Текст книги "Практический курс английского языка 2 курс"
Автор книги: Владимир Аракин
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TEXT A. DRAMA, MUSIC AND BALLET IN BRITAIN
The centre of theatrical activity in Britain is London. There are about 50 principal theatres in
professional use78 in or near the West End and some 20 in the suburbs.
Most of these are let to producing managements on a commercial basis79 but some of them
77 little people: (here) fairies, elves, and gnomes of folklore
78 i. e. buildings meant for the performance of plays by professional companies.
79 In England (including London) only a few theatres have their own permanent company (they are called repertory theatres).
Theatrical companies are usually formed for a season, sometimes staging only one play for either a long or a short run, their
are permanently occupied by subsidised companies, such as the National Theatre which stages
classical and modern plays in its complex of three theatres on the South Bank of the River Thames.
The former Old Vic Company, which was Britain's major theatrical touring company, has now taken
up residence in the National Theatre, changing its name to the National Theatre Company. In
addition the Royal Shakespeare Company presents Shakespearean plays at Stradford-upon-Avon and
a mixed repertoire in London.
Outside London there are many non-repertory theatres which present all kinds of drama and
also put on variety shows and other entertainments. Recently there has been a growth in the activity
of repertory companies which receive financial support from the Arts Council and the local
authorities. These companies employ leading producers, designers and actors, and the standard of
productions is generally high. Some companies have their own theatres, while others rent from the
local authorities.
Music of all kinds – "pop" music, folk music, jazz, light music and brass bands – is an
important part of British cultural life. The large audiences at orchestral concerts and at performances
of opera, ballet and chamber music reflect the widespread interest in classical music.
The Royal Opera House, Covent Garden, London, which receives financial assistance from
the Arts Council, gives regular seasons of opera and ballet. It has its own orchestra which plays for
the Royal Opera and the Royal Ballet. Both companies have a high international reputation. The
English National Opera which performs in the London Coliseum gives seasons of opera and operetta
in English. It also tours the provinces.
In 1998 the Government announced the formation of the Young Music Trust to develop the
musical skills of the young with some money from the National Lottery, and donations from music
charities and companies involved in music business. The national youth orchestras of Great Britain
have established high standards.
There are several thousand amateur dramatic societies in Britain. Most universities have
thriving amateur drama clubs and societies. Every year an International Festival of University
Theatre is held.
TEXT B. AT THE BOX-OFFICE
– I want four seats for Sunday, please.
– Matinee or evening performance?
– Evening, please.
– Well, you can have very good seats in the stalls. Row F.
– Oh, no! It's near the orchestra-pit. My wife can't stand loud music.
– Then I could find you some seats in the pit.
– I'm afraid that won't do either. My father-in-law is terribly short-sighted. He wouldn't see
much from the pit, would he?
– Hm... Perhaps, you'd care to take a box?
– Certainly not! It's too expensive. I can't afford it. – Dress-circle then?
– I don't like to sit in the dress-circle.
– I'm afraid the only thing that remains is the gallery.
– How can you suggest such a thing! My mother-in-law is a stout woman with a weak heart.
We couldn't dream of letting her walk up four flights of stairs, could we?
– I find, sir, that there isn't a single seat in the house80 that would suit you.
managements having previously rented a theatre for them to perform in (the so-called non-repertory theatres).
80 The part of the theatre which has a stage and seats for the audience is called auditorium or house (also: theatre-house).
The long rows of chairs situated on the ground floor of the auditorium in. front of the stage are called the stalls (front rows) and
– There isn't, is there? Well, I think we'd much better go to the movies. As for me, I don't
care much for this theatre-going business. Good day!
TEXT С. PANTOMIMES
S a l l y : Tony, there's an advertisement in the local paper saying that the theatre in the
High Street is putting on81 "Cinderella". I haven't seen a pantomime for years and years. Do you
fancy going?
T o n y : Yeh, that sounds good. I don't think I've seen one since I was about fourteen —
except for one on ice when I was crazy about skating, and that's not quite the same thing, is it?
S a l l y : No. Ice shows don't have all the wonderful traditional scenery and that gorgeous
theatre atmosphere.
T o n y : Pantomimes are awfully old, if you think about it, aren't they? I mean with a girl
playing the part of the principal boy, all dressed up in tights and tunic ...
S a l l y : Mm, and the dame parts taken by men. I've never seen "Cinderella". I suppose
the stepmother and the ugly sisters are the men's parts in that.
