PUBLISHED SINCE 1992

INDEX 32079
BIWEEKLY

Now I'm an actress on the stage -

A famous one, of cowse!
Bm maybe all that talking would
Make me a little hoarse!

I'd be a ballet dancer with

A tutu oGpink'-i1et'!(
But - ooops! I get guile dizzy when
i do a pirouette!

Bill wants to be a pop star, Or I could be a pop singer

Singing on the stage,
\Vears a purple outfit
(For purple's all the rage),
Dazzling orange neck-tie,
And shoes that hurt his feet;
Claps his hands and bellows,
Shaking to the beat.
He may look like a pop star,
With his long-baiTed group:
The trouble is he sounds like
A broody hen with croup.
Playipg on my guitar.
And if I practise every day,
Perhaps I'd be a star!
tutu - TIaflK3 (6Q/lepuHu)
net - naYJ'HHK3
to get dizz;y - qyBCTBOBaTb
fOJlOBOKpYA::elrne
pirouetle - rrnpy::rr
hoarse - oxpmnJ.IH:H:
I"rpe - nypnypHblii
ootil - 3KUIIlIpOBKa, KOCllOM
all the rage - llOCJleJJ;EIJrn: KpllK MO)]U
to daxlJe - IIOpa:+GlTb BeJIHKOJIeIIIieM,
rTpeJIhUl 3Tb
to Iu1 - (3J) ""Tb, ~emlTh 6oJn,go
to bellow - 6yrneB,ub, rpeMeTh
to shal.:e to the beat - KaqaThCX B TaKT
broody hen - KYPm:I;a-Hace)IlCa
croup - xpmIJIIDt KpHK
 1994 N.4

What does the Interior of a Modern Theatre Look Like?

Its two main parts are the stage and the hall or auditorium. The hall is separated rom
the stage by the orchestra. At the sides of the stage are the wings. A curtain (when lowered
or drawn) covers the stage. An intricate system of lights (footlights and toplights)
illuminates the stage. The seats on the ground floor are known as 'stalls' (those nearer the
stage are 'orchestra stalls'). The passages between the rows of stalls are the aisles. The
raised back part of the ground floor is 'the pit, while the small compartments nearer the
stage are 'the boxes'. Then follow the dress circle, the balconies and, finally, rhegallery:
E
N
G
L
I
S
H

F
o
R

C
H
I
L
D
R
E
stage - cu;eHa, 3CTpa,r:J;a, TeaTpaJIhHhIe IIqr:IJI{OCTKII scenery - .n;eKopau;HII
N stage manager - orrepaTOp cu;eHbI ropes - BepeBKlI
commissionaire - llIBeitr.J;ap wings - KYJllICbI
foyer = lobby - 1>o:tte footlights - paMIIa
doakroom - rap.n;epo6 full house - rrOJIIill::t:t 3aJI
attendant - 06CJIY)KlIBaIOll{ee JIlII..{O first night - rrpeMnepa
opera glasses - TeaTpaJIhIIUii 6lIHOIOTh applause - 3IDIO)l;lICMeHThI
audience - ay;r:I;HTOpllil curtain call - BhI30B aKTepa Ha cu;eHY
stalls - rraprep aIDIO)l;lICMeIITaMII IIJIlI KpIIKaMII BOCXIllI..I;eIDISI
orchestra stalls - rrepBhIe pgJJpI rraprepa to be a success with the public =
lit - aM<prrTearp to be popular with the JK.Iblic - HMeTh ycrrex y
the boxes - JIO:tKII ny6mIKH
the dress circle - 6eJIh3T3.)K encore - BhI30B Ha 6rrc
the gaDery - rarrepe.Sl to give an encore - rrcrrOJIIIlITh 'ITO-HII6y;IJ;b Ha 6rrc
the balcony - 6aJIKOH cast - COCTaB .n;eiicJBYlOIIJ;IIX JIIII.J;
standing rO<fll - CTO.SI'Iee MeCTO to buy a progrannne to see who is in the cast
rortain - 33HaBeC today - KYJIlITh JIIXlrpaMMJCY, 'IT05u rrocMOIpeTh,
prompt box - 6y,n;Ka cY<PJIepa KTO cero,rr;HSI B COCTaBe .n;eiiClBYIDI.I.J;HX JllIU;
prompt boy - cyqmep

