-
1 types of actors
= actor -
2 actor
['æktə]nактёр, артистSee:- fine actor- poor actor
- ordinary actorCHOICE OF WORDS:Русские существительные артист, актер соответствуют английским существительным artist и actor, которые, как и в русском языке, имеют разные перекрещивающиеся значения. Поэтому в ряде контекстов оба слова могут быть взаимозаменимы. Actor - общее, родовое название. Actor - актер, как правило, исполнитель драматических ролей в драматических театрах и кино, в отличие от русского - артист, обозначающего любого профессионального исполнителя разных жанров. Таким образом, an actor, как правило, одновременно и an artist, но не наоборот. An artist может и не быть актером an actor, как, например, акробат, чтец-декламатор - являются артистами - artist, но не актерамиUSAGE: -
3 board
I [bɔːd] n1) доска, дощечкаSee:These boards do not meet. — Эти доски плохо подогнаны.
I want to play chess but I can't find the chessboard. — Я хочу поиграть в шахматы, но не могу найти шахматную доску.
Our party swept the board in the elections. — На выборах наша партия одержала победу.
to sweep the board — одержать победу/победить
- thin board- wide board
- sturdy board
- bare boards
- uncarpeted boards
- creaking boards
- knotless board
- control board
- switch board
- chip board
- lap board
- board fence
- board floors
- boards three inches wide
- board walk
- board on board
- book in paper boards
- bed of boards
- pieces of board
- case with boards
- frame with boards
- book with bound boards
- join two boards
- saw a board
- adjust the boards
- measure a board
- nail a bard down
- sweep the board
- fasten two boards with a string
- fasten two boards with nails
- drive a nail into a board
- cover with boards
- enclose smth in boards
- board creaks
- made of boards2) борт (корабля, самолёта)There were several movie stars travelling on board the ship. — Этим пароходом ехали несколько кинозвезд.
It was all above board. — Все было открыто и честно.
During the storm some of the equipment on deck fell by the board. — Во время шторма часть оборудования смыло с палубы за борт.
Our hopes went by the board. — Наши надежды рухнули.
- on board- on board a ship
- with passengers on board
- above board
- under board
- across the board
- over board
- go on board
- get on board
- fall over board
- fall on board of another ship
- pass by the board
- serve on board a warship
- go by the board
- wage increase across the board3) (обыкновенно pl) подмостки, театральная сценаOur greatest actors appeared on the boards of this theatre. — Наши лучшие актеры выступали на этой сцене.
The play will go on the boards next week. — Пьеса пойдет на сцене на будущей неделе.
The play is on the boards of all the theatres of the town. — Эта пьеса идет во всех театрах города.
- boards of this theatre- be on the boards
- go on the boards•USAGE:(1.) Существительное board в предложных сочетаниях, функционирующих как наречия, употребляется без артикля: on board, over board, above board, under board. В сочетаниях с предлогами by и across существительное board не теряет своей именной функции, означает палубу корабля и употребляются с определенным артиклем: by the board, across the board. (2.) Существительное board 3. имеет форму только множественного числа и употребляется с определенным артиклем: an the boards, to walk the boardsII [bɔːd]правление, министерство, комитет, комиссия, совет, коллегия (и любая организация, управление которой связано с заседаниями, группа людей, участвующая в таких заседаниях и т. п.)See:The board decided against your request. — Правление отклонило вашу просьбу.
He was turned down at the board meeting. — Его кандидатура не прошла на заседании правления.
The school is managed by a board of eight directors. — Школой руководят/управляют восемь директоров.
- executive board- editorial board
- school board
- government board
- joint board
- trial board
- appraisal board
- arbitration board
- Selection Board
- seven-men board
- message board
- adjustmenr Board
- board meeting
- board supports
- board of examiners
- Board of Trade
- Board of Health
- Board of Education
- board of trustees
- board of control
- board of enquiry
- be on a board
- belong to a board
- set up a board of directions
- be on the examining board
- establish a board
- bring the Board to accept the offer
- admit to the board
- account to the board
- refer to the board for assistance
- put the matter to the board
- put up one's ideas to the board
- lay the information to the board
- Board is sittingUSAGE:(1.) Если board входит в название органа управления, то все входящие в название существительные пишутся с заглавной буквы. (2.) See family, nIII [bɔːd]пища, питание, пансион- free board
- board and lodging
- at a festive board
- pay for one's board and lodging
- let rooms with full board
- give smb board and lodgingUSAGE: -
4 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today.
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