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Министерство культуры Нижегородской области
ГБПОУ «Нижегородский областной колледж культуры»
ПРАКТИКУМ
По дисциплине
«Иностранный язык»
(Английский язык)
Для специальности:
51.02.01 «Народное художественное творчество»
Вид: хореографическое творчество,
Вид: театральное творчество
г. Бор
2016 год
Практикум составлен в соответствии
с ФГОС СПО и рабочей программой
по учебной дисциплине:
«Иностранный язык (английский
язык)».
Утверждено на заседании ПЦК
«Социально-экономических и
гуманитарных дисциплин» протокол
№______________от
«___»___________201__г.
Составитель: Сперанская Т.С.
Рецензенты:
Петрякова А.И.-преподаватель ГБПОУ «Нижегородский
областной колледж культуры»
Пояснительная записка
Практикум – учебное издание, нацеленное на формирование и
закрепление умений, практических навыков, обучение способам и методам
использования теоретических знаний в конкретных условиях. Практикум
направлен на овладение формами и методами познания, которые используются
в соответствующей отрасли науки. В них содержатся задания и упражнения
практического характера, способствующие усвоению теоретического курса.
Практикум для студентов нашего учебного заведения составлен на основе
программы учебной дисциплины «Иностранный язык» (английский) по
специальности 071501 «Народное художественное творчество»
Вид: хореографическое творчество, театральное творчество
в
соответствии ФГОС СПО.
Иностранный язык входит в образовательную область «Филология».
Язык является важнейшим средством общения, без которого невозможно
существование и развитие человеческого общества. Иностранный язык входит в
обязательную часть общего гуманитарного и социально-экономического цикла
дисциплин, разработанных в соответствии с ФГОС СПО третьего поколения.
Основное предназначение предмета «Иностранный язык» состоит в
формировании коммуникативной компетенции, то есть способности и
готовности осуществлять иноязычное межличностное и межкультурное
общение с носителями языка. И чтобы общение могло состояться в этом
постоянно меняющемся поликультурном, полиязычном мире, помимо
овладения иностранным языком, необходимо хорошо знать условия жизни и
развития, круг проблем, традиций тех стран, язык которых изучается. Поэтому
одной из задач уроков иностранного языка является приобщение студентов к
культуре, и национальным традициям стран изучаемого языка.
Исходя из выше изложенного, предлагается практикум «Хореография».
Практикум рассчитан на 18часов в течении семестра.
Этот методический практикум содержит оригинальные английские тексты
средней
сложности.
Система
упражнений
после
текстов
имеет
коммуникативную направленность, синтезирует ранее усвоенный материал и
способствует усвоению нового. В рамках прорабатываемой темы упражнения
располагаются по мере нарастания трудностей, что позволяет варьировать
материал в зависимости от конкретной аудитории и поставленной задачи.
В результате освоения этого практикума студент должен овладеть:
-иноязычной коммуникативной компетенцией, обеспечивающей устноречевое общение в рамках заданной темы, а именно, речевой компетенцией-это
умение читать, слушать, понимать и осуществлять монологическое
высказывание;
-языковой компетенцией-это владение системой ранее изученного материала,
навыками оперирования новыми лексическими единицами; знать, понимать и
уметь применять в речи (грамматика);
-социально- культурной компетенцией-это знание культурных особенностей
носителей языка, их привычек, традиций;
-компенсаторной компетенцией-это способность и готовность всупать в
иноязычное общение.
Данное пособие содержит ключи к заданиям для самоконтроля, которые
позволяют быстро оценить и скорректировать свою деятельность по изучению
английского языка.
Практикум предназначен для рациональной организации учебной деятельности
студентов во время практических занятий под руководством преподавателя, а
также для внеаудиторной самостоятельной работы учащихся средних школ,
гимназий, лицеев, коллежей и студентов младших курсов, как языковых, так и
неязыковых вузов.
