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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:

, , . , . . , , , . . , . , , . , , , , . , , : , , , . , , , . .

. . , . , , , , . ... ... , , . ... ... , , . , , , . . . , , . . .

( . . )

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:

Question: How has television affected the theatre?

Answer: 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.





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