to shape the story material more effectively. This element of design was supplied in England, as elsewhere, by the classic models. While there was not much first-hand acquaintance with Greek plays in England, yet there is record of the Plutus* of Aristophanes* being given in the original before Queen Elizabeth. Latin, however, both as a language and literature, was more familiar. Scholars of the universities read Terence* and Seneca* for the purity of their style, and often enacted their plays, giving them in Latin. When the twelve lost plays of Plautus* were restored to the world, they were immediately added to the repertory of the academies and universities. The Girl of Andros*, by Terence, appeared in an English translation late in the fifteenth century, and was reprinted three times during the sixteenth. Translations of the Seneca plays began to be issued about 1560, and of the Plautus’s plays a little later. Nicholas Udall*, the author of the first native comedy, prepared from Terence a book of Latin recitations designed to be used as a reader; and about the middle of the sixteenth century an unknown writer produced Jack Juggler*, a one-act piece “for children to act,” which was avowedly an imitation of the first act of the Amphitruo of Plautus. Though in structure this piece was an imitation, yet the people as well as the scenes are Elizabethan English. Classic influences, however, came not only from a study of the originals, but also through European imitations, especially those of Italy. The fashionable youth of England went to Italy for culture and finish. To almost every department of Italian literature great names had been added – names which were nowhere else paralleled; and the works of these authors were almost immediately put upon the market in England. The drama of Italy was a peculiar blend of Seneca, Terence, Horace*, and Aristotle*. It is not surprising, therefore, that by imitation and adaptation a powerful classic school of drama arose in England. One of its first representatives was George Gascoigne*, who made translations of two Italian plays produced in 1566 by the Gentlemen of Gray’s Inn*, a group to which Gascoigne belonged. The first of these, so far as the main plot and characters are concerned, is founded on the Captives* of Plautus.
NICHOLAS UDALL
The name of Nicholas Udall (born about 1505) is famous as the author of the first English comedy. He was a Protestant, a student at Oxford, headmaster at Eton, and later at Westminster School*. While at Eton he encouraged the production of plays in Latin, and without doubt he mastered the details of plot construction by studying Plautus and Terence. It will be remembered that in Miles Gloriosus*, by Plautus, the chief character is the bragging soldier who told amazing tales of his exploits in foreign lands, made love to every pretty woman, freely offered to fight when there was no one to take him up, and fled when there was any sign of danger. It was a reincarnation of Miles Gloriosus whom Udall introduced to the English stage about 1535 in Ralph Roister Doister*, the first comedy in the English language. Like the classic plays, it was arranged in the five-act form, with the proper preparation, climax, and close. The air of restraint, order, and intellectual grasp of the material is classic, but the style is homely and original. The time is limited to one day, the scene is the usual Roman comedy scene of a street running before several houses; but the characterizations, the brand of humor, and the general attitude toward life and affairs is English to the core. Doister has a parasitic and unscrupulous companion, Matthew Merigreek*, who is in part the scoundrelly valet of the Italian commedia dell` arte*, and in part the Vice of the medieval stage. The old nurse, Margery Mumblecrust, stands not only as a somewhat new character, but as the progenitor of a long series, the most famous of which is the Nurse of Juliet. Symonds* comments upon this play as follows: “In Ralph Roister Doister we emerge from medieval grotesquery and allegory into the clear light of actual life, into an agreeable atmosphere of urbanity and natural delineation.”
GAMMER GURTON’S NEEDLE
The second example of pure native comedy is no less interesting than Schoolmaster Udall’s play, though for a different reason. GammerGurton’s Needle* was performed at Christ’s College, Cambridge*, about 1566, and is attributed variously to Dr. John Still, Dr. John Bridges, and William Stevenson. Like Ralph, it is in five acts; the action takes place within one day, and the scene is the conventional street with houses. Beyond these details, Gammer owes nothing to the classic model. It is a lusty farce, with very little plot. GammerGurton has lost her needle, and Diccon the Bedlam, who has been loafing about the cottage, accuses a neighbor, Dame Chat of stealing it. With this incident begins a scandalous village row, in which the parson, the bailie, the constable and most of the neighbours one by one become entangled. The original trouble is lost sight of in the revival of old quarrels and hidden grudges. The neighbors come to blows, and confusion seems to reign, when a diversion is created by Dame Chat’s finding the needle in the seat of the breeches of Hodge, the farmhand. Gammer is often coarse and vulgar, with buffoonery of the slapstick variety, with no polish or intricacy of plot to tempt the intellect. It would be a morose person, however, who in good health could entirely withstand its fun. The characters belong to the English soil and have English blood in their veins. Diccon of Bedlam, who is in reality the cause of the whole fuss, is a new figure on the stage. When, under Henry VIII*, the monasteries were broken up, there were left without home or patrons many poor, often half-witted people who had been accustomed to live on the bounty of the religious houses. These people became professional beggars and vagabonds, sometimes pretending to be mad in order to be taken care of. They were called Bedlam Beggars, Abraham Men, or Poor Toms. It will be recalled that Shakespeare used one of this class with considerable tragic effect inking Lear.