T o n y : Aladdin used to be my favourite, when a comedian played the Widow Twankey.
And when Aladdin rubbed the magic lamp an enormous genie appeared ...
S a l l y : And the audience booing the wicked uncle, and joining in the singing of the
popular songs they always manage to get into the play somehow.
T o n y : Yes! I wonder how on earth they manage to fit today's pop songs into pantomime
stories?
S a l l y : Well, why don't we get tickets and find out?
T o n y : Yes, OK. Come on, then.
ESSENTIAL VOCABULARY (II)
Words
act υ
gallery n
properties
acting n
interval n
(props) n
balcony
n
lighting n
repertoire n
box n
matinee
n
row n
cast n
orchestra-pit n
stage-manager
n
company n
pit n
stalls n
costumes
n
produce υ
(theatre-) house n
director n
producer
n
treatment n
dress-circle n
production n
the pit (back rows).
The stalls and the pit are surrounded by boxes. There are also some balconies encircling the auditorium on three sides. The
lowest of them (coming immediately above the boxes) is called the dress-circle and the highest (somewhere near the ceiling of the
house) is known as the gallery.
In most theatres the seats for the audience are separated from the stage by the orchestra-pit. In some theatres, however, there is no
orchestra-pit, and the musicians are placed behind the scenes (back-stage). The sides of the stage and the scenery placed there are
called wings.
81 It takes quite a number of people to put on a play. The treatment of a play, the style of the production, the training of the
performers depend on the director (also called by some people producer in Great Britain). The stage-manager is the person in charge
of the technical part of the production of a play. There are also make-up artists, people who make the costumes, those who design
the props and scenery, and finally, stage hands.
The actors taking part in the play are called the cast ( cf. the Russian «состав исполнителей»).
Word Combinations
professional theatre
the setting of a scene
repertory company
light and sound effects
amateur theatre
to produce a play
dramatic society
EXERCISES
I. Answer the following questions:
A. 1. What is the centre of theatrical activity in Great Britain? 2. Which theatrical companies
receive financial support from Arts Council? 3. What is meant by a repertory theatre? 4. What do
you know about the Royal Shakespeare Company? 5. What kind of performances are staged in the
Royal Opera House? 6. Are there many theatres in or near the West (East) End of London? 7. What
kind of music is popular in England? 8. Are there any amateur theatres in Great Britain? 9. What
leading actors of the British theatre do you know? 10. How are the British Arts Councils going to
celebrate approach of the millennium?
B. 1. How is the Russian theatre organized? 2. What Russian theatres are best known in
Russia and abroad? 3. Is attendance at our theatres high? 4. How many times a month (a year) do
you go to the theatre? 5. Are there any amateur theatres in Russia?
II. Try your band at teaching:
A. Preparation, a) Find picture representing a theatre-house, b) Study the footnotes on p. 327
describing a theatre-house and its parts, c) Write questions to provoke answers containing all the new
words.
B. Work in class. Ask your questions, listen to the an– -swers and correct the student's
mistakes.
III. Learn Text В by heart. Act out this dialogue.
IV. Retell Text С in your own words.
Speak on your favourite genre (opera, drama, ballet, comedy, musical, etc). Why do you
like it?
V. Translate the following into English:
Когда мы пришли, зал был уже полон. Через несколько минут занавес поднялся, и все
взгляды устремились на сцену. Декорации были очень простые, выдержанные в черных,
белых и серых тонах. На этом фоне яркие костюмы действующих лиц выглядели очень
эффектно.
Состав исполнителей был неплохой, а игра актера, исполнявшего главную роль, была
просто великолепна. Когда он был на сцене, внимание всего зрительного зала было
сосредоточено на нем и его игре. Во время знаменитой сцены из третьего акта в зале стояла
мертвая тишина. Зрители были потрясены. Многие плакали. К тому же, эта сцена была удачно
освещена. Режиссер удачно использовал освещение, чтобы усилить впечатление от игры
актера.
Когда после заключительной сцены занавес опустился, наступила долгая пауза, а потом
поднялась настоящая буря аплодисментов.
VI. Read the following and either agree or disagree with the statements. (See
the Reminder.):
1. The house is the part of the theatre where the members of the orchestra usually sit. 2. An
auditorium is a building or a part of a building in which the audience sit. 3. The audience include
both spectators and actors. 4. When the audience is pleased it keeps silent. 5. We say "the house is
full" when not all the seats in the auditorium are occupied. 6. The pit is nearer to the stage than the
stalls. 7. You prefer seats in the gallery, don't you? 8. Wings are the sides of a stage with the scenery.