Тема « Хореография»
The text ''Agrippina Vaganova''
Agrippina Yakovlevna Vaganova was a Russian ballet teacher who
developed the Vaganova method – the technique which came from the
teaching methods of the old Imperial Ballet School. It was Vaganova who
perfected and cultivated this form of teaching the art of classical ballet into
a workable program. Her Fundamentals of the Classical Dance remains a
standard textbook for the instruction of ballet technique. Her technique is
one of the most popular techniques today.
Vaganova was born in Saint Petersburg. Her father was an Armenian
from Astrakhan, and a Russian mother. Vaganova's whole life was
connected with the Imperial Ballet of the Mariinsky Theatre in Saint
Petersburg.
Ballet did not come easily to Vaganova in her first years as a student,
but slowly, through the efforts of her own will power, she was able to join
the famouse Imperial Ballet after her graduation. By the time she attained
the rank of soloist.
She started to teach ballet in 1918 at the School of the Baltic Fleet
which was founded and led by Akim Volynsky. In 1921 Vaganova began
teaching at the Choreographic College, so at that time was called the
former Imperial Theater School situated on Rossi street. Though she didn't
have a respectable career as a dancer, her leadership in teaching classical
dance was what gave her one of the most respected places in the history of
ballet. She taught students who would go on to become legends of the
dance.
From 1931 to 1937 she was an artistic director of the ballet of the
Leningrad Opera and Ballet Theater. In 1933, she staged the classical
version of Swan Lake by Lev Ivanov and Marius Petipa with Galina
Ulanova as Odette, Olga Jordan as Odile and Konstantin Sergeyev as
Prince Siegfried. In 1935 she revived La Esmeralda partly with her own
choreography.
In 1934 she published her famous book Fundamentals of Classical
Dance: it was translated into many languages. The same year Vaganova
initiated the establishing at the Leningrad Conservatory of pedagogic
department for training of future ballet teachers which she began to
manage. There, some of her dance school leavers became her students.
Among Vaganova's dance leavers were the distinguished Soviet
ballerinas Marina Semenova, Olga Jordan, Galina Ulanova, Tatiana
Vecheslova, Feya Balabina, Natalia Dudinskaya, Galina Kirillova, Alla
Shelest, Ninel Petrova, Nonna Yastrebova, Olga Moiseeva, Ludmilla
Safronova, Ninel Kurgapkina, Alla Ossipenko and Irina Kolpakova among
many others.
The grave of Agrippina Vaganova is at the Novo-Volkovskoie
Cemetery in Saint Petersburg, Russia. Her teaching combined the elegant,
refined style of the old French School which Vaganova had been taught by
Christian Johansson, the beauty and smoothness of the arms movements of
old Russian School, strong and masterly feet technique of Italian School
with more vigorous dancing developed in the Soviet Union. Her last
school graduation was in 1951 — not long before her death.
She also taught the class of perfection for the female dancers of the
Kirov Ballet for many years till 1951, when Natalia Dudinskaya succeed
her as teacher.
Shortly after her death, on 1 November 1957, the Choreographic
College on Rossi Street was renamed in her honor; in 1961, it received the
title of "academic" and in 1991 it began to use the name Agrippina
Vaganova Academy of Russian Ballet.
Active words to the text with translation:
1.
to come from-происходить
2.
to cultivate-развивать
3.
workable-работоспособный
4.
fundamental-основное правило
5.
to attain-достигать
6.
awful-ужасный
7.
dreadful-отвратительный
8.
Goddess-богиня
9.
revival-возрождение
10. portrayal-изображение
11. to retire-покинуть
12. to concentrait-сосредоточиться
13. promotion-продвижение
14. to respect-уважать
15. to revive-возродить
16. to initiate-начинать
17. refined-утончённый
18. smoothness-мягкость
19. masterly-совершенный
20. vigorous-сильный
21. perfection-совершенство
Tasks to the text:
Answer the questions using active words from the text:
1. Who was Agrippina Vaganova?
2. Where was she born?
3. What theatre did Agrippina join?
4. Where did her teaching career begin?
5. How long did she work as an artistic director of the ballet of the
Leningrad Opera and Ballet Theater?
