Read the following dialogues, put stress-tone marks on them using different types of scales and practice reading them.

If

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

Read the following dialogues, put stress-tone marks on them using different types of scales and practice reading them.

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.

Antony’s Address to Romans

“Julius Caesar”

(by W. Shakespeare)

ˏFriends,| ˏRomans,| ˎcountrymen,| ˎlend me your ˎears;|

ˈI ˈcome to ˎbury ˌCaesar,| ˈnot to ͵praise him.||

The ˈevil that ˈmen ˎdo| ˈlives ˎafter ˌthem,|

The ˌgood is ˈoft inˋterred with their ˎbones;|

ˈSo ˈlet it ˈbe with ˎCaesar.|| The ˈnoble ˏBrutus|

Hath ˏtold you| ˎCaeˏsar| was amˋbitious.||

̅If it were ˎso,| it was a ˎgrievous ˌfault,|

And ↘grievously hath ↘Caesar ˋanswer’d it|

↗Here ↗under ↗leave of ˏBrutus ˈand the ˏrest,|

For ˏBrutus| ˏis an ˋhonourable ̬man;|

So are they ˎall,| ˎall| ˈhonourable ˎmen,|

ˈCome I to ˎspeak| in ˈCaesar’s ˎfuneral.||

He ˈwas my ˎfriend,| ˏfaithful| and ˎjust to| ˎme;|

But ˈBrutus →says| he ˈwas amˋbitious;|

And ˏBrutus| is an ˎhonourable ˌman.||

He hath brought ˈmany ˋcaptives ˌhome to ˌRome,|

Whose →ransoms| did the ˈgeneral ˎcoffers ˌfill;|

Did ˈthis in ˏCaesar| ˈseem amˏbitious?|

When that the ↘poor had ̬cried,| ↘Caesar hath ˋwept;|

Amˏbition| should be ˈmade of ˋsterner stuff;|

ˏYet| ˏBrutus| ˏsays| he ˈwas amˎbitious;|

And ˏBrutus| ˏis an ˙honourable ˎman.||

You ↘all did ˎsee| that on the ˈLuperˏcal|

I ˈthrice preˈsented him a ˈkingly →crown,|

Which ↘he did ↘thrice reˋfuse:| was ˈthis amˏbition?||

Yet Brutus says he was ambitious;

And, sure, he is an honourable man.

I speak not to disprove what Brutus spoke,

But here I am to speak what I do know.

You all did love him once, not without cause:

What cause withholds you then to morn for him?

Oh judgment! Thou art fled to brutish beasts,

And men have lost their reason. Bear with me;

My heart is in the coffin there with Caesar.

And I must pause till it comes back to me.

8. Listen to the following statements about celebrities. Choose one that you like most, write down a few ideas about the statement that you’ve chosen (up to 10 sentences) and tell them to your group-mates using the Sliding, Scandent and Level Scales.

1. A celebrity is a person who works hard all his life to become well known, and then wears dark glasses to avoid being recognized.

2. I don’t want to achieve immortality through my work. I want to achieve it through not dying.

3. There is only one thing worse than being talked about, and that is not being talked about.

4. What goes up, must come down.

5. Winning isn’t everything, but it sure as hell beats losing.

6. Whenever a friend succeeds, a little something in me dies.

7. Genius is one per cent inspiration, ninety-nine per cent perspiration.

8. If at first you don’t succeed, try, try again.

9. Nothing succeeds like success.

10. Let me tell you about the rich. They are different from you and me.

Unit 3. Medicine

Date: 2015-02-28; view: 978