P GE 2

A Visit to the Theatre
Mirhael Bond
~
I he Browns were all very excited. Mr Brown
had been given tickets for a box at the theatre. It was
the first night of a brand new play, and the leading
part was being played by the world famous actor, Sir
Scaly Bloom Even Paddington became infected with
the excitement. He made several journeys to his
friend, Mr Gruber, to have the theatre explained
him Mr Gruber thought he was very lucky to be
going to the first night of a new play. 'All sorts of
famous people will be there,' he said. .'1 don't suppose
many bears have that sort Dj opportunity ·on~ a
lifetime'.
Paddington was pleased to find the theatre all
exactly as Mr GrubeI had described it to him, even
L~ntQ.tlu;.,££llllllissionaiIe who opened the door for
them and saluted as they entered tlie foyer.
Everything was painted red and gold and the theatre
had a nice, warm, friendly sort of smell. There was a
slight upset at the cloakroom when he found he had
to pay sixpence in order to leave his duffle coat and
suitcase. The woman behind the counter turned quite
nasty when Paddington asked for his things back.
She was still talking about it in a loud voice as the
attendant .led them along a passage towards their
seats.
Paddington saw a lit~le box in front of him
marked OPERA GLASSES. SIXPENCE. Eventually,
after a great deal of thought, he unlocked his suitcase
and from a secret compartment withdrew a sixpence.
"I don't think much oj these," he said, a moment
later, looking through them at the audience.
"Everyone rub smaller."
"You've got them the wrong way round, silly," said
Jonathan.
"Well, 1 still don't think much oj them, said
H
Paddington, turning them round. "I mJuldn't have
bought them if Yd known. Still," he added, after a
moment's thought, "they might come in usejul next
time. "
Just as he began to speak the overture came to an
end and the curtain rose. T he scene was the
living-room of a large house, and Sir Sealy Bloom
1994 N<>4
was pacing up and
down. There was a
round of applause from
the audience.
" You don't take them
home," whispered Judy.
"You have to put them
back when you leave. "
WHAT!' cried Paddington, in a loud voice.
Several calls of 'hush' came from the darkened
theatre as Sir Sealy Bloom paused and looked E
pointedly in the direction of the Browns' box. N
"Do you mean to say... " words failed Paddington
for the moment. " Six pence!" he said, bitterly. He G
turne d his gaze on Sir Sealy Bloom. L
Sir Sealy Bloom looked rather irritable. He didn't I
like first nights, and this one in particular had
started badly. Being the first night of the play, he S
wasn't at all sure of some of his lines. To make H
matters worse, he had arrived at the theatre only to
discover that the prompt boy was missing and there
were no one else to take his place.
Paddington soon forgot about his wasted sixpence F
and devoted all his attention to the plot. He decided
quite early on that he didn't like Sir Sealy Bloom and
o
R
he stared at him hard through his opera giasses. He
followed his every move and when, at the end of the
IJ..1'St"Mctj Sir Sealyjlio in the part otthe hard - hearte d
father, turned his daughter out into the world
without a penny, Paddington stood up on his chair c
and waved his programme indignantly at the stage.
'Are you enjoying it, Paddington?" asked
Mr Brown.
"It's very interesting, said Paddington. He had a
H
determined note to his voice and Mrs Brown looked D
at him sharply. She was beginning to recognize that
tone and it worried her.
"Where are you going, dear?" she asked, as he
E
made for the door ofthe box.
"Oh, justjor a walk," said Paddington, vaguely.
"Well, don't be too long, she called, as the door
H
closed behind him.
(continued on page 6)
plot - <lJa6y:rra, CIO)I{eT, 3aroBop, IIH11HITa
indignandy - C Hero)J;oBaHlIeM, B03MYJ.I.J;eHIIO
brand new - COBeprneHHO HOBhItt
duflle = duffel - rnepCDlHruI 6a:ttR:a
nasty - 3JI06Hhrtt, yrpo)l{ill():u..J;II11:
to come in - OKa3aThCH IIOJIe3HhIM
to think muchjwell. of smth - 6hITh BhICOKOro
MIreHHH
PAGE 3
 1994 N24

