Ex.13,p.

122
1 A, D 3 B, C 5 A, D 7 B, C

2 A, D 4 B, D 6 C, D 8 B, D

1. За свою кар'єру він диригував багатьма великими ....... оркестрами

світу.
a) симфонічний
b) сонатний
c) камерний
d) філармонічний
2. .......фестиваль, який проводиться у цьому містечку щороку у вересні,
приваблює міжнародну аудиторію.
a) фільм
b) спектакль
c) шоу
d) музика

3 Хоча це її перший роман, Сміт зарекомендувала себе як ............

письменниця.

a) схвалена
b) кваліфікована
c) обдарована
d) здібна

4 Це був такий ............. роман, що я не міг його відкласти.

a) вигаданий
b) захоплюючий
c) запальний
d) чіпляючий

5 Нам особливо подобається остання пісня альбому, ..... балада про дідуся
співачки.

a) зворушлива
b) доброзичлива
c) лагідна
d) душевна

6 Перший вірш збірки дуже ..... і залишається моїм улюбленим.

 a) мальовничий
b) образний
c) промовистий
d) зворушливий

7 У центрі головної зали стоїть величезна ............. статуя Аполлона.

a) гончарна
b) мармурова
c) бронзова
d) вугільна

8 Курси творчого письма можуть допомогти майбутнім письменникам

розвинути свою ............ техніку.

a) стилістичну
b) розповідну
c) уявну
d) описову

ex.14,p.122
Picture 1: use of warm colours, gentle brush strokes, sense of security, calming
effect, feeling of tenderness (purity, nature, abundance, concentration)

Picture 2: oppressive surroundings, gloomy lighting, dull colours, heavy shadows

(sombre, frightening, pessimistic, unsettling, symbolic)

Ex.15,p.122
PICTURE 1
Sargent sought to have an accurate rendering of light and color in an outdoor
painting which was a goal of the Impressionists or, like Sargent, Impressionist-
inspired artists of the time.

Sargent wanted to appeal to a British audience but at the same time retain
elements of his Impressionism-inspired style and show of technical virtuosity.
Impressionism was based on capturing things in the moment and it was one of the
early modern styles. However, it used the aesthetic style popular in Britain at the
time, where beauty was sufficient as a theme and there was no need for moral and
social messages.

The way Carnation Lily, Lily, Rose was created was rather unusual; it was not
intended to capture the most perfect sunset but more the affect that this perfect
sunset has, in terms of color, shadows, and light.
Lighting:
The lighting in this canvas successfully shows the moment in the day where the sun
has started setting and twilight and daylight are at equal effect with each other,
their unity offset by the orange glow of the lanterns which provides a surreal
contrast. The flowers skillfully reflect both the dusk and the lanterns.

Use of space:
At first glance Carnation Lily, Lily, Rose lacks unity: the eye is drawn to so many
aspects of the composition: the brilliant clash of light and color of the girls, the
vegetation, and the lantern. Although framed by the vegetation, the girls are also
removed from it: their white gowns and movements are still, while the grass swirls
around their feet and the flowers curl around. The girls are depicted in a shallow
space while the surrounding vegetation and lanterns are abstract.

The painting is from a small persons' perspective. The lilies are outsized as if the
viewer is seeing them through the eyes of a child, and the light from the Chinese
lanterns casts a magical glow over the scene.

Color:
The orange glow of the lanterns reflects on the girls' faces and their white gowns
and these peachy shades stand out against shadowy green tones. Colors are
everywhere in this canvas and range from pinkish-white to burgundy and yellow.

Tone/mood/emotions elicited:
This painting portrays the innocence of childhood and the two girls look small in the
big garden surrounding them. Their downward gazes and positions are turned away
from the viewer and they are completely focused on what they are doing.

PICTURE 2
The Lovers II depicts two individuals, a man and a woman, locked in an embrace
and kissing. Their heads are covered by some kind of fabric, maybe curtains or
bedsheets. This fabric prevents them from truly making physical contact in their
kiss. The fabric is tight against their faces so that their profiles are clear, but it
folds and wrinkles along the sides of the two heads. Both figures are finely
dressed; the man is wearing a suit and tie, the woman is dressed in a sleeveless
red outfit with white trim. Judging by what little we can see of the garment, I
would assume that she is wearing a dress.

The figures are standing in a room with two walls and the ceiling visible to the
viewer. The side wall is an antique brown-red, similar to the patterned red of the
woman’s dress. There is a moulding that separates this wall from the beige
ceiling. However, there is no moulding between the back wall and the ceiling. The
back wall contains varying shades of blue. It almost looks like a cloudy sky.

I think the painting is about how even people who are as close as lovers may
never truly know each other. These figures can't truly see or feel each other with
the fabric over their faces. The two figures are very close, like lovers should be,
but even with that closeness they each keep something of themselves secret or
hidden from the other. Whether the two subjects do it intentionally or not
doesn't matter. Even if they are not willfully keeping their true selves hidden,
every individual is infinitely complex; it may be impossible to know another
person fully.

Because the lovers are unable to truly know each other, their desires are unsated.
There’s a barrier between them preventing their embrace. Each figure’s passion is
limited by their frustration and isolation from the other.

