Part II. A Visit to the Theatre
That’s interesting!
These are acessories for a visit to the theatre and miscellaneous metallic souvenirs (Early 20th century)
This collection of objects represents a lady's evening at the theatre at the turn of the 20th century. An Edwardian lady would be expected to wear long evening gloves and would adorn her hair with accessories such as the pearl pin that is pictured. She would carry a pair of opera glasses to look at the performers more closely and would need a fan to cool herself in the heat of the theatre. She might also be given souvenirs of the theatrical event, such as the picture holder and glass jar shown in this selection.
1. Speaking Activity
Nowadays there are many possibilities for entertainment. Young people find it up-to-date to catch up with cultural life, to be acquainted with prominent phenomena of art, both classical and contemporary. The important thing is to be able to make invitations and suggestions properly and respond to the invitations and suggestions of others. Try using English expressions in place of your first language. These tips will help you.
Invitations and replies
A: Would you like to go out this evening?
B: Yeah great / lovely / I'd love to or I'm sorry I can't.
A: We're going to a restaurant and we were wondering
if you'd like to come with us?
B: I'd love to, but I'm afraid I can't.
Oh, I'm afraid I have to look after my younger sister.
Suggestions and replies
Here are some common ways of asking for and making suggestions (= ideas for things to do/say/make, etc.) and suitable replies.
Asking for suggestions
What shall we do tonight? Where shall we go this evening?
Making suggestions
How about (or what about) going to the cinema? (Note: How/What about + -ing)
We could go to the leisure centre and watch the basketball.
Why don't we try that new club in the main square?
Responding
Yeah, great / fine / OK / that's a good idea.
Yeah, if you like. (= if you want to go, then I am happy to go)
Yes, I don't mind. (= I have no preference)
I think I'd rather (= I would prefer to) go out for a meal.
Note: In this situation, learners often say 'it's the same for me'. We don't use this expression in English; we say I don't mind.
Task 1. Correct the mistakes in this dialogue.
A: Do you like to go out this evening?
B: I’m afraid but I haven’t got any money.
A: That’s OK. I’ll pay. How about go to see a ballet?
B: No, actually I think I’d rather to stay at home and do my homework.
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A: Why you don’t do your homework this afternoon?
B: I’m busy this afternoon.
A: OK. How about tomorrow evening then?
B: Yeah good.
A: What ballet shall we go to?
B: For me it’s the same.
Task 2. Complete these dialogues with a suitable word or phrase.
1 A: Clive and Sally are here at the moment and we were ………………………. if you’d like to come over and join us for a riveting thriller this evening?
B: Yes, I’d ………………………
2 A: What ………………… we do this evening?
B: I don’t know really. Any ideas?
A: Why ………… go to the cinema? We haven’t been for ages.
B: Yeah, that’s a ……………….
3 A: OK. Where ……………… we go on Saturday?
B: ………………. going to the open-air theatre if the weather is good?
A: Yeah. Or we ……………… try that new sports centre just outside town.
B: Mmm. I think I’d ……………….. go to the theatre.
A: Yeah OK, if you ………………
4 A: What …………. you like to do this week-end?
B: I don’t ………….. You decide.
Task 3. Here are six invitations or suggestions. Respond to each one as fast as you can with a suitable reply. Do this activity in pairs: one of you asks the questions, the other answers.
1 Would you like to go out this evening?
2 I’ve got some tickets for a concert of classical music and I was wondering if you’d like to go with me?
3 How about going to a matinee at the weekend?
4 Why don’t we meet this afternoon and practice our playing the drums for an hour?
5 We could invite some other people from our group to a concert of symphony music.
6 Why don’t we try that new fringe theatre in the main square?
Reading Activity.
Task 1. Before reading study the following information connected with the English cultural life.
CULTURE CONTEXT
Nell Gwyn (1650 - 87) - the first English actress.
David Garrick (1717 - 1779) - an English playwright and actor.
Laurence Olivier (1907 -1989) - an English actor thought of by many people as the greatest of the 20th century. He appeared in the theatre and in many films. He was the first director of the National Theatre, and the first actor to be made a life peer.
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John Gielgud (1904 -) - an English actor and director who has played many parts from Shakespeare's plays, as well as making film appearances, e.g. in Arthur in 1981 when he won an Oscar (a small statue given as an American cinema prize each year).
The Royal Opera House (Covent Garden) - one of the two important London theatres where operas and ballets are performed.
The National Theatre - a modern building on London's South Bank containing three theatres. It is the home of the Royal National Theatre Company, who performs a wide variety of old and new plays. The theatre is very popular and attracts many tourists.
The Royal Albert Hall - a very large concert hall in London known especially for its promenade concerts (a concert at which parts of the hall have no seats and are used by listeners who stand). A number of these classical music concerts are held over a period of several weeks every summer in the Royal Albert Hall and are usually called the Proms. They were established by Henry Wood in 1895.