A playwright con-
A play lives a long life before it makes ceives an idea and after
its appearance on the stage before the months and months of
general pubUc. hard work, disappoint-
If it is a roaJ piece of art its creation ments and joys his ideas
calls for inspiration, talent and arti<;tic develop into the script of
ingenuity. the play.

E
N
G
L
J
S
H

p
o
R Only after lengthy discussions about its
merits and flaws does the theatre decide to Useful Words and Expressions
odduc - OB!1!!J
~_ilo . ector - pe:+mccep
. ...fne producer instructs the theatre staff actor - aJ...'Te'p
on the general treatment of the play and actres~ - aKrpIIca
H
outlines the main points of its stage (ia}wnght. - .n;paMaTypr
I make~up man - rprnfep
L presentation. The director chooses his cast understudy - .ny6JIep
and begins to rehearse the scenes. The extra - ~CTanICT
D
setting designer draws the sketches of the setting designer - :..:y):lO)KffiIK-):leKopaTop
R property department - OT.n;eJI peKBI13IITa
scenery and special shops get busy
E (npedMemo86blJl/Q, UCflOJlb3}'eMbIX 8
preparing the sets, while the properly meampMbHOM npeiicmoQlI€fluu)
N department supplies the furnishings and dressing room - apTlICTmleCKaH yGOpHaH
the dress department makes the necessary costumes = dresses - KOC11OMY
to produce a play = to sI-age a play - CfaBHfb
costumes.
m.ecy
When everything is ready and the to play lhe partor= lo play the role of - HrpaTb
rehearsals go off without a hitch, a dress poJlb

rehearsal is called. In some time the stage presentation - cueBlftleClme BOIDlOlJ..{eHUe

rn.ecLl
curtain rises to a full house, the play Jaces scene - cueHa Kax QaCTb.IJ,p3Ma1lI'leCKoro aA'TII
the theatre-going public on its fIrst night. dress rehearsal - reHepaJt1>lWI peneTIIIUDI

appearance - nomlJteHlIe disappointment - pa3CRapoBamle to rehearse - penempoB3Th

creation - TBopemte
to can for - rpe6oBan.
inspiration - &llOXHOBeHlIe
ingenuity - no;:yccmo
to conceive - nOHIIMan.
script - cUeHapItli sketch - 3CKII3
lengthy -,WIHHHO set - KOM1D1ekT
merit - 3ac.rryra to supply - CH3t1A::3Th
flaw - H~OCIaTOK furnishing - MefumpoBK3
to instruct - :fIII'Th hitch - nOMexa