9. You wouldn't like to go behind the stage, I believe. 10. The cheapest seats are in the boxes. 11.
The most expensive seats are in the orchestra stalls. 12. Students always buy seats in the orchestra
stalls. 13. By the cast of the play we mean all the actors belonging to the theatrical company. 14, The
role of the producer is not very important. 15. You don't know who Stanislavsky was, I believe. 16. It
doesn't take many people to produce a play. 17. I believe you clap to show your appreciation of the
acting or the play as a whole.
Reminder. Beyond all doubt. I should think so. I won't deny it Most likely. I disagree with
you. On the contrary. You are wrong. Just the other way round. Not me! By no means.
VII. a) Describe your impressions of a play (opera, ballet) you have seen.
Follow the plan below:
1. Going to the theatre. (How did you get the tickets? Where were your seats? Was the house
full?)
2. The play. (Was it interesting? What was interesting? What didn't you like about it?)
3. The acting. (Was the cast good? Whose acting impressed the audience? In what scenes?)
4. The production. (Did the production help the audience to catch the main idea of the play?
In what points of the production did you feel the work of the producer? Did the general spirit of the
production satisfy the demand of the play?)
5. Designing. (Did you like the scenery? How were the light and sound effects used?)
6. The audience. (What kind of people did it consist of? How did they receive the
performance?)
R e m i n d e r: if is surprising to meet a play about ordinary people caught up in ordinary
events, the author shows a remarkable talent for writing dialogue which is entertaining and witty,
the characters are pleasant (humorous, ordinary); one brief scene forms the climax of the play, the
characters act out a fantasy, the audience is made to think: until almost the final curtain; splendid
direction; it was one of the finest renderings of this part I've ever heard; I hear the scenery was
planned and designed by...; his musical talent is quite exceptional, his playing sometimes reminds
me of...; the highlight of the evening was ...
b) Make up dialogues discussing the points above.
VIII. a) Supply articles where necessary:
Chekhov's play "... Sea-gull" was first staged in ... Alexan-drinsky Theatre in... Petersburg. It
was ... complete failure.... play was ruined by ... dull and ... clumsy production. It was staged in ...
"good old traditions" whereas ... Chekhov's plays were quite unlike any other plays written before
and demanded ... new forms and devices.... Petersburg audience did not understand "... Sea-gull."
There was ... laughter in most poetical scenes and many of... audience left long before ... end of ...
play. It was ... cruel blow to Chekhov. However, in... Moscow Art Theatre, which was not ... year old
then (it was in 1898), ... same play directed by K. S. Stanislavsky was ... tremendous success....
Stanislavsky's production of "... Sea-gull" opened ... new epoch in ... history of ... theatre and
symbolized... triumph of... new and ... progressive forms over ... old ones.
In ... memory of that event... white sea-gull spreads its wings on ... curtain of ... Moscow Art
Theatre.
b) Answer the following questions:
1. When and where was Chekhov's "Sea-gull" first staged? 2. Why did it fail? 3. Why was it
that the same play was a tremendous success in the Art Theatre? 4. Why did the Art Theatre choose
the sea-gull for its emblem?
IX. a) Give a free translation of the following passage. Make use of the English
phrases given at the end:
Обстоятельства, при которых ставилась «Чайка», были сложны и тяжелы. Дело в том,
что Антон Павлович Чехов серьезно заболел. У него произошло осложнение туберкулезного
процесса. При этом душевное состояние его было таково, что он не перенес бы вторичного
провала «Чайки», подобного тому, какой произошел при первой ее постановке в Петербурге.
Неуспех спектакля мог оказаться гибельным для самого писателя. Об этом нас предупреждала
его до слез взволнованная сестра Мария Павловна, умолявшая нас об отмене спектакля.
Между тем, он был нам до зарезу необходим, так как материальные дела театра шли плохо и
для поднятия сборов требовалась новая постановка. Предоставляю читателю судить о том
состоянии, с которым мы, артисты, выходили играть пьесу на премьере, собравшей далеко не
полный зал. Стоя на сцене, мы прислушивались к внутреннему голосу, который шептал нам:
«Играйте хорошо, великолепно, добейтесь успеха, триумфа. А если вы его не добьетесь, то
знайте, что по получении телеграммы любимый вами писатель умрет, казненный вашими
руками. Вы станете его палачами».
