THE REHEARSAL
Jane is a member of an amateur dramatic society. She is conducting a rehearsal of a play. (scream)
Jane: No, no, no! Start again from "Where are you taking me, John?" And try to build up the tension.1 Remember this is supposed to thrill the audience.
Actor: Right oh.
Actress: I'm trying to do my best,2 Jane, but I just can't seem to feel myself into the part.3
Jane: Well, let's see how it goes this time.
Actress: Where are you taking, me John? It's so strange here. There are no lights, no houses, no people. I'm afraid, John.
Actor: Why are you afraid? You're quite safe with me. Don't you trust me?
Actress: Of course I do, but you are acting very strangely tonight. Why are you looking at me in that queer way?
Actor: Those are just foolish fancies.4
Actress: There are some stones in my shoe, John. They're hurting me. I must stop to take them out. Wait a moment.
Actor: Hurry up! I can't afford to lose any time now. Hurry! This way.
Actress: John! What are you doing with that gun? (screams)
Jane: Well, you got a better pace5 this time and the scream sounded very much more natural. But you still say your lines6 in a very artificial way, Brenda. This isn't Victorian7 melodrama, you know. There's no need to exaggerate and say "Where are you taking me, John?". Try and talk quite naturally: "Where are you taking me, John? There are no lights, no houses, no people". Once more, please, if you don't mind,8 from "Where are you taking me".
Actress: Where are you taking me, John? It's so strange here. There are no lights, no houses, no people. I'm afraid, John.
Actor: Why are you afraid? You're quite safe with me. Don't you trust me?
Actress:
Of course
I do, but you're acting very strangely tonight. Why are you looking at me in
that queer way?
Jane: No, no, Brenda! You're doing the same thing again. Not "Why are you looking at me in that queer way", but "Why are you looking at me in that queer way". You'd never say "why are you looking at me" in ordinary, everyday speech, would you? Don't accent the "are".
Why are you looking at me in that queer way?
Actress: I wish you'd let us finish9 the scene without interrupting.
Jane: All right. From the beginning again, for the last time.
Actress: Where are you taking me, John? It's so strange here. There are no lights, no houses, no people. I'm afraid, John.
Actor: Why are you afraid? You're quite safe with me. Don't you trust me?
Actress: Of course I do, but you're acting very strangely tonight. Why are you looking at me in that queer way?
Actor: Those are just foolish fancies.
Actress: There are some stones in my shoe, John. They're hurting me. I must stop to take them out. Wait a moment.
Actor: Hurry up! I can't afford to lose any time now. Hurry!
This way.
Actress: John: What are you doing with that gun? (screams)
Jane: That was much better! Time for tea, and there are some pastries too, if I'm not mistaken.10
Actor: Good show,11 we deserve them.
ВЫБРАННЫЕ ПРЕДЛОЖЕНИЯ
В состав этих предложений, за исключением" предпоследнего, входит личная форма глагола, are.
Where are you taking me, John?
There are no lights, no houses, no people.
Why are you afraid?
You're acting very strangely.
Why are you looking at me in that queer way?
Those are just foolish fancies.
There's no need to exaggerate.
What are you doing with that gun?
ПОЯСНЕНИЯ
1 try to build up the tension старайся создать впечатление возрастающего волнения
2 I am trying to do my best стараюсь сделать как можно лучше
31 can't seem to feel myself into the part как-то не могу войти в роль.
4 foolish fancies глупая фантазия
5 you got a better pace this time в этот раз темп гораздо лучше
6 your lines свою роль
7 Victorian викторианский относящийся к эпохе королевы Виктории (18371901)
8 if you don't mind если вы не возражаете. Эта фраза придаёт вежливый характер просьбе или поручению и усиливает слово please.
91 wish you'd let us finish позволите) нам кончить
10 if I'm not mistaken если не ошибаюсь
11 Good show! Браво! Выражение, употребляемое для поощрения чего-либо, что было сделано кем-то.
ГРАММАТИЧЕСКИЙ КОММЕНТАРИЙ
Личная форма глагола are Сильная и слабая формы
1. В грамматическом комментарии к сценке 1 говорилось о существовании сильных форм, находящихся под ударением и одной или нескольких слабых форм, не находящихся под ударением. В данной сценке даются слабые и сильные формы глагола are.
2. Сильная форма are произносится [а:], слабая форма [э]. Если следующее слово начинается с гласной, тогда после [а:]появляется соединительное г [а:г], [эг].
3. Слабая форма используется тогда, когда are не находится под ударением. В основном это утвердительные предложения. Например:
Those are just foolish fancies.
[douz э 'd-jAst 'fu:hf 'fcensiz] You're doing the same thing again. [jua 'du:ig бэ 'seim 'вгт) э'дегп] There are some pastries, too.
[Sara э sam 'peistnz 'tu:]
4. Сильная форма используется там, где are находится под ударением.
В качестве примера можно взять вопрос, начинающийся с are:
Are you ready? Yes, we are.
['a: ju 'redi] ['jes wl: 'a]
В вопросах, начинающихся с вопросительного слова, используется слабая форма [э]. Именно этого добивается Джейн от своих актёров:
Where are you taking me, John?
['wearaju 'teikig mi: 'd^on]
Why are you looking at me in that queer way?
['waia ju 'lukiy at mi: in Scet 'kwia 'wei]
Ставя are под ударением в таких предложениях, придаём эмфатический характер всему предложению:
Where are you taking me, John?
Куда же ты ведёшь меня, Джон?
5. Сочетание местоимения you со слабой формой are часто произносится как [jo:]. В более медленной речи оно произносится, как [jua].
УПРАЖНЕНИЯ
I. Прочтите вслух данные предложения, обращая внимание на размещение ударений и на слабые формы