V Complete the sentences with the words from the text
1. Dionysus is the god of … .
2. The costume conventions established by Greeks remained the same until … .
3. Plays, which depicted the lives of the saints, were performed inside … … .
4. A helmet or breastplate indicated … .
5. They wanted what they saw and read about to be reflected on … .
VI Find the English equivalent to the words:
1) святкування
2) п’єса
3) модний
4) історична творчість
5) стилізована маска
6) відображати на сцені
7) підходящий, відповідний
VII Make up sentences with the words:
a tragedy, a mask, garments, a costume, to perform, a theater, a stage, to create
VIII Give the definitions to the words and phrases:
a comedy, a tragedy, a theatrical costume, a culture, an actor.
IX Translate the sentences into English:
1. Традиційний костюм для грецької трагедії складався з туніки та стилізованої маски.
2. В середні віки в п’єсах зображувалось життя святих.
3. В період Ренесансу костюми були важливішi ніж текст.
4. В ХІХ столітті історична точність була важливою для театрального костюму.
5. В наш час костюми точно відображають історичний період та середовище.
6. Іноді колір театрального костюму повинен бути більш яскравим, ніж колір повсякденного одягу.
7. Шекспірівські п’єси грали в повсякденному одязі.
8. В 18 столітті актори використовували одяг зі свого гардеробу, окрім деяких речей, якими забезпечував театр.
9. Театральний костюм повинен дозволяти актору вільно рухатись.
X Speak on the topic using the following words and word combinations:
greek tragedy, theatrical costume, everyday dress, costumes provided by the theater, to reflect on the stage, special requirements, specific construction, viewers, to plan the outfit, bold colours.
Text B
I Read and remember:
1. elaborate – вишуканий
2. laced corset – зашнурований корсет
3. beads - намистинки
4. chemise – жіноча сорочка
5. slashed sleeves- рукава з прорізом
6. petticoat – нижня спідниця
7. farthingales- круги, які тримають спідницю
8. relevant – відповідний
9. rehearsal leotards- тренувальне трико
10. tutu – пачка балерини
II Read the text and define the main idea of it.
III Read and translate the following text.
Dance costume
The relationship between dance and dance costumes is complex and does not simply reflect dance practice in a specific period, but also social behavior and cultural values. Dance costumes can be divided into the following categories: historical, folk or traditional, ballroom, modern and musical dance costumes. Influence has spread from fashion to dance and back again.
Historical Dance Costumes.
From the fifteenth to the eighteenth century, festivities at European courts required highly elaborate dance costumes.
The style of court dance costumes tended to be similar to everyday dress of the period, for example, laced corsets, puffed and slashed sleeves, farthingales with skirts and applied decoration. In the early twenty-first century, the reproduction of historical dance costumes was evident in the activities of historical dance organizations, such as the Institute for Historical Dance Practice in Belgium.
Folk-Dance Costumes.
From the fifteenth century onward, folk dance developed in Europe. The field of European folk-dance costumes is very complex, as each of the country's regions has its own dances, dress, and customs. Eastern European folk dances, such as czardas, mazurkas, and polkas, soon spread to England and France. Folk-dance costumes reflected the East European look in the use of bright colours on dark backgrounds. Costumes were often highly decorated with beads, metal, and silk threads. The basic women's dress was a short, light-colored chemise and a petticoat, over which several layers of fabric were worn.
Ballroom-Dance Costumes.
From the early nineteenth century, ballroom dances were taken up by a broad public, and special evening dresses were designed to fit these occasions. The waltz, fox-trot, polka, mazurka, and Viennese waltz required an elegant style. By the twentieth century, dance costumes for the tango, swing and Latin, Charleston, rumba, bolero, cha-cha, mambo, and samba were more revealing.
Modern-Dance Costumes
At the beginning of the twentieth century, Isadora Duncan's natural movements on stage characterized a new era for dance. Free-flowing costumes and loose hair permitted a great freedom of dance movement. After World War I, avant-garde choreographers reformed and liberalized traditional dance and its costumes. Moving away from traditional ballet techniques, modern dance gave rise to a new era of costuming. Costumes and makeup took on a unisex look as choreographers felt it less relevant to differentiate female and male dancers. In 1934, neoclassical dance choreographer George Balanchine was the first to dress ballet dancers in rehearsal clothes for public performances. The costumes were almost always black and white.
Martha Graham replaced the traditional ballet tunics of male dancers and the folk dress and tutus of female dancers with straight, often dark and long shirts or rehearsal leotards.