Как мы играли – не помню. Первый акт кончился при гробовом молчании
зрительного зала. Одна из артисток упала в обморок, я сам едва держался на ногах от
отчаяния. Но вдруг, после долгой паузы, в публике поднялся рёв, треск, бешеные
аплодисменты. Занавес пошел ... раздвинулся ... опять задвинулся, а мы стояли, как
обалделые. Потом снова рев ... и снова занавес ... Мы все стояли неподвижно, не соображая,
что нам надо раскланиваться. Наконец, мы почувствовали успех и, неимоверно
взволнованные, стали обнимать друг друга. М. А. Лялиной, которая играла Машу и своими
заключительными словами пробила лед в сердцах зрителей, мы устроили овацию. Успех рос с
каждым актом и окончился триумфом. Чехову была послана подробная телеграмма.
(Станиславский К. С. Моя жизнь в искусстве)
Use the following:
the circumstances ... were complicated and painful, his deep depression, he might have not
survived another failure, implored us to cancel the performance, we badly needed it, to raise the box
office returns, the inner voice, murdered by your own hands, the first act concluded amid death-like
silence, to faint, I was on my last legs, there was an uproar, a crash, a storm of applause, the curtain
went up ... then down again, we were standing stunned, we were supposed to take the curtain-calls,
melted the ice, to cheer, each act heightened the success.
b) What can you say about the significance of the event described above for
the history of Russian and world theatre?
X. a) Read Sir Laurence Olivier's answers given by him in a newspaper
interview:
Q u e s t i o n : How has television affected the theatre?
A n s w e r : Well, its popularity means that millions of people take drama for granted.
With hours and hours every week, the viewer can have a bellyful of drama. If you're going to attract
a man and his wife away from their TV set on a winter's night, and hold them to a play in a theatre,
you've got to grip them and keep them gripped.
Now, you do have certain advantages in the theatre. The telly is perfect for the things that
have been specially built for it. But the TV screen cannot give you the peculiar condition of the
theatre, where we are allowed to get back to life-size people in relation.
Q.: Is there any particular hobby-horse that you ride in your work as actor and director?
A.: I rely greatly on rhythm. I think that is one thing I understand – the exploitation of
rhythm, change of speed of speech, change of time, change of expression, change of pace in crossing
the stage. Keep the audience surprised, shout when they're not expecting it, keep them on their toes
– change from minute to minute.
What is the main problem of the actor? It is to keep the audience awake.
O.: How true is it that an actor should identify with a role?
A.: I don't know. I can only speak for myself. And in my case it's not 'should', it's 'must'. I just
do. I can't help it. In my case I feel I am who I am playing. And I think, though I speak only from my
own experience, that the actor must identify to some extent with his part.
In "Othello" the passage from the handkerchief scene through to flinging the money in
Emilia's face is, pound by pound, the heaviest burden I know that has been laid upon me yet by a
dramatist.
And Macbeth. Do you know what is the first thing to learn about playing Macbeth? To get
through the performance without losing your voice.
(From Moscow News,
1969, No 10, Fragments)
b) Try your hand at teaching:
A. Preparation. Think of interesting questions on Sir Laurence Olivier's interview.
B. Work in class. Make your friends answer your questions.
XI. Sole-playing.
At a Theatre Festival
St. A: a famous producer
St. В.: a celebrated actor
St. C: a talented young actress, who made an immediate hit with her sensitive and moving
performance
Rest of class: a journalist, a critic, a playwright and theatre-goers
All are invited to the studio.
XXI. a) Translate the following fragments into Russian (in writing)!
A. There are many people whom the theatre fills with an excitement which no familiarity can
stale. It is to them a world of mystery and delight; it gives them entry into a realm of the imagination
which increases their joy in life, and its illusion colours the ordinariness of their daily round with the
golden shimmer of romance.
W. S. Maugham
B. In the Theatre we are proud to serve, ideas merely play like summer lightning over, a deep
lake of feeling; the intellect may be quickened there, but what is more important is that the
imagination of the spectator begins to be haunted, so that long after he has left the play-house the
actors are still with him, still telling him of their despair and their hope.
J. B. Priestley
b) Comment on the fragments above.