For cultural pursuits London has no equal. The city can boast of five major symphony orchestras, three ballet companies, two operas, 50 West End theatres, including the recreated Shakespeare's Globe and 50 fringe theatres.
Going to the theatre is very expensive in London, less so in other areas, and is thought by some people to be an activity for clever people, except if one goes to see a musical.
Text. ENTERTAINMENT
On Saturday the Smiths don't work. They keep this day free. John and Helen usually go to Stratford to see a good play. They're fond of the theatre and rarely miss new plays. Helen prefers classics, but John finds modern experimental plays of great interest too. If it's a popular show, advance booking is essential. John and Helen find in the theatre a magic world to which they escape once a week or so from their everyday routine at home. After each performance the characters seem to stay with them for days, making the real world a brighter place.
Their sister-in-law, Ally is also a theatre-goer. She knows a good deal about the theatre. She can amuse her friends for hours with her stories of the theatre. Ally says it offers amusement, pleasure and inspiration.
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When Mary and Charles were small their parents used to take them to the puppet theatre. When at school the children would go to London at weekends to see some play or a new comedy at the National Youth Theatre. Now the young people seldom join Helen and John.
Mary likes dancing and painting. Whenever she comes to London she goes to the Royal Opera House, Covent Garden to watch some ballet. Mary admires classical dancing, but she understands that ballet as an art must develop because a new time demands new forms.
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Charles has little interest in the theatre. He prefers the cinema, though he cannot be called a cinema devotee. Charles likes feature films, especially comedies and detective films. He's quite resentful of his parents who think such films to be cheap stuff. The swift-moving action, music and comic situations in comedies appeal to him a lot. In his opinion, detective films develop his abilities for analysis. But Charles's special interest is rock music. He always joins his friends and they flock together to hear some popular group.
Helen is sure that the art of the theatre is the only form of art of which the public is an integral part, the only form that is not complete without the audience. The art of the theatre depends on interplay between actors and audience. A play is not for all time, it is for the actual moment. It is newly created with each performance. Many actors tell of that curious sensation they have when entering the stage. An expectant force is there, not just separate men and women but an entity.
People also behave differently when they are part of the audience. They have to share the feelings of a great many other people to enjoy a play properly. Of course, the theatre is a two-levelled phenomenon based on the imaginary life of the play and on the reality of the performance.
Good films provide us with a giant mirror - a reflection of the values, the half-truths, and the ideals of society. They represent universal emotions but "blow them up" until they are larger than life.
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Whatever one can say about the theatre, cinema and television, one can admit that they influence people's lives, entertain people, teach and inform them, form a public opinion. We can't imagine our lives without them.
Different people have different views. The fact is, the arts make our lives more interesting and they contribute sufficiently to the cultural needs of people.
Task 3. Answer the questions using the topical words and phrases.
1. How do Helen and John Smith spend their weekends? 2. What kind of plays do they prefer? 3. What do the Smiths find in the theatre? 4. What does the theatre offer, in Ally's opinion? 5. What theatres would Mary and Charles visit when they were small children? 6. Is Mary a theatre-goer? What does she like to watch? 7. Is Charles interested in the theatre? What is his special interest? What films does he like to watch? 8. What do the Smiths think of the theatre, cinema and TV?
Task 4. Share your views on the following questions with your partner. Be ready to speak on these items in class.
1. Is the theatre important in people's lives? 2. Do people behave differently when they are part of the audience? Why? 3. What is essential for the audience to enjoy the theatre? 4. Why do they say that children are a splendid theatre audience? 5. Is the audience in the theatre of any significance for the actors? 6. Some people say that the theatre is dying. Do you support this opinion?
Task 5. Confirm or deny the statements. Expand on them.
1. Experimental plays may be of great interest. 2. The theatre is a magic world to which people escape from their everyday routine at home. 3. Ballet as a performing art must develop. 4. The theatre is a special kind of pleasure and amusement. 5. The theatre is a two-levelled phenomenon.
Task 6. Speak on the following topic. Use the phrases given in brackets.
The theatre and its place in modern life (to have advantages; to coexist with TV; to lose its significance; to possess real advantages over cinema; to contribute to the cultural needs of people).
Task 7. Comment upon the following statements. Which of them do you agree with? Reason your answer out.
1. "All art is but imitation of nature" (Seneca). 2. "Art is long and Time is fleeting" (H. Longfellow). 3. "Art, as far as it can, follows nature, as a pupil imitates his master; thus your art must be, as it were, God's grandchild" (Dante, Alighieri). 4. "Art has its fanatics and even its monomaniacs" (Hugo, Victor Marie). 5. "There is no substitute for talent. Industry and all the virtues are of no avail" (Huxley, Aldous). 6. "Art is a jealous mistress, and if a man has a genius for painting, poetry, music, architecture, or philosophy, he makes a bad husband and an ill provider" (Emerson, Ralph Waldo). 7. "Many excellent cooks are spoiled by going into the arts" (Gauguin, Paul).
