Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

If you could have shot this in colour, would you have?

I would certainly give you the number of my room if I had one.

I wouldn't have gone, if I hadn't made up my mind.

2. When I was a child, I suffered from an almost complete lack of words.

The headmaster showed a considerable lack of cooperation with the governing body.

The plants died for lack of water. His lack of wit was quite evident.

3. Was it only the accident of the puppet theatre that sent you the way of theatre rather than of books?

It was a foolish rather than a malicious remark. He relied on his wit rather than his knowledge. She is

ignorant rather than stupid.

4. Do you direct it in your head ? — In a way.

Did the play impress you ? — In a way. The work was well done in a way. He is clever in a

way.

5. What I need isto come in contact with others.

What the child needs is punishment. What the fellow needs is self-respect. What I need is advice.

6.My impulse has nothing to do withintellect or symbolism.

It has nothing to do with the original plan.

My decision has nothing to do with your explanation.

The answer has nothing to do with the question

EXERCISES

1. Complete the following sentences using the Speech Patterns:

1. It was ... a witty remark. 2. The officer is stubborn ... . 3. The family suffered f o r . . . . 4. If I were invited to the concert ... .

5. ... is courage. 6. The article ... art. 7. She is known f o r . . . . 8. ... to go and see for yourself. 9. She is an experienced secretary ... .

10. Your remark ... with the problem under discussion. 11. She should be interested ... . 12. He spoke ungraciously ... . 13. She is poor

and always feels ... . 14. If Pete had many friends ... . 15. ... is discretion. 16. ... with Adam's arrival. 17. I liked Maurice ... until I got

to know him. 18. The children were noisy .... 19. ... I would say he was right.

2. Paraphrase the following sentences using the Speech Patterns:

1. He is not concerned with their accommodation. 2. I think the room was not so cold, it was very damp. 3. The girl said she liked

hiking, though she disliked certain things. 4. I can't accept her explanation, but at least I can understand it. 5. I wish you hadn't made

an appointment with the lady, but I am not in your place. 6. The girl wasn't plain. She was clumsy. 7. I have no dealings with the

papers. 8. He showed that he was unable to find words with which to express his thanks. 9. I think the group requires some extra

help. 10. He is a boring person. I don't find him amusing. 11. She has no relationship with the Browns. 12. Everybody knows that she

has little wisdom. 13. She requires a good rest. 14. The good-natured March girls managed to lead interesting lives despite the

family's reduced circumstances. 15. "Tell me all about it, Jo. I must know everything."

3. Translate the following sentences into English:

1. Он скорее мудрый человек, нежели хитрый. 2. Безусловно, ваши предложения по-своему значимы, но они не затрагивают

глубины процесса. 3. Его речь характеризуется недостатком такта. 4. Если не будет удушающей жары, мы отправимся в

путешествие уже завтра утром. 5. Отсутствие сплетен — вот, что вам необходимо. 6. Ко мне это не имеет никакого

отношения. 7. Мы согласны, что это скорее допустимое решение проблемы, а не разумный выход из положения. 8. Этот

художник по-своему талантлив, но мне его картины не нравятся. 9. Недостаток времени не позволил молодому ученому

завершить эксперимент. 10. Ваши замечания не затрагивают существа ее работы. 11. Спокойный, надежный человек для

руководства отделом— вот, что им нужно. 12. Если бы ты не положила столько соли в воду, огурцы бы не горчили. 13. Я бы

охарактеризовала его скорее как опытного педагога, а не как талантливого учителя. 14. Затруднительное материальное

положение в семье не помешало ей получить высшее образование.

4. Make up two sentences of your own on each pattern.

5. Make up a dialogue using the Speech Patterns and act it out.

TEXT TWO

ENCOUNTERING DIRECTORS

By Ch.Samuels

Interviewing Ingmar Bergman

(Extract)

Ingmar Bergman — a famous Swedish film director, writer and theatre producer was born in 1918. His psychological

films are well known all over the world. Crisis (1945), Smiles of Summer Night (1956), Seventh Seal (1957), Wild

Strawberries (1958), The Silence (1963), Autumn Sonata (1978) are only a few films made by him. I.Bergman himself

wrote the scripts for most of his films and won awards for many of them. In the focus of his attention people's fates are

put. The people usually have a lot of problems. Bergman focuses attention on the fate of individuals, on their problems

and their search for life's meaning. Many of his»characters are isolated people who suffer from the harsh realities of the

cruel world in which they live. It is difficult to understand the majority of Bergman's films since the distinction between

reality and the world of the imagination is blurred.