PAGE 4

The Art of Acting
F From the fall of the Roman Empire until the
10th century, acting hardly existed as an art in
Western Europe; only the wandering minstrels gave
entertainments in castles and at fairs. In England,
the first real actors were amateurs who perfonned
Miracle and Morality plays which were religious in
character.
In the Elizabethan age, the first profe.'&onal
theatres were opened At the time of Shakespeare
there were at least six companies of actors.
Shakespeare himself joined the Earl of Leisester's
company, which under lames I became known as the
"King's Men". There were also companies of boy
actors. All the women's parts were played by boys. It
was very difficuh fet" most actors to earn a living on
the stage, even in a London company, arid many of
them fell into debt. When Shakespeare arrived in
London in 1586, the acting was very crude and
conventional There were almost no scenery, and the
actors were dressed in the costumes of their day. But
when "The Globe" was opened to the public in 1599,
it was the golden age of the theatre in England.
In the first half of the 17th century the influence
of the Puritans was bad fet" the popular theatre, and
it was not before the restoration of the monarchy in
1660 that theatre-going again became a popular
habit. The most popular plays were comedies. The
fIrst role played by an actress was that of
Desdemona. Nell Gwynn was the first English "'I.-conventional YCJ:J;9BHhItt
actress.
By the beginning of the 18th cenfLmy the most _ -artificial- HCKYCClBeHHhItt
popular type of play was the sentimental comedy.
The acting was artificial probably due to the
influence of French actors.
But later, under the influence of Daud Garrick,
and some other actors acting became much more
naturalistic.
British Drama Theatre Today
Britain is now one of the world's major
theatre centres. Many British actors and actresses
are known all over the world They are Dame Peggy
kherojt, Glenda Jaekson, Laurenee Olivier, John
Gielgud and others.
Drama is so popular with people of all ages that
there are several thousand amateur dramatic
societies.
Now Britain has about 300 professional
theatres. Some of them are privately owned The
tickets are not hard to get but they are very
expensive. Regular seasons of opera and ballet are
given at the Royal Opera House, Covent Garden, in
London. The National Theatre stages modem and
classical plays, the Royal Shakespeare Company
produces plays mainly by Shakespeare and his
contemporaries when it performs in
Stratford-an-Avon, and modem plays in its two
auditoria in the City's Barbican Centre.
1994 N!!4
Da\id Garrick was one of the greatest actors
known. But even at his time acting was not very
popular.
Durtng the 19th century acting became more
and more natmalistic. Like in Shakespesre's time,
the best actors understood the importance of the
team work of the company. One of the most famous
actors of that time was Henry lIving. He was the first
actor to be knighted
By the 1920s naturalistic acting reached a peak
E
in the performance of Sir Gerald du Marrier. He
hardly appeared to be acting at all. N
At present most acting continues to be
naturalistic. Designers make the settings as realistic G
as pos<>ible. Modem producers and directors like L
Peter Hall, Peter Brook and others are trying out I
new styles of acting. Some go back to Greek methods,
with a reuval of the chorus; others are making use of S
the audience in helping to interpret the play. R
fall - II3,.1:J;eHlIe F
wandering minstrel - 6po)J;Sl'IlI1t IIeBeu;
amateur - JIK)6HTeJIh o
to fall (feU, fallen) into debt - BJIe3Th B,n:OJITII R
crude - ChIpOtt, HeroroBhIii:
restoration - BOCCTaHOBJIeHlIe, peCTaBpau;mI
C
we - 06yCJIoIDIeHIIhIit
influence - npoIillKHoBeHlIe H
to be kIDghted - 6hITh B03Be.n;eHHhIM B phII..J;apcKO<
I
.n;OCIOIIHCTBO
L
D
R
E
Shakespeare's Globe Playhouse, about which
N
yOll have already read, is being reconstructed on its
original site. •
Many other cities and large towns have at least
one theatre.
There are many theatres and theatre
companies for young people: the National Youth
Theatre and the Youth Vie Company in London, the
Scottish Youth Theatre in Edinburgh.
The National Youth Theatre, which stages
clas<>ical plays mainly by Shakespeare and modem
plays about youth, was on tour in RUS'>ia in 1989.
The theatre-goers wannly received the
production of Thomas Steams Eliot's play "Mmler
in the Cathedral". Many famous English actors
started their careers in the National Youth Theatre.
Among them Timothy Dalton, the actor who did the
part of Rochester in "Jane Eyer" shown on TV in
our country.
PAGE 5
 1993 No4