CONVERSATIONAL FORMULAS
PREFERENCE AND LACK OF PREFERENCE
1. Read the dialogues in parts, noting what expressions are appropriate in the situations.
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- Do you like watching television?
- Not very much. I prefer live entertainment. My friend and I often go to the theatre.
- I see. What do you like best: comedy, tragedy or musical?
- Comedy. I also like opera and ballet.
- What sort of music do you prefer?
- Classical music. I quite like some modern composers too, but I prefer more traditional music on the whole.
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- What do you like doing in your spare time?
-I often go to the cinema. When I stay at home I watch TV.
- What kind of films do you like?
-I enjoy a good thriller or a detective film.
- Oh, I can't stand thrillers.
- Can't you? I find them rather relaxing for a change.
2. Reproduce the dialogues with other students in class.
3. Make up your own microdialogues. Express your likes and dislikes, your preference or lack of it.
4.Read the dialogue "Deciding What to Do In the Evening" out. Practise the speakers' intonation in statements, the way they express agreement and disagreement.
Dialogue. DECIDING WHAT TO DO IN THE EVENING
Charles: Why don't we go to the cinema? There's a good fantastic film on. It's called "Star Travellers". Has anybody seen it?
Judy: Yes, I saw it last Tuesday. I thought it was a horrible film. I couldn't watch when they killed the people to seize the power.
Charles: Well, what do you like? Love stories where all they do is kiss and cry?
Judy: I like romances and detective films. How about you, Mary?
Mary: Well, in fact, I don't like films much. I like going to the theatre instead. Last week I saw "Happy Marriage". It's the funniest play I've ever seen. I like going to the ballet. And I enjoy opera too.
Charles: I can't stand opera. I can't understand it. It's beyond me.
Judy: I'm fond of modern music. We might go to a concert.
Mary: I don't feel like listening to pop or rock music.
Charles: Let's watch a detective film then. There's an interesting film on. It's about a man who is a guest at an old castle. When he goes to his bedroom, he finds a dead body in his bed.
Judy: I've heard of this film, too. They say, it's rather exciting. By the way, there's a horror film on TV today. It's based on the novel "Dracula" written by the Irishman Bram Stoker in 1897. It's the Francis Ford Coppola film.
Mary: I watched it a year ago. I was scared stiff, and my hair stood on end. I didn't have the nerve to watch the film up to the end.
Charles: Well, "Dracula" remains one of the most powerful creations of terror ever conceived. But we still haven't decided what to do this evening.
1) Read and translate the dialogue from English into Ukrainian. Use an English-English dictionary and comment on the words and phrases in bold type.
2) Act out the dialogue taking parts of Charles, Mary, Judy.
3) Make up your own dialogues in the following situation:
Your parents, your brother or sister and you are discussing your plans for the evening. Your parents want to go to the theatre or to the Opera and Ballet House. You prefer going to the cinema to watch a new fantastic film. Your brother/ sister is eager to stay at home and watch a thriller on TV.
Reading
These people all want to go and see something tonight at an arts festival. Look at the descriptions of the shows and decide which onewould bemost suitable for eachperson.
| VENUE AND TIME | SHOW |
| Highland Theatre 9.30 p.m. | Antony and Cleopatra William Shakespeare A joint production between the National Shakespeare Company and the International Arts Festival. Antony and Cleopatra is an epic story of love and war. |
| The Playhouse 6.00 p.m. | Oi! Choreographer Joao Monte brings us an exciting dance show, mixing hip-hop with contemporary dance in a modern but Brazilian way. |
| Joe’s 10.00 p.m. | Funny Ha Ha Popular stand-up Croatian comedian, Gordana Matijasevic, in her first one-woman shoe in English. Plays brilliantly with the English language. |
| The Bar 9.00 p.m. | Tango Tango Traditional Argentinian tangos. No dancing but all the better to listen to the singer, Jorge Alfonso. |
| Braemar Hall 7.00 p.m. | Rite of Spring Sravinsky Performed by the National Polish Radio Symphony Orchestra. An incredible performance of the exhilarating music originally written for a ballet. |
| Arts Festival Theatre 8.00 p.m. | Eugene Onegin Tchaikovsky Sung in Russian by the Opera National de Paris. Romance, war, love and politics. |
| The Space 7.00 p.m. | The Good Woman of Szechuan Bertold Brecht A stunning new production by the Polish theatre company W Opolu. |
| City Hall 7.00 p.m. | The Marmelade Show Laugh out Loud Sketch show from this popular comedy team. Making fun of modern life. Warm and enjoyable humour. |
Listen to a group of people performing the task in Exercise 1. Did you have the same answers?
Prepare a story about your last visit to the theatre. Use the following sentences and questions as a guide.