6. When did Vaganova stage the classical version of Swan Lake?
7. What did she publish in 1934?
8. What did she establish at the Leningrad Conservatory?
9.
Who were her students?
10.
When was her last school graduation?
11 How was the Choreographic College on Rossi Street renamed after her
death?
II. Build up the sentences, using the next words and phrases:
1. a Russian ballet teacher, to join the Mariinsky Theatre, the life on the
stage, the Ballet School, to join the famouse Imperial Ballet , to attain
the rank of soloist.
III. Correct mistakes in the next sentences:
Agrippina Vaganova was an American ballet teacher
2.
Vaganova was born in N.N.
3.
She started to teach ballet in 1918 at the School of Arts.
4.
Her famous book'' Fundamentals of Classical Dance'' was not
translated into any languages.
5. The Choreographic College on Rossi Street was not renamed in her honor.
1.
IV. Test
to the text ''Agrippina Vaganova''
1. Who was Agrippina Vaganova?
a) a painter,
b) a Russian ballet teacher,
c) a singer.
2.
Where was Agrippina born?
a) in NN,
b) in Moscow,
c) in Saint Petersburg.
3. What theatre was Vaganova connected with?
a) with the Mariinsky Theatre,
b) with the Bolshoi Theatre,
c) with the Maly Theatre.
4.
Where did Agrippina start to teach ballet?
a) at the Art School,
b) at the school of the Baltic Fleet,
c)at the Music School.
5. Where was Agrippina an artistic director of the ballet?
a) in the Leningrad Opera and Ballet Theatre,
b) in the Bolshoi
Theatre in Moscow,
c) in the Theatre of Opera and Ballet in NN
6. How popular was her ballet technique?
a) one of the most popular techniques today,
b) not popular,
c) was popular only in the West.
7. What did Agrippina publish in 1934?
a) adventure stories,
b) rules for dances,
c) Fundamentals of Classical Dance,
8. Who was one of the many among Vaganova's dance leaves?
a) Martha Graham,
b) Galina Ulanova,
c) Igor Moiseev.
9.When was her last school graduation?
a) in 1930,
b) in 1951,
c) in 1900
10. How is the Vaganova system used in Ballet Schools now?
a) is widely used,
b) isn't used,
c) little by little.
Keys: 1-b,
2-c, 3-a, 4-b, 5-a, 6-a, 7-c, 8-b,
9-b,
V. Retell the text shortly using active words and phrases:
10-a.
MARTA GRAHAM .
Born May 11, 1893, in Pittsburgh, Pennsylvania, Graham received
her early training as a dancer under Ruth St. Denis and Ted Shawn in the
Denishawn School and Company. After two years of dancing in Broadway
productions, she was the director (1924-1925) of the dance department at
school of Music in Rochester, New York, and turned to creating dances of
her own. She gave her first recital in 1926.
In her early work, Graham rejected the ornate style of Denishawn
productions, in favor of sparse staging. Graham's austere costuming and
staging, as well as the angularity and severity of her movements, caused
some initial bewilderment and antagonism, although she also won much
immediate recognition. As her highly individual and expressive style
developed, she became one of the leading figures in contemporary dance.
She trained young dancers for her company, developing a technique -the
most consistent and thorough in American modern dance – that included
the contraction and release of different parts of the body; close relation of
breathing to feeling and movements; austere, angular body lines; and close
contact with the ground.
After 1934 Graham used only music especially composed for her
dances, by such composers as the Americans
Aaron Copland
(Appalachian Spring,1994) and William Schuman (The Witch of
Endor,1965). Her longtime associate and music director Louis Horst
composed the scores for her Primitive Mysteries(1931) and El Penitente
(1940). In her later works Graham made full, often symbolic, use of the
traditional resources of the theater, including lighting, stage sets and
properties, and costuming. Graham's more than 150 works vary in mood,
from the witty Every Sold is a Circus(1939)to the frenzied Deaths and
Entrances (1943),based loosely on the Bronte family with Emily as the
heroine. She retired as a dancer in 1970. In 1984 at the age of 90, she
choreographed Rite of Spring by the Russian American composer Igor
Stravinsky. Graham died in York City on April 1, 1991.
