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