The play was a success/failure. I was deeply impressed by the play. The cast/ scenery/play was simply wonderful/splendid/awful. The direction left much to be desired. I was carried away by the performance. I thought I'd never stand it to the end. The spectators burst into applause. Her success exceeded all hopes. Her/his acting was brilliant/colourless/dull.
1. What was the play you saw last?
2. Who is it by?
3. 
What is it about?
4. Who directed the play?
5. At what theatre did you see it?
6. Was it difficult to get tickets?
7. At what time did the performance begin?
8. Where were your seats?
9. Did you hear and see well from there?
10. How did you like the scenery?
11. Was the cast good?
12. Who played the main parts?
13. Whose acting did you enjoy most of all?
14. How was the play received by the public?
Actors (Genius or Labour?)
Reading
Comment on the following statement in writing.
Talent alone cannot make an actor.
Preparatory exercise:
Look through the expressions in the text in bold type, translate them, express your opinion as to what the text is going to be about.
Text. From THEATRE
by W. S. Maugham
The play went well from the beginning; the audience, notwithstanding the season, a fashionable one, were pleased after the holidays to find themselves once more in a playhouse, and were ready to be amused. It was an auspicious beginning for the theatrical season. There had been great applause after each act and at the end a dozen curtain calls; Julia took two by herself, and even she was startled by the warmth of her reception. She had made the little halting speech, prepared beforehand, which the occasion demanded. There had been a final call of the entire company and then the orchestra had struck up the National Anthem. Julia, pleased, excited and happy, went to her dressing-room. She had never felt more sure of herself. She had never acted with greater brilliance, variety and resource. With her exquisite timing, with the modulation of her beautiful voice, with her command of the gamut of emotions, she had succeeded by a miracle of technique in making the last scene a thrilling, almost spectacular climax to the play. The whole cast had been excellent.
Julia went into her dressing-room. Michael followed her in almost at once.
"It looks like a winner all right. By God, what a performance you gave."
"You weren't so bad yourself, dear."
"That's the sort of part I can play on my head," he answered carelessly, modest as usual about his own acting. "Did you hear them during your long speech? That ought to knock the critics. You're the greatest actress in the world, darling."
Now Julia simply couldn't conceal the little smile that curled her lips. Praise is always grateful to the artist.
There was a sound in the corridor of a crowd of people talking, and they both knew that a troop of friends were forcing their way down the narrow passage to congratulate her.
The door burst open and Julia's friends entered the room. Julia submittedto being kissed by all and sundry. The corridor was packed now with people who wanted to get at least a glimpse of her.
At last the crowd was got rid of and Julia, having undressed, began to take off her make-up. "Everything's a success. I feel on the top of the world. I feel like a million dollars. Iwant to be alone and enjoy myself," said she.
1. Read and translate the text from English into Ukrainian. Pick out the words and word combinations in the text which may be grouped under the heading: Theatre.
2. Comment on the meaning of the words and phrases in bold type. Consult an English-English dictionary. Make up your own sentences illustrating the meanings of these words and word combinations.
3. Paraphrase the following sentences.
1. It was a favourable beginning for the theatrical season. 2. She was not confident during her speech. 3. She couldn't hide her smile.
4. Find in a dictionary synonyms for the following words. Illustrate their meanings with some examples.
Audience, fashionable, playhouse, resource, exquisite.
• Model: Audience = public. The audience began clapping.
5. Find in a dictionary antonyms for the following words. Use them in some meaningful context
Climax, excited, pleased, grateful, conceal, enjoy.
• Model: Climax = peak, culmination. Climax-anticlimax. The climax of the film happens in London.
7.Pick out in the text some examples illustrating emotionally coloured vocabulary.
8. Answer the questions.
1. Did Julia cope with her part? 2. Was the audience in the theatre of any significance for Julia? 3. Was Julia a gifted actress? 4. What made Julia feel happy? 5. What did Michael think of his own acting? 6. Did the audience enjoy the play? 7. Why didn't Julia want to share her success with anyone?
9. Quote the text to prove that:
1. The play was a success. 2. Julia was a talented actress. 3. The cast was gifted. 4. The audience enjoyed the play. 5. Her friends wanted to congratulate Julia. 6. Julia was quite happy. 7. Julia was an experienced actress. 8. Michael was a modest person. 9. Julia's long speech at the end of the play impressed the critics. 10. Julia didn't want to share her success with anyone.
10. Give a summary of the text. Use the topical phrases which are helpful to sum the idea up.
11. Describe the successful theatrical performance Julia took part in.
Speaking
1. Discuss the qualities of a born actress / actor.
2. Consider the following list of personal traits. Discuss them with your fellow-students and try to agree on which qualities are essential and which merely desirable in a good actor. What other traits would you add to the list?