ХIII. Speak individually or arrange a discussion on the following:
1. Why is it that people go to the theatre? What do they look for there?
2. What is your favourite theatre and why?
3. The fragment above (Ex. XII B) describes the case when "the imagination of the spectator
begins to be haunted so that long after he has left the play-house the actors are still with him..." Is the
experience familiar to you? After what play did you have it last time?
4. What is the romantic side of the theatre?
5. What is the educational role of the theatre? Do you agree with Priestley (see the fragment
in Ex. XII B) that the theatrical art appeals rather to the spectator's imagination and feelings than to
his intellect? Give your reasons.
XIV. Try your hand at teaching. 1. Say what you would do in the teacher's
position:
Michael, a bright, young, soon-to-be fifth-former, confessed to his teacher that in his view
school was no fun, the teachers were no good, summer should last forever and dogs were lucky
because they didn't have to go to school. The teacher protested that school was important. But
Michael, who didn't share the teacher's opinion, answered with a one-word question "Why?".
2. Respond to the following modestly. Here are a few possible ways of
beginning answers:
Oh, it was nothing. The real credit should go to .... I had very little to do with it. It wasn't
difficult at all, really. Thank you, but it's not really all that good. Oh, you're exaggerating, I played
only a small part in the whole thing. It was very much a team effort. You're very kind, but really
anyone else could do it.
S c e n a r i o
A.: I've never seen such an attractive and talented class of children. I think you, as their
teacher, deserve the highest praise.
You: ...
A.: I'm sure they are splendid, but I don't agree that you don't deserve any credit. I know you
planned the lovely decorations in their classroom, for a start.
You: ...
A.: I'm sorry, I just can't believe it had nothing to do with you. And even if they had the
original idea, I'm sure you guided them in their work.
You:...
A,: Oh, come on, it can't have been easy and I don't agree that anyone could have done it
(From Making Polite Noises by Hargreaves and M. Fletcher. Lad" 1979)
3. Classroom English. (Revision);
a) It's the last period on Saturday. The lesson is coming to an end. You are pleased with the
work you and the pupils have done. You find that you just have about 3 – 4 minutes to have the
exercise books collected and the board cleaned. You inform the class that they will have to finish the
exercise off at home, tell them you are pleased with their progress, set the homework and state
briefly what you are planning for the next lesson. After that you ask your pupils to tidy up the room
and to be quiet when they go outside. You wish them a nice weekend and say good-bye.
b) It's a routine English lesson in the middle of the term. The lesson isn't going too well You
are trying to keep your pupils interested in the exercises you are checking. You get them to read the
sentences in turn and correct their mistakes, but the pupils are tired and find it difficult to concentrate
on the work. Some of them start chatting and fidgeting. You try not to show your annoyance and
proceed checking the exercise.
c) You've got a lot of work to get through in this lesson. You ask the pupils to do an exercise
from the textbook silently. You check that they all have the right place. When your pupils have
looked through the exercise you want everybody to read three sentences each. You comment on their
work. In the remaining five minutes, you have a quick vocabulary test on the blackboard. You make
sure that the board is properly prepared, and ask 2 or 3 pupils to write the test. You keep the rest of
the class involved and comment on the work.
d) It's a revision lesson. You've brought to the classroom a map of Britain, some slides and/or
pictures of London and a slide projector. You ask one of the pupils to help you fix the map and
pictures on the board and get the slide projector ready. The pupils point out on the map the most
important towns, rivers, mountain chains or anything you find necessary to mention. After that they
speak briefly about London sights making use of the pictures and slides. You keep making notes
while they speak and comment on their work at the end of the revision lesson.
e) At the end of the term you find it necessary to have a brief revision of the book your pupils
are reading. Your idea is to ask the pupils a number of questions to encourage a discussion. You think
the questions over very thoroughly beforehand and ask your class to answer them. You are interested
in everyone's point of view and react to comments appropriately, trying to keep the conversation
going.
XV. Describe these pictures: Use the following:
a) to come home greatly excited, to wave some slips of paper in the air, to be delighted, to
have great fun playing with one's toys; b) to drag smb. along the street, to howl at the top of one's
voice; c) to have excellent seats, "Wilhelm Tell" was on, the music was so loud you couldn't hear a
word, to be bored; d) that was much better, to catch smb.'s interest, a bow [bзv] and arrows, to shoot
off ah apple from...; e) in very high spirits, to chatter about one's impressions, to be pleased; f) to be
shocked, the child's imagination was certainly haunted by the opera or, rather, by one particular
scene, the poor teddy-bear, to look extremely uncomfortable.
