The Reaction of the Audience

1. The crowing success 2. To go over with a bang (informal), 3. To raise a laugh (smile) 4. To stop the show 5. To get a standing ovation 6. To give (get) smb. a big hand (informal) Synonym: To applaud (cheer) to the echo. 7. A storm (whirlwind) of applause 8. To steal the show (scene) (Am., informal) Synonym: To run away with the show. 9. To damp a play 10. To fluff (blow, muff) one's lines (informal) 11. To get (give) smb. the bird (informal) Synonym: To go off like a damp squib 12. To miss one's tip (informal)

a.an outburst of applause b. the performance which, although others are good enough, is the most successful, popular or praiseworthy c. to forget one's lines when one is in a play d. a) to fail to play one's role on the stage; b) not to make progress, not to achieve a goal e. means that the play turned out a failure and was received by the audience badly f. to be funny and entertaining, to be a success g. in a play, film, etc., receive more applause and notice than the leading actor or actors h. to attract so much attention, applause, etc. from an audience that proceedings are halted i. to get enthusiastic applause or welcome with the whole audience standing up to cheer or clap j. to be hissed off the stage by audience (to give a stage performer an unfavourable reception) k. to applaud an actor, speaker, instrumentalist, etc. generously and vigorously (be applauded generously, vigorously) l. to amuse an audience enough to make it laugh (smile)

39. Translate the following sentences into Ukrainian:

1. Marlin Monroe's crowing success began with the film "Asphalt Jungle." Suddenly she became the star of the cocktail parties. 2. The play was a success. It really went over with a bang. 3. When a plush circular couch in the centre of the stage alarmingly started to spring to pieces, the audience took it in good humour, it raised more laughs than any other part of the operetta. 4. By the time the Rainers came to Britain in 1827 — the first time "Silent Night" had been sung here — the carol had become their show-stopper everywhere they went. The audience stopped the show, it was quite a sensation. 5. He gets a standing ovation and as he moves off the stage people are pleading, chanting and stomping for more. 6. After she sang, they gave her a nice hand. 7. The admiration of the audience knew no bounds. There was a whirlwind of applause, the spectators clapped and cheered to the echo. The actors were strewn with flowers. 8. When Julia appeared on the stage, she completely stole the show. There was great applause after a final scene, and at the end a dozen of curtain calls. The whole cast was excellent with the exception of Alice Crichton. 9. The play which he thought would arouse the audience to laughter or applause, proved a damp squib. It turned out strangely flat and lifeless. The spectators were bored to death. 10. The actress fluffed her lines badly in the last act 11.I was in a play once, and I muffed my lines over and over. 12. The play was given the bird. It was a rather poor production. I had never seen such a boring play before. It was awful!

READING 7

40. Read the text and speak about the described ballet.

Sibley and "Manon"

Ballet fans will no doubt have read James Kennedy's article about Anto­inette Sibley. In it he mentioned the new ballet "Manon" which Kenneth MacMillan created for her and Anthony Dowell and which made its very successful debut in March.

She herself talked revealingly about this new work in an interview which appeared in "The Times" of 7 March and from which we have taken the following extract.

"To have a three-act ballet created for you," she said, "is absolutely the most important thing in a dancer's life. One has to search one's heart and soul for the truth to bring alive whatever the choreographer intends. But it's so tre­mendously fulfilling to have the chance to do it and know that a little bit of you, something of the way you moved, is going to become part of ballet."

By coincidence, she and Dowell had seen Visconti's production of the Puccini opera while they were dancing at last year's Spoleto Festival. They were so bowled over by it that on getting back to London they told John Tooley, Covent Garden's general administrator, he simply had to get that production for the Royal Opera, and were surprised how non-committal he was. The explanation came shortly afterwards when MacMillan gave them both a copy of Prevost's novel for their holiday reading.

How much help was the book in creating the character in movement?

"Well, the ballet is nearer to the book than the opera, but where Ken­neth has been so clever, I think, is in simplifying it and making it all clear. When I first read it I found all those jumps in time confusing, one person telling another about what happened in the past.

I think Manon really was just a girl who wanted to have her cake and eat it too. Because she had been so poor, she wanted sensual things and the kind of happiness wealth can bring, then she fell in love with someone who was poor. And when she finally made up her mind what she really wanted, it was too late. But I suppose she could have said 'No' when her brother tempted her to the other kind of life; she wasn't really that innocent."

She relies a lot on the music and is delighted to be dancing to Massenet. "It's so wonderful to have really passionate music again, music you can sing when you come home.

I get all my motivation, as they say now, from the drama and from the music. These are what get me moving, enable me to find something inside myself that goes into the role. I have to be able to listen to the music, that is why I cannot dance to electronic music, because I simply do not know how to hear those “plinks and plonks and bumps."

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