Good imagination, a sense of timing, clear enunciation, a voice that carries well though not necessarily loud, graceful gait, calm and confident manner, pleasant appearance, good memory, a gift of observation, a sense of humour, extravagance, attractive personality, developed taste in clothes and hairdo, a gift of mimicry, self-assurance, ambition, open-mindedness.
3. What about you personally? Have you ever thought of becoming an actor? Test yourself right now!
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1. You're acting in an
adventure film. Would
 you use a stuntraan? a) Sure! Why should I risk my neck? b)No,I
want to take risks myself. It's my job!
c) I think so! But maybe only lor the most dangerous scenes.
2. You're in a restaurant. A fan comes to your table and asks for your autograph. Do you give it?
a) No problem! Here it is!
b) Why do people have to pester me wherever I go?
c) Okay, but only this time!
3. What is your reaction to people who stare at you while you're, walking down the street?
a) Hah, I'm the greatest!
b)I should be discreet and keep my fans at a distance!
c)Come on friends, let's have some'fun!
4. Now that you've got money, where do you intend living?
a) I love the country and my privacy.
b) Hollywood, here I come!
c)I love travelling, so I'll book hotel rooms.
| 5. What would be the most difficult thing for you to do in a film?
a) I can't do love scenes in romantic films!
b) I can't sing songs! I'm tone deaf and hate singing!
c) Hitting someone hard is something I detest!
11. You have to be away for a week's shooting. What do you take along with you?
a) Just a week? Well. I'll only take the movie script along!
b) I love to be the best as regards clothes so I'll take all my wardrobe along!
c) I never go anywhere without my teddy bear. He always keeps me company!
12. After working very hard in a film, you have a chance to make another film right away. What is your reaction?
a) No, I'm so tired! I certainly deserve a long vacation!
b)  Okay, I can always take a short vacation later on!
c) Okay, I'll accept it but on the condition that I decide how much I get paid.
13. What’ your idea of a Saturday evening?
a) Err… I
| think I'd like to go to the theatre  and see a nice comedy!
b) Well, I like to relax all alone!
c) I think a party with other famous personalities like me would be great!
9. You are given the chance to work with a gorilla. What's your reaction?
a) You must be kidding! I can't work with a gorilla!
b) Well, I think it gives me an opportunity to learn about gorillas!
c) What fun! That's what I call something original!
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From "Sure"
Now look through the most important qualities employers look for and tick those you think you’ve got.
creative instincts, innate talent, and the intellectual capacity to perform;
an ability to put personal skills like imagination, emotional honesty and empathy at the service of a creative process;
an ability to focus and listen;
vocal training for greater power, expressiveness and clarity;
physical training stressing general fitness, flexibility and grace;
insight into the psychology of human behaviour;
a ready understanding of and love for language;
high-level reading, research and text analysis skills;
singing, dancing and playing a musical instrument;
fencing/stage combat and physical theatre skills;
circus skills like clowning, acrobatics and juggling;
commedia dell’ arte and mask techniques;
training in improvisation.
the ability to affect an audience, and the ability to follow direction;
physical appearance, such as having certain features and being the specified size and weight (often a deciding factor in who gets a particular role).
Dilemma ‘TO BE OR NOT TO BE’
All believe the actor’s job to be just great! We can name plenty of advantages. But can you think of any disadvantages of ‘serving Melpomene’?
First reading
1. After reading decide on such words by a professional actor:“It's one of the tragic ironies of the theatre that only one man in it can count on steady work - the night watchman”.(Tallulah Bankhead). Why did he say so?
2. Find out who “extras”are.
Significant Points
Ø Actors endure long periods of unemployment, intense competition for roles, and frequent rejections in auditions.
Ø Formal training through a university or acting conservatory is typical; however, many actors, producers, and directors find work on the basis of their experience and talent alone.
Ø Because earnings may be erratic, many actors, producers, and directors supplement their incomes by holding jobs in other fields.
Nature of the Work
ª Although many actors, producers, and directors work in New York or Los Angeles, far more work in other places. They perform, direct, and produce in local or regional television studios, theaters, or film production companies.
ª Actors perform in stage, radio, television, video, or motion picture productions. They also work in cabarets, nightclubs, and theme parks.
ª Most actors struggle to find steady work and only a few achieve recognition as stars. Others work as “extras,” with no lines to deliver. Some actors do voiceover and narration work for advertisements, animated features, books on tape, and other electronic media. They also teach in high school or university drama departments, acting conservatories, or public programs.
ª Actors, producers, and directors work under constant pressure. Many face stress from the continual need to find their next job. Work assignments typically are short term—ranging from 1 day to a few months—which means that workers frequently experience long periods of unemployment between jobs. The uncertain nature of the work results in unpredictable earnings 
and intense competition for jobs. Often, actors, producers, and directors must hold other jobs in order to sustain a living.
ª Work hours are often long and irregular—evening and weekend work is a regular part of life in the performing arts. Actors, producers, and directors who work in theater may travel with a touring show across the country sometimes under adverse weather conditions.