Active words to the text with translation:
to receive- получать
dancer- танцор
to create- творить, создавать
austere- простой, суровый
to reject- отвергать
to include- включать
movement- движение
loosely- свободно
to retire- уйти в отставку
feeling- чувство
to develop- развивать
angularity-угловатость
severity-строгость
Tasks to the text:
I. Answer the questions using active words from the text:
1.What was Martha Graham?
2.
Where and when was she born?
3.
Where did she study as a dancer?
4.
How many years did she dance in Brodway production?
5.
5. Whom did she become after that?
6.
6. What did she create herself as a dancer?
7.
7. When did Martha give her first recital?
8.
8. What did she reject in the old dancing school?
9.
9. What innovations did she use?
10. 0. What music did she use for her dances?
11. 11. How many works did she create?
12. 12. When did Martha retire as a dancer?
13. 13. At what age did she choreography her last work?
14. When and where did Martha Graham die?
II.
Translate into Russian the next phrases:
one of the leading figures, after two years of dancing,
contemporary dance, angular body lines, in her later works.
her first recital,
III. Find the next equivalents:
to create
to turn to
to reject
expressive style
to train
to include
lighting
stage sets
movement
to retire-
включать
уйти в отставку
декорация
движение
создавать (что что-то)
заняться (чем-то)
выразительный стиль
включать
освещение
отвергать движение
IV. Test to the text ''Martha Graham''
1.
Who was Martha Graham?
a) an American dancer,
b) an Italian dancer,
c) a Spanish dancer.
2.
Where did Martha turn to dancing?
a) in the Denishon School and Company,
b) in the Art School in New York,
c) in the dancing school in Washington.
3.
Where did Martha dance after studies?
a) in clubs,
b) in Broadway productions,
c) in theatres.
4.
When did Martha give her first recital?
a) in 1926,
b) in 1940,
c) in 1945.
5.
What music did Martha use for her dances?
a) only by Russian composers,
b) only by American composers,
c) only by Italian composers.
6.
How many works did Martha creat?
a) 80,
b) 50,
c) 150.
7.
When did Martha retire as a dancer?
a) in 1970,
b) in 1965,
c) in 1960.
8.
What did Martha choreography at the age of 90?
a) the last work as a choreographer,
b) continued working,
c) stopped working.
9.
How old was Martha when she died?
a) 75 years old,
b) 98 years old,
c) 100 years old
Keys: 1- a, 2-a, 3-b, 4-a, 5-b, 6-c, 7-a, 8-a, 9-b.
VI. Retell the text, using active words and phrases:
THE SLEEPING BEAUTY
Peter Ilich Tchaikovsky's ballets ''Swan Lake'', ''The Sleeping
Beauty'' and ''The Nutcracker'' rank among the most outstanding Russian
classics. Of Russian composers Tchaikovsky was the first to lay the basis
of a reformation which transformed the old divertissement ballet. The main
point of the reformation lay in the achievement of inner unity of the
composition, in the creation of works full of substance and meaning, in
striving after a profound expressiveness of the idea. One of Tchaikovsky's
important innovations was his symphonic development of musical images,
his departure from purely illustrative music devoid of any content.