'Ladies and gentlemen,' he said, "thank you for your kind

applause. We are indeed rrwst grateful. But before you leave I would H
like to introduce the youngest and most important member of our
oompany. A young.. er, bear, who came to our rescue... ' The rest of
Sir Sealy's speech was drowned in a buzz ofexcitement as he stepped
I_A_H_1_W_:_A__1
forward to the very front ofthe stage, where a small screen hid ahole (continued from page 8)
in the boards which was the prompt box.
6. CKonbKO BaM neT?
He took hold of one of Paddington's paws and pulled. -,l:\o1ner.
Paddington's head appeared through the hole. In his other paw he -OT1L(09neT',
was grasping a copy ofthe script. • OT IOL(O 14ner,
'Come along, Padrtington,' said Sir Sealy. 'Come and take your - OT ISJJ,O 18 neT,
bow.. -OTI9L(030ner, E
'/ can 'f gasped Paddington. '/ think Fm stuck!' - or 30 L(O 40 ner, N
- oo.nbwe 40 ner.
1. KTO BbI? G
- Yl<eHHK KlIacca L
bare- HerrpHKpameHHhIlt, rrpocTOlt (lCaICozo?)
WKQJlbl (OOlU,eoopa:JooameJlbIlOU
I
to boom - opaT!>, rpeMeTh, peBeTh
couch - KyllIeTKa, TaXTa UJlU cne~uanbHou?) S
to growl- pDIqaTh, BOpqaTh,JKaJIOBaThCH - yl<HTeJlb B WKone
(~e06pa306ameJlbHOU Ul/.U
H
to gulp - 3aJU>IXaThCH, ,n;aBHThCH
torecsue - CIIaCaTh, oCBo6oJK,IJ;aTh, BhIpyqaTh cne~uCU/.bHoii.?)
remarkably - y,n;HBHTeJIhHO, Heo6hIKHoBeHHo - npeno.a:aBaTeJJ.b B Byae,
urgent - CPOqHhIit - PO.lJ:HT~.
to spoil - IIOpTlITh "--;:---;;-----,---:-:-:= f
lines - CJIOBa pOJIH, peIIJIHKa 8. q'f'Q BaM HpaBH1'CR B raseTe? I)
to cheer - aIIIIJIO)l,lIpOBaTh
to drown - TOHYTh, 3arJIynraTh
buzz - rYJI 9. q1'() He HpaBH1'CII?
to gr~sp - 3aJKHMaTh (6pyKe)
come along! - IIOTopanmrBaitC5l! IIJJ:eM!
to take a bow - paCKJIaHHBaThCH (60meem Ha C
anJIOaUCMeflmbl)
to stick -- 3aCTpHTh, 3aBH3HYTh H
11. HY1Kn,aerecb nH BbI: I
• B .a:onOnHHTe1IbHOH llHTepaType,
- B ay.a:HOKacceTax c 3anHCblO L
Gus: the Theatre Cat TeKCTOB H3 ra3eTbI. D
rs.
u. AJq>ec C OO'fTOBblM
Elliot HH.lJ,eI:COM: R
Gus is the Cat at the Theatre Door.
E
His name, as I ought to have told yop. before, 13. lIJ.H.O. , N
Is really Asparagus. That's such afuss
To pronounce, thatweusuallycallhirnjust Gus.
'7 have played, " so he says, "every possible part,
And I used to know seventy speeches by heart.
I knew how to act with my back and my tail;
With an hour of rehearsal, I could neverfail. "
And he says: "Now, these kittens, they do not get troined
As we did in the days when Victoria reigned.
They never get drilled in a regular troupe,
And they think they are smart, just tojump through a hoop.
And he'll says, as he scratches himselfwith his claws,
"Well, the Theatre's certainly not what it was.
These modem productkms are very well,
But there's nothing to equal, from all that I hear tell,
That moment ofmistery
Men I made a history
As Firefrorefiddle, the Fiend of the Fell."