ª Actors should be in good physical condition and have the necessary stamina and coordination to move about theater stages and large movie and television studio lots. They also need to maneuver about complex technical sets while staying in character and projecting their voices audibly. Actors must be fit to endure heat from stage or studio lights and the weight of heavy costumes.
Earnings
Median hourly wages of actors were $16.59 in May 2008. The middle 50 percent earned between $9.81 and $29.57. Median hourly wages were $14.48 in performing arts companies and $28.72 in the motion picture and video industry.
Some well-known actors earn well above the minimum; their salaries are many times the figures cited here, creating the false impression that all actors are highly paid. For example, of the nearly 100,000 SAG members, only about 50 might fall into this category. The average income that SAG members earn from acting is low because employment is sporadic and most actors must supplement their incomes by holding jobs in other occupations.
Second reading
1. Make up a list of activities actors have to do in case they do not have steady job at a theatre.
2. Weigh up pros and cons of actors’ work and decide on whether it is worth while trying to become a professional actor.
3. Did your stereotype about actors’ job change after you’d read the article presenting the reality of this occupation?
Minitalks:
1. Actors and their parts. 2. Stars in the theatre. 3. Actors and the audience.
Project
■ 3 groups
■ 9 members
The contents of the group work:
a) American film stars (Marilyn Monroe, Elizabeth Taylor, Richard Gere, Michelle Pfeiffer, Jane Fonda, Dustin Hoffman, Jack Nicholson...);
b) Famous British actors (Charlie Chaplin, Laurence Olivier, John Gielgud, Benny Hill, Sean Connery...);
c) Well-known Ukrainian actors and actresses (Leonid Bykov, Bogdan Stupka, Nikolay Philipenko, Ada Rogovtseva ...).
The stages of project development and procedures:
a) Collecting data; recording information gathered; b) Making oral group reports; c) Discussing presentations; d) Writing project reports.
Reference materials: encyclopaedia, newspapers, magazines.
Part ΙΙΙ. Genres
Task 1. What kinds of theatre performances do you prefer? Speak in pairs. Think of as many theatrical genres as you can with your partner. Write the list of these.
Task 2. Look at the performance ads and the titles in the text. What might you find in each genre?
Breathing Irregular
Showing at: Gate Theatre
Coupling explosive contemporary dance with a series of dramatic and uplifting true stories, Breathing Irregular celebrates the human  capacity to cope and to survive.
Artistic Director Carrie Cracknell has brought together a team of artists from the worlds of theatre and dance to create this world premiere.
Creative Team
cast: Temitope Ajose-Cutting, Bryony Hannah, Brendan Hughes, Eva Magyar
director: Carrie Cracknell
music by: Tim Mills
sound: Edward Lewis
lighting designer: Lucy Carter
designer: Holly Waddington
producer: Gat
| The Elixir Of Love
Showing at: London Coliseum
 One of today's highest-flying young lyric tenors, John Tessier made a sensational English National Opera debut in the 2008 revival of Rossini's The Barber Of Seville; he now returns as Nemorino, the lovesick young mechanic who believes that a travelling salesman (played by comic maestro Andrew Shore) really can cure his broken heart. Audiences at the London Coliseum have a rare chance to relish both the comic and tragic sides of Donizetti's operatic genius.
Creative Team
cast: Sarah Tynan, John Tessier, Andrew Shore, David Kempster, Julia Sporsén
director: Jonathan Miller
music by: Donizetti
lyrics by: Libretto by Romani after Scribe
lighting designer: Hans Åke Sjöquist
conductor: Pablo Heras-Casado
designer: Isabella Bywater
producer: English National Opera
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EVERY GOOD BOY DESERVES FAVOUR
by Tom Stoppard and Andre Previn
at Olivier, National Theatre
 A play for actors and orchestra: A dissident is locked up in an asylum. If he accepts that he was ill, has been treated and is now cured, he will be released. He refuses. Sharing his cell is a real lunatic who believes himself to be surrounded by an orchestra. As the dissident's son begs his father to free himself with a lie, this provocative play asks if denying the truth is a price worth paying for liberty.
| Chicago
 Showing at: Cambridge Theatre
Long-running slick and sexy musical Chicago tells the deliciously naughty story of cabaret singer Roxie Hart, who murders her lover and ends up in jail, ruled over by buxom prison warden Mama Morton.
Kander and Ebb musical Chicago, which won the 1998 Laurence Olivier Award for Outstanding Musical Production, includes the songs All That Jazz, Class and All I Care About.
The show celebrated its 10th birthday at a gala performance in December 2007, reuniting original cast members. In the decade that followed their premiere performances, numerous stars have stepped into the roles they made famous.