Tchaikovsky's ballets are based on fairy stories and legends, but the world
of his poetic images is also a world of lofty philosophical ideas and
profound human emotions. For Tchaikovsky art outside the Man does not
exist. Thus the music of his wonderful ballets, including that of ''The
Sleeping Beauty'', is deeply humane, and the feelings of his characters are
realistic and true to life, though the characters themselves might be
fantastic. The plot of ''The Sleeping Beauty'' was taken from a fairy story
by the French writer Ch. Perrult and elaborated by M. Petipa and
I.Vsevolozhsky. In one of his letters to Mme von Meck Tchaikovsky wrote
about his work on ''The Sleeping Beauty'': ''The story is so poetic, so workwrite setting to music, that I was completely carried away when working at
it (the ballet) and wrote with kind of warmth and pleasure which always
make for a composition of merit''.The work progressed quickly. On the last
page of the fourth book of the rough copy there is an inscription in
Tchaikovsky's hand: ''Finished the sketches on May 26 th 1889 at 8 o'clock
in the evening. Thank God! All in all, I worked 10 days in October, three
weeks in January, and a week now. Thus only about 40 days''. Having
completed the sketches for the ballet Tchaikovsky immediately set to work
on its orchestration which he finished by the end of August 1889.Working
on the ballet ''The Sleeping Beauty'' according to Petipa's plan
Tchaikovsky wrote a ballet of unheard splendour based on a French fairy
tale, but being a Russian composer of great genius he introduced his own
important amendments into the work. The music critic G. Laroche wrote:
''They do not concern local colour, which is admirably observed, but an
element which is far more general and lies deeper than colour, that is, the
inner structure of music, and, chiefly, the vary basis of melody. The
purpose of the ballet ''The Sleeping Beauty'' by Tchaikovsky is to show the
struggle of pure young powers against the power of darkness and evil.
Princess Aurora and Prince Desire gain a victory in their combat with the
dark forces of nature; and the idea of the ballet is expressed in their deeply
human feelings beautifully depicted by Tchaikovsky. ''The Sleeping
Beauty'' had its first performance on January 3, 1890 in Maryinsky
Theatre, Petersburg. The sets were designed by the well-known scenepainter Botcharov. The performance had won a lasting recognition for
Tchaikovsky's new work, and its popularity with the wide public has been
steadily increasing ever since. In Bolshoi Theatre, Moscow, ''The Sleeping
Beauty'' had its first performance on January 17, 1899.In our time this
great work of Tchaikovsky which by its musical images conveys the idea
of beauty, light and life's triumph, was revived by the Bolshoi Theatre of
Russia.
Active words to the text with translation:
1. point- точка, суть
2. achievement- достижение
3. composition- музыкальное произведение
4. development- развитие
5. image- образ
6. creation- сотворение
7. plot- сюжет
8.fairy- tale- волшебная сказка
9. warmth- тепло, сердечность
10. pleasure- наслаждение
11. sketch- эскиз, набросок
12. orchestration- оркестровка
13. purpose- цель
14. darkness- темнота, мрак
15. revive- приводить в чувство
16. meaning- значение, смысл
17. content- суть, сущность
18. emotion- душевное волнение
19.
exist-существовать, жить
Tasks to the text:
1. Control questions:
1.What kind of Art does ''The Sleeping Beauty'' belong to?
2.How famous is this ballet?
3.Who was the composer of this work?
4.What innovations did Tchaikovsky bring into his ballets?
5.Where did Tchaikovsky take the plot for the ballet ''The Sleeping
Beauty''?
6.What was the purpose of this ballet?
7.Who wan in this struggle?
8.How many days did Tchaikovsky write the sketches?
9. Who was the first to see the ballet “The Sleeping Beauty”?
10. When did The Bolshoi Theater perform ''The Sleeping Beauty''?
II. Put the sentences in the right order:
1.''The Sleeping Beauty'' had its first performance on January 3,
1890 in Maryinsky theatre, Petersburg.
2. The plot of ''The Sleeping Beauty'' was taken from a fairy
story by the French writer Ch. Perult.
3. Tchaikovsky's ballets are based on fairy stories and legends.
4. Having completed the sketches for the ballet, Tchaikovsky
immediately set to work on its orchestration.
5. The sets were designed by the well-known scene-painter
Botcharov.