S a m u e l s : Mr. Bergman, I'd like to start with a rather general question: If I were asked to cite a single reason for

your pre-eminence among film directors, I would point to your creation of a special world. You are, in fact, very much

like a writer. Why didn't you become one?

B e r g m a n : When I was a child, I suffered from an almost complete lack of words. My education was very rigid; my

father was a priest. As a result, I lived in a private world of my own dreams. I played with my puppet theatre.

S.: And —

B.: Excuse me. I had very few contacts with reality or channels to it. I was afraid of my father, my mother, my elder

brother — everything. Playing with this puppet theatre and a projection device I had was my only form of self-expression. I

had great difficulty with fiction and reality; as a small child I mixed them up so much that my family always said I was a liar.

S.: I want to interrupt you for just a moment. This description of your childhood resembles one classic description of the genesis

of a writer. Was it only the acqident of the puppet theatre that sent you the way of theatre rather than of books?

B.: No. When I began writing I liked it very much. But I never felt that writing was my cup of tea. And I always lacked words; it

has always been very difficult for me to find the word I want. I have always felt suspicious both of what I say and what others say to

me. I always feel something has been left out. When I read a book, I read very slowly. It takes me a lot of time to read a play.

S.: Do you direct it in your head?

B.: In a way. I have to translate the words into speeches, flesh and blood. I have an enormous need for contact with an audience,

with other people. For me, words are not satisfying.

S.: With a book, the reader is elsewhere.

B.: When you read, words have to pass through your conscious mind to reach your emotions and your soul. In film and theatre,

things go directly to the emotions. What I need is to come in contact with others.

S.: I see that, but it raises a problem I'm sure you've often discussed. Your films have emotional impact, but since they are also the

most intellectually difficult of contemporary films, isn't there sometimes a contradiction between the two effects? How do you react

when I say that while I watched "The Rite", my feelings were interfered with by my baffled effort at comprehension?

B.: Your approach is wrong. I never asked you to understand, I ask only that you feel.

S.: And the film asks me to understand. The film continuously makes us wonder what the spectacle means.

B.: But that's you.

S.: It's not the film?

B.: No. "The Rite" merely expresses my resentment against the critics, audience, and government, with which I was in constant

battle while I ran the theatre. A year after my resignation from the post, I sat down and wrote the script in five days. The picture is

just a game.

S.: To puzzle the audience?

B.: Exactly. I liked writing it very much and even more making it. We had a lot of f u n while we were shooting. My purpose was

just to amuse myself and the audience. Do you understand what I mean?

S.: I understand, but certain members of the audience can't resist pointing out that Bergman is sending messages, he thinks, but

what are they and why?

B.: You must realize — this is very important! — I never ask people to understand what I have made. Stravinsky once said, "I

have never understood a piece of music in my life. I always only feel."

S.: But Stravinsky was a composer. By its nature, music is non- discursive; we don't have to understand it. Films, plays, poems,

novels all make propositions or observations, embody ideas or beliefs, and we go to these forms —

B.: But you must understand that your view is distorted. You belong to a small minority that tries to understand. I never try to un-

derstand. Music, films, plays always work directly on the emotions.

S.: I must disagree. I'm afraid I didn't make myself clear —

B.: I must tell you before we go on to more complicated things: I make my pictures for use! They are made to put me in contact

with other human beings. My impulse has nothing to do with intellect or symbolism: it has only to do with dreams and longing, with

hope and desire, with passion.

S.: Does it bother you when critics interpret you through these items?

B.: Not at all. And let me tell you, I learn more from critics who honestly criticize my pictures than from those who are devout.

And they influence me. They help me change things. You know that actors often change a film, for better or worse.

S.: May I ask you how "The Touch" differs from the one you intended?

B.: I intended to paint a portrait of an ordinary woman, for whom everything around was a reflection. Bibi Anderson is a close

friend of mine — a lovely and extremely talented actress. She is totally oriented towards reality, always needing motives for what she

does. I admire her and love her. But she changed the film. What Bibi Anderson did made the film more comprehensible for ordi nary

people and more immediately powerful. I agreed with all her changes.

S.: You use music less and less in your films. Why?

B.: Because I think that film itself is music, and I can't put music in music.

S.: If you could have shot all your films in colour, would you have?