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Read the following dialogues, put stress-tone marks on them using different types of scales and practice reading themIf Тема вопроса: ЮРИДИЧЕСКОЕ ВЛАДЕНИЕ Сложность вопроса: 1 (из 10)
If you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you But make allowance for their doubting, too. If you can wait and not be tired by waiting, Or being lied about, don’t deal in lies. Or being hated, don’t give way to hating, And yet don’t look too good, nor talk too wise. If you can dream and not make dreams your master, If you can think and not make thoughts your aim, If you can meet with Triumph and Disaster And treat those two impostors just the same; If you can bear to hear the truth you’ve spoken Twisted by knaves to make a trap for fools; Or watch the things you gave your life to broken And stoop and build them up with warn out tools. If you can make one heap of all your winnings And risk it at one turn of pitch and toss, And lose and start again at your beginnings And never breathe a word about your loss. If you can force your heart and nerve and sinew To serve your turn long after they are gone; And so hold on when there is nothing in you Except the will, which says to them: “Hold on!” If you can talk with crowds and keep your virtue, Or walk with kings nor lose the common touch, If neither foes nor loving friends can hurt you, If all men count with you, but none too much. If you can fill the unforgiving minute With sixty seconds worth of distance run, Yours is the Earth and everything that’s in it, And – which is more – you’ll be a man, my son.
Unit 2. Theatre 1. Listen to the dialogue. Put stress-tone marks on the second part of the dialogue. Learn this dialogue by heart. Transcribe the sentences in bold. Find and analyze vowel reduction in them.
A Date for the Theatre
2. Listen to the dialogue. Practice reading it imitating its intonation. Pay attention to the sentences with the Sliding and Scandent Scales. How do they sound? Write them down; practice saying them, transcribe them and draw tonograms to them.
After the Cinema
3. Read the text below with your own intonation using the Sliding, Scandent and Level Scales where possible. Comment on the emotions you have tried to convey using these scales. (Avenues, p. 188) I’m an opera singer who sings mezzo-soprano roles. That means I play a variety of young princes, kitchen boys, peasant girls and queens. Some composers, such as Puccini, don’t give mezzo-sopranos any parts, but I have had a lot of work in operas by Verdi and by contemporary composers. As I cannot afford to turn down good roles, sometimes I have a complicated timetable. Last year I had to commute daily between London, where I was performing in the evening, and Geneva, where I was rehearsing during the day. It’s surprising what you can get used to do! Rehearsing takes up most of an opera singer’s time. By the end of this year I will have given 63 performances and rehearsed almost every day of the year. I always look forward to performing in front of an audience. Often when I get home after a performance I can’t sleep because the music is still in my head.
4. Listen to the conversation about Liza Minnelli. Lay stress-tone marks, practice reading it and learn it by heart. Find reduction and assimilation in the dialogue and analyze all the cases in writing. (Headway Adv. P. 136) A Liza Minnelli is just fantastic! Her concert was amazing! B It was, wasn’t it? And she puts so much energy into her songs, doesn’t she? A Yes, she does. Who wrote that song about marriage, and the way it changes the world? B She did. It’s one of the few songs she ever wrote, actually. A So she can write as well as sing, can she? What a talent! Did you like her costumes? B Yes, I did. I thought they were fantastic. I’ve seen most of then before. A Have you? I haven’t. She’s playing again tomorrow, isn’t she? B Yes, I think so. Let’s go again, shall we? A All right. She’s one of the all time greats, Liza Minnelli is.
5. Listen to the following text. Practice reading it imitating its intonation and learn it by heart. Transcribe the sentences in bold. Find cases of reduction and assimilation in them and analyze them. Comment on the use of Descending Stepping Scale.
Theatres, Music-Halls and Cinema
7. Listen to the abstract from “Julius Caesar” by William Shakespeare, lay stress-tone marks in the last 10 lines. Pay attention to the sentences in bold; comment on the additional shades of meaning of these sentences. Practice reading the poem, learn it by heart and act it out in front of your group.
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