XVI. Film «Mr. Brown's Holiday». Film segments 9 «One More Substitute»
(Yeovil) and 10 «Back at Ноmе» (London), a) Watch and listen, b) Do the exercises
from the guide to the film.
STUDIES OF WRITTEN ENGLISH
IX
One of the most effective exercises in good writing is a free composition.
Free composition is a piece of independent writing (3—5 pages in length). You are free to
select the subject, to decide on the pattern of writing (narrative, descriptive, argumentative,
expository), and to choose writing technique (keywords, topic sentences, connectives and
transitions).
In the process of free composition there are three main points to consider: what to say —
selection of a subject and the theme, how to arrange the material in the best order, and how to
express your thoughts in the best possible language.
The theme and subject should be selected with care so that you know exactly what you mean
to write about and what is the purpose of writing – is it describing, entertaining, persuading or
instructing?
"The British Isles" is, for instance, of descriptive nature, "How We Kept Mother's Day" is
both entertaining and instructing, Judy's letters are sincerely persuading.
Composition must be unified and complete. It must have a beginning, middle, and end. It
must be coherent; that is, systematic in its presentation, with reference to time, to point of view, and
to situation. It must reveal your attitude or judgement towards material and characters or towards
your reader, or both.
The beginning, or introduction expresses the occasion, the problem, and the purpose. A
good beginning attracts the reader's attention, his interest and sometimes his emotions (see the
beginning of "How We Kept Mother's Day" or of "A Friend in Need").
The middle or body of the composition in its turn makes the problem clear through narration,
description, argument or exposition (compare different passages from this textbook). Usually the
middle includes the details. It may have the turning point or climax describing the moment of
greatest emotions.
The end or conclusion is the result of that clarification. The author provides an answer to
the main question. It is usually marked by a summary statement emphasizing the message (compare
the final sentences in "A Day's Wait", "How We Kept Mother's Day", "Rose at the Music-hall").
Assignments:
1. Write a composition explaining the message of the passage "Rose at the Music-ball.
2. Write a composition following the events described in the pictures on pp. 338-339.
3. Write a composition describing your visit to a theatre and your impressions of the
prevailing atmosphere,
4. If you have become proficient at writing compositions as an exercise you may turn to
teaming how to write compositions as art. Try your hand at writing a composition about the
best way to comfort your mother (father, child, sister or brother, friend).
Evaluate your composition according to the main principles of good writing: unity,
coherence, and emphasis.
LABORATORY EXERCISES (II)
1. Listen to the text «Drama, Music and Ballet in Britain», mark the stresses and tunes.
Repeat the text following the model.
2. Record the dialogue «At the Box-Office» in pairs. Listen to the records and discuss
them in class.
3. Listen to the dialogue «Pantomimes», mark the stresses and tones. Repeat it
following the model.
4. Write a spelling-translation test:
a) translate the phrases into English;
b) check them with the key.
5. Respond to the following questions or statements and correct them if necessary.
6. Listen to the story. Write ten questions about the text. Suggest a title for the text and
give reasons for your choice. Find evidence in the text to support the following statements.
CURIOSITY QUIZ FOR EAGERS
1. What do you know about K. S. Stanislavsky, his role in the history of the Moscow Art
Theatre and bis influence on world theatre?
2. Where do the following quotations come from? Who says the lines? Under what
circumstances?
a) The time is out of Joint Oh, cursed plight. That ever I was bom to set it right '
b) Beware, my lord, of the jealousy;
It is the green-eyed monster, that doth mock The meat it feeds on.
c) How sharper than a serpent's tooth it is To have a thankless child.
3. What do you know about the problem of Shakespeare's authorship?
4. What do you know about the Sovremennik Theatre? about the Lenkom Theatre?
about the Tovstonogov Theatre in St Petersburg?
5. Listen to a text connectid with the topic «Theatre».
SUPPLEMENT
A. CLASSROOM ENGLISH
I. Pupil Language
This section contains a list of phrases that pupils might be expected to use during an English
lesson.
1. Following the Lesson
I'm sorry, I didn't understand.
You're speaking too quickly.
I didn't get that down. Could you say it again?
Could you repeat the last bit?
I missed the beginning of what you said.
Could you explain again, please?
Shall we do the exercise in our work books?
Are we supposed to finish this off at