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THRILLER – LIVE
 Address: Shaftesbury Avenue, London, W1V 7HA
The spectacular show of Thriller Live is a heart touching tribute to the legendary performer, dancer and entertainer, Michael Jackson! This must watch musical theatre experience features some exclusive multi media effects with incredibly beautiful choreography. The award winning director and choreographer, Gary Lloyd has done some outstanding works.
Michael Jackson's record breaking album, Thriller has sold an astounding number of 750 million records all over the world. This is undoubtedly one of the top selling albums of the time. Enjoy two hours of non-stop and live performances by immensely talented cast at the songs of Michael Jackson. Get ready to groove at some of their musical hits, such as I want you back, I'll be there, Show you the way to go, Can you feel it, Rock with you and many more.
| Greta Garbo Came To Donegal
One of the most enigmatic figures of cinema, Greta Garbo was known for her desire to be left alone. But in Frank McGuinness’s play she arrives at a rustic old house in Donegal in 1967 and finds herself surrounded by people.
There are allusions, too, to the mystery surrounding the private life of Garbo, who never married and was rumoured to have had relationships with both sexes. Through the understanding that grows between Garbo and spinster Paulie, and the increasingly tactile moments they share, McGuinness alludes to the Swede’s possible bi-sexuality.
Nicolas Kent’s production is played out on Robert Jones’s bucolic set, fringed with grasses dried to straw by the Irish sun. Tom Lishman’s sound accurately depicts the ear-splitting call of a peacock, ever present but never seen, an invisible metaphor for the beautiful and highly individual interloper in Donegal.
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Task 3. Match the names of genres with their descriptions. Pay attention to the differences between them.
| 1. Opera 2. Operetta 3. Comic opera 4. Rock opera 5. Comedy 6. Comedy drama | 7. Farce 8. Romantic comedy 9. Black comedy 10. Tragedy 11. Tragicomedy |
A. 
A sub-genre of comedy and satire where topics and events that are usually treated seriously – death, mass murder, sickness, madness, terror, drug abuse, rape, war etc – are treated in a humorous or satirical manner. Synonyms include dark humor, morbid humor, gallows humor and off-color humor. This particular brand of humor can be exemplified by a scene in the play Waiting for Godot: A man takes off his belt to hang himself, and his trousers fall down. Today, it can be found in almost all forms of media.
B. 
The term is applied to theatrical dramas, the chief object of which are to amuse. It is contrasted on the one hand with tragedy and on the other with farce, burlesque, and so on. Instead of presenting the world as neat and clean and full of only laughs and resolution, these often add dramatic touches like tragedy, melodrama and melancholy while maintaining a light tone.
C. It denotes a sung dramatic work of a light or comic nature, usually with a happy ending, first developed in 18th-century Italy as opera buffa, an alternative to opera seria. Both the Italian and French forms were major artistic exports to other parts of Europe. Many countries developed their own styles of this, incorporating the Italian and French models along with their own musical traditions. Examples include Viennese operetta, German singspiel, Spanish zarzuela, Russian comic opera, English ballad opera, and Savoy Opera.
D. This genre refers to fictional works that blend aspects of the genres of tragedy and comedy. In English literature from Shakespeare's time to the nineteenth century, it refers to a serious play with a happy ending.
E. 
It has a classical meaning (comical theatre) and a popular one (the use of humour with an intent to provoke laughter in general). In the theater, its Western origins are in ancient Greece, like tragedy. Humor being subjective, it is judged according to a person’s taste. Some enjoy cerebral fare such as irony or black comedy; others may prefer scatological humor (e.g. the "fart joke") or slapstick. While hard to pin down, it can safely be said that most good examples of this genre, as with a good joke, contains within it variations on the elements of surprise, incongruity, conflict, and the effect of opposite expectations. The audience becomes a part of the experience, if it is to be successful. Actually this genre is a serious business, and one only knows it when one sees it, hears it, and shares it.
F. Literally, "little opera" is a performance art-form similar to opera, though it generally deals with less serious topics. Often some of the libretto is spoken rather than sung (but this is true of some operas as well). Instead of moving from one musical number (literally so indicated in the scores) to another, the performers in operetta intersperse the musical segments (e.g. aria, recitative, chorus) with periods of dialogue without any singing or musical accompaniment, though sometimes some musical themes are played quietly under the dialogue). It is a precursor of the modern musical comedy. There is a fundamental but subtle distinction between the two forms. This genre is more of a light opera with acting, whereas a musical is a play with singing. This can best be seen in the performers chosen in the two forms. An operetta's cast will normally be classically trained opera singers. A musical uses actors who sing, but usually not in an operatic style.
G. 
A comedy written for the stage, or a film, which aims to entertain the audience by means of unlikely and extravagant - yet often possible - situations, disguise and mistaken identity, verbal humour of varying degrees of sophistication, which may include puns and sexual innuendo, and a fast-paced plot whose speed usually increases even further towards the end of the play, often involving an elaborate chase scene. Broad physical humour, and deliberate absurdity or nonsense, are also commonly employed in farce.