PAGE 7
 1993 N!!4

HAillA This Is a Small World

AHKETA
Ll.oportte 'OfTaTeJlH! - Hi, Johnny! This is
Mw p;mbl BCTpc'le C BaMll B a small world! Where is
MOBQN 1994
roJJ;y. B BOSOM I'OJO' your seat?
Bac crano eme 6onbwe, H 3TO - In ihe sialls, row C.
CBIt.!l:eTeJJbCTBO TOro, lfTO Haw TPYll
"yZCH RaM, HaWK Aopome ,Il,eTH,
Ani where is yours?
E POARTe.I!H H Y'lHTeJ(jl. npHm.'IO - In iIle box, close to the stage.
N 8pet.ur n03HakOMJf'TbClil no6.llH)ke. -~at do you think ofille play?
nOJQ..,1yiicra, 3anonffilTe - The action develops slowly. Some scenes are dull.
G npeA1laraeMytO aHlCery. BaWH The cast is not vel)' good, Do you share my opinion?
L OTSeTW. BaWH npe.llJlO*CHMSI
- Frankly speaking I do, That happens to be.a railler
I n03BOJUIT HaM lleJIaTb HMeHHO Ty
ra3ery. kOTOpalil6YAer HeOOXOAHMa
poor performance. Have you been to this iIleatre before?
S B aOMe K~Oro "3 Bac. MN *lI,eM - Haven Chad a chance, you know. I am here for the
H BamHx OTBeT'OS no a,ttpecy: 123J62 fIrst time. I like the hail. It ts beautifully decorated. The
MOCK6lJ, al Jl 30, c nOMemtcOll chairs are comfortable and the chandelier is wonderful.
"AHlCema". To put in a nutshell evel)'thlng here is vel)' magnillcent
I. KaIC Bw Y3HaAH 0 ra3eTe?
but the performance.
• yBl1JJ.eJlH B KHOCKe "Pocne'l3TH",
F - I advise you to see "Hamlet" by Shakespeare at this
• nopckOMeH.lJ,OB3./1H 3H3KOMhlC.
o • nopeKOMeH.Q,OBaJI y'lHTeJlb, theatre. You will be Impressed.
R • ySltJl.eJlH peKJI3My B ra3ne - I have been dreaming of seeing any play by
(ICQa:oii?j,_=- _
Shakespeare in thts
2. Koru Sw cranK '1HTaTeJleM
"ameli ra3eTbI?
country, 1'11 do my best
-cI992r.•. to see "Hamlet".
C
• c 1-0" nOJlOBHHbl1993 r., - I hope 1'11 enjoy/he
H • 00 2-o~ nOJlOBtlHhI 1993 r., performance.
I ·cI994r.
- We must be hurry to
3. KaK BN nOCTaere ra3eTy?
L • nOJly ..aere no nOAunClee, the hall. In a minute the
D • nOkynaeTC B kHOCKC, curtain will be up.
• 6epeTe B 6HWutOTeKe, - Be seeing you later.
R • 6epeTe y 3H3KOMblX,
E
• N
·- - ; , - - - - - - -
4. Ct::O./lbkO 'lenoselC '1HTaeT A Bit of HUMOUR
n,aHHbdi 3.l.3eNnJ1l1p ra3eTbl?
• lfUTae-rc TOJlblCO Bw, Eric: I'll never forget the fIrst words
• lfHTaeTe caM" If n.aere 3HakOMwM, I spoke in the theatre.
• \lI1TaeTe caMH ., npHHOCHTe B
Ernie: What were they?
KJlacc.
Ertc: 'This way, please!
·-;;:-::=::-;::::-===
s. KaJC n,OJlro B1>I XpaHHTe ra3eTy? Programmes... I'
• npo\lHTaB, 8h16paCbIB3eTC.
• Bbl6paCblBaere \lCpe3 Kaltoe-TO (Eric Morecambe and Emie Wise,
BpeMRj The Morecambe and Wiw Joke Book)
• XpaHHTe nOCTOIIHHO.

PerHCTp'lltHOHHIldi HOllfep 01031 AApec pen.aXllHH: MocItBa, JIeHMHCJ'He fop",.

Y'tpe.l].ltTeJlb TOO ··3J:CJlH6pHC" MrY. fJlllBHoe 3A8HHC. 6-259.
rJ18BHwH pen.anop JI.A. )K;:taHeeBa. Te.,. (Il9S1939-29-26.
BblnyculOWHH peAaIl:T0P JI.A. CbI'Iyrosa. Tttpa,. 2S 000.
Hay""WH xOHCynbT8HT Max Jacobs. 06betd 1 ne" . .11. 381:332705.
XY11.0:a:HHK T.<%>. KOHCTaHTHHOBa. OTne"aTaHO B 3-d THnOfll34>HH MO P<%>.
lI,n. rotceN: 123362 MOCKBa. al. 30. © CocraaneHHc. pItCyHKH.

PAGE 8