III. End the sentences using the necessary phrase or word:
1. ''The Sleeping Beauty'' is one of the most …
a) outstanding Russian classics,
b) oldest English classics,
c)modern Western classics.
2. The music of his wonderful ballets is …
a) gloomy, b) hard, c) deeply human.
3. Tchaikovsky is a …
a) American composer,
b) Russian composer, c) Italian composer.
4. The work lasted about ...
a) three months, b) forty days, c) two years.
5. In our time the Bolshoi Theatre of Russia …
a) revived the opera, b) lost this opera, c) forgot this opera.
IV. Test to the text ''The Sleeping Beauty''
1.
What genre is the Sleeping Beauty belong to?
a) the opera,
b) the ballet,
c) the comedy.
2.
Who was the composer?
a) Tchaikovsky,
b) Moussorgsky,
c) Glinka.
3.
What music did Tchaikovsky reject?
a) his own music,
b) music devoted to the theme,
c) purely illustrative music.
4.
What fairy story was on the base of the ballet?
a) the same-named fairy story by Ch.Perrault,
b) the fairy story by Pushkin ''The Golden Fish'',
c) the fairy story by Anderssen ''Nasty Duck''.
5.
What was the purpose of this ballet?
a) to show the life of children,
b) to show the life of main heroes,
c) to show the struggle of pure young powers against the
powers of darkness and evil.
6.
Who won in this struggle?
a) darkness and evil,
b) the pure young forces,
c)Fairy.
7.
How long did Tchaikovsky write the sketches?
a) three months,
b) forty days,
c) one year.
8.
Who made the orchestration?
a) Tchaikovsky himself,
b) Moussorgsky,
c) Glinka.
9.
Where did ''The Sleeping Beauty'' have its first
performance?
a) in Drama Theatre,
b) in Maryinsky Theatre,
c) in Opera House.
Keys: 1-b, 2-a, 3-c, 4-a, 5-c, 6-b, 7-b, 8-a,
9-b.
V. Retell the text shortly using active words and phrases:
Grammar:
I. Transform sentences into the Disjunctive questions.
1. She is a student.
2. He speaks English well.
3. They have many books.
4. The weather was fine yesterday.
5. We saw a new film yesterday.
II. Transform sentences into the Alternative questions.
1.
2.
3.
4.
5.
Our family lives in a three-room flat.
They went to the same school.
He will read this book tomorrow.
They are playing football now.
Our teacher has told us to wright.
III. Transform sentences into the General questions.
1.
2.
3.
4.
5.
Our teacher knows several foreign languages.
They are working in our garden.
I took this book from my friend.
Russia is the largest country in the world.
We shall go to Samara next week.
IV. Put the Special questions to the picked out words.
1.
2.
3.
4.
5.
He must work hard today.
It is not cold today.
Ann has already begun to read a new book.
We are reading the whole evening.
They will show you how to get there.
V. Put in the correct modal verb.
1.
2.
3.
I'm glad you … come.
My friend lives a long way from his office and … get up early.
All of us … be in time for classes.
4.
5.
You … take my dictionary.
Why … I give you my money?
VI. Put in the correct modal verb or their equivalents.
1.
2.
3.
4.
5.
You … consult your director.
… I go with you? -Please, do.
The train … come at seven o'clock yesterday.
They … speak English and don't know French.
The students … come to all their lectures.
VII. Use the necessary form of the verbs-to be and to have.
1.
2.
3.
4.
5.
6.
Prof. Ivanov...our lecturer.
I... a first-year student now.
He … born in 1985.
The students... at the laboratory yesterday.
My brother … two children.
They … a lot of work to do yesterday.
Conditional sentences: mixed types. Put the verbs in brackets into the
correct tense
VIII.
1.
2.
3.
4.
5.
What (happen) if I press his button?
If I (to be) you, I would ring him up himself.
If she hadn't hurt her ankle, she (win) the match.
If he goes on making so much noise, I (to panish) him.
If she (spend) less on clothes, you would be able to save some money.
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