H. A musical production in the form of an opera or a musical in a modern rock and roll style rather than more traditional forms. It differs from conventional rock and roll albums, which often feature songs that are unrelated in plot or story with each other, but overlaps considerably with concept albums and song cycles. More recent developments include metal opera, rap opera, and hip-hopera. It is generally first performed as a theatrical production rather than appearing as an album, has little or no identification with a particular band and a generally stronger air of show business.
I. A form of theatre in which the drama is conveyed wholly or predominantly through music and singing, emerged in Italy around the year 1600 and is generally associated with the Western classical music tradition. This genre uses many of the elements of spoken theatre such as scenery, costumes, and acting. Generally, however, it is distinguished from other dramatic forms by the importance of song. The singers are accompanied by a musical ensemble ranging from a small instrumental ensemble to a full symphonic orchestra. It may also incorporate dance; this was especially true of French one for much of its history.
J. In general usage, it is a drama, movie or sometimes a real world event with a sad outcome. However, throughout much of Western thought, tis genre has been defined in more precise terms, following the precepts set out by Aristotle and based upon Greek examples: it is a form of drama characterized by seriousness and dignity, and involving a great person whose downfall is brought about by either a character flaw or a conflict with some higher power such as the law, the gods, fate, or society.
K. The basic plot of this is that two people meet, banter with each other, but despite an attraction obvious to the audience do not become romantically involved because of some internal factor (on the surface, they do not like each other) or an external barrier (one is romantically involved with another person, for instance). At some point, after various comic scenes, they are parted for some reason. One partner or the other then realizes that they are perfect for each other, and (often after some spectacular effort, sometimes termed the Grand Gesture, and/or incredible coincidence) they meet again, they declare undying love for each other, and disappear off into the sunset together.
Task 4. Be ready to speak about which of them you like most. Give arguments to persuade the groupmates of its advantages.
Read some more about the Shakespeare's play.
ROMEO & JULIET
Revival of the play by WILLIAM SHAKESPEARE
Sound & Fury
WHATS ON
11.1.95 Naomi Conran
Sound and Fury's new production of Romeo and Juliet chooses to reinvent the archetypal doomed lovers by setting them in a new and vibrant context — that of the circus arena. Latin temperaments and knife-swishing abound, and yet the family feud makes perfect sense within this setting. Unnecessary temper losses and pointless murders seem an obvious side-effect from wearing toreador flares arid living for danger for too long, with the two families' stubborn pride blending convincingly with the melodramatic image of the circus community. As with most attempts to re-interpret Shakespeare, this is a patchy affair, and the production's weak points unfortunate crop up in the vital last few scene which are rather unin-novative. On the whole, however, it is an enjoyable new angle on a familiar story.
The circus ring setting and costume lend a seedy excitement to the proceedings. Benvolio zips about on a unicycle Tybalt juggles knives menacingly, and the Capulet parents stride about looking, suitably like guardians of Verona's law less circus world. Certain scenes do come to life in this context: the street fight between Romeo and Tybalt seems quite natural behaviour between people who dice with death daily, and the Capulet masked feast where Romeo and Juliet first meet is dramatically set to a feisty tango which makes dangerous attraction seem all the more enticing.
A humorous bit of casting sees Juliet's gossiping old nurse camped up in drag by Gary Merry. An eyeball-rolling gossip from the shut-that-door school of Pantomime Dames, she seems to fancy anything in tights and provides some light relief in her dealings with the young folk. The characterization of Romeo and Juliet themselves, however, is pretty standard stuff. Juliet (Kirsten Parker) is feisty enough, but if Romeo (Hugh Greenway) is to be part of a circus he should look capable of doing something other than selling ice creams outside. I am not suggesting he shoot himself from a cannon in the final act; but surely it is a bad sign when one finds oneself agreeing with Mercutio's snide remarks concerning Romeo's "drivelling love." Compared with his fiery, danger-loving colleagues, Greenway ends up looking like a bit of a wimp.
The strengths of this production lie in the humour and vibrancy of the tightly-directed early scenes. By the climax, however, the lovers have paradoxically reached their least Interesting points, and the play dwindles to a close. There is much to be said for the new setting, though, and as a result the production is definitely worth a look.
Task. Comprehension — true or false.
Directions: If you think a statement below is true, put a T in the space in front of the statement. If you think a statement is false, put an F in front of the statement.
_______According to Shakespeare, only actions dictated by natural feelings are justifiable: this idea is expressed by the characters in the play "Romeo and Juliet".
________The play "Romeo and Juliet" was staged and shown at the old English theatre.
________Kirsten Parker and Hugh Greenway displayed marvels of artistic transformation.
________The stage was fitted out with a number of intricate machines and devices producing sound and light effects.
________The last few scenes are thought to be the director's luck.
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