I would consider The Lovers II a very sad painting. To me, there are few things
more depressing than loneliness, especially loneliness in the presence of others.
The lovers are lonely and isolated even though they are so close to each other. It
reminds me of the countless relationships, romantic or not, that are broken
because the participants are unable or worse, unwilling to communicate
effectively.

Magritte paints very smoothly. In contrast to the way an artist like Van Gogh
painted, there are no clearly defined brushstrokes here. All of the values are
blended together.

The composition of this painting reminds me of a candid photograph. The figures

are arranged in a way that centering them in the frame would be the natural
instinct of most artists, but their faces are slightly off center, like a photo taken by
someone who didn’t waste time to perfectly center his shot. This gives the
painting a feeling of immediacy, as if the moment wasn’t planned, as if the artist
just stumbled upon the scene and captured it. The presence of a wall on the right
but not on the left further prevents the painting from having symmetry.

There is some use of complimentary colours in this piece. The brown-red of the
wall and dress stand out against the blue-grey back wall. The colours in the
painting are not bright. The blue is muted by grey and the red is pale. If the
composition was used to suggest immediacy or even passion, the colours do the
exact opposite. These aren’t the intense hues of fiery excitement. Magritte’s puts
composition and colour in opposition to each other. This successfully plays into
the idea that the lovers are unable to achieve the closeness and intimacy that
they desire. It’s a moment of passion that is kept from living to its potential.

Ex.16,p.123
 The supporting actor is the second most important character.
 The extras are actors who do not have any lines.
 The lighting technician makes sure the set is not too bright or too dark.
 The sound engineer is responsible for correcting the recording of sound.
 The casting director selects the actor to play each part.
 The video editor makes corrections on a final master copy.
 The screen writer writes the script based on a book or story.
 The director guides the actors, the technicians and the editor.
 The costume designer is responsible for the cast's clothes.
 The producer covers the cost of film-making.

Ex.17,p.123
 Abstract, modern, fine, performing, dramatic art(s)
Абстрактне, сучасне, образотворче, сценічне, драматичне мистецтво(и)
 Responsive, sizeable, demanding audience
Чуйна, багаточисельна, вимоглива аудиторія
 Unexceptional, arresting, performance
Виняткова, вражаюча, постановка
1. Abstract art incorporates distinct shapes and patterns in thought-provoking
designs.
2. Despite the fact her exhibition was not advertised, she still managed to
draw a fairly sizeable audience.
3. Stand-up comics rely on a responsive audience to make their routine a
success.
4. This year, the dramatic arts department has decided to stage a production
of King Lear.
5. The Fine Arts Museum on Baker Ave, houses a large collection of
impressionistic paintings.
6. My father detests modern art, but he'll talk about the Old Masters for
hours on end.
7. Many actors claim that a demanding audience brings out the best in their
performing ability.
 8. The veteran actor's arresting performance held his audience spellbound.
9. She plans on getting a degree in the performing arts, but is still undecided
whether to major in dance or music.
10.His unexceptional performance was unanimously condemned by the critics.

ПЕРЕКЛАД

1. Абстрактне мистецтво включає в себе чіткі форми та візерунки в

дизайні, що спонукає до роздумів.
2. Незважаючи на те, що її виставка не була розрекламована, їй все ж
вдалося зібрати досить велику аудиторію.
3. Стендап-коміки покладаються на чуйну аудиторію, щоб зробити свою
рутину успішною.
4. Цього року кафедра драматичного мистецтва вирішила поставити
виставу "Король Лір".
5. У Музеї образотворчих мистецтв на Бейкер-авеню зберігається велика
колекція імпресіоністичних картин.
6. Мій батько ненавидить сучасне мистецтво, але може годинами
розповідати про старих майстрів.
7. Багато акторів стверджують, що вимоглива публіка розкриває
найкраще в їхніх виконавських здібностях.
8. Захоплююча гра актора-ветерана зачарувала глядачів.
9. Вона планує здобути освіту в галузі виконавських мистецтв, але ще не
вирішила, що буде її спеціалізацією - танці чи музика.
10.Його непересічний виступ був одностайно засуджений критиками.

Ex.18,p.123
oil painting- олійний живопис

opera house- оперний театр

dressing rooms- гримерки

method acting- метод акторської майстерності

art studio- художня студія

feature film- художній фільм

1. Oil painting involves using pigments that use a medium of drying oil as the
binder and painting with them on a canvas
2. Ballet is bursting with vitality, spilling beyond the doors of its traditional
homes in the great opera houses in London, Leeds and Glasgow.
3. After nearly two hours of pampering—trimming her hair, shaping her nails,
and scraping away the callouses on her feet and hands—Celaena grinned at
the mirror in the dressing room.
4. He's dismissive of method acting although he admits he tells the crew to
give him time to concentrate on his lines when he's on set.
5. Tom has taught drawing in the this art-studio for long and has helped tens
of homeless go in for drawing.
6. At a time when some TV producers equate “prestige” product with cranking
out episodes that can be as long as feature films, one would think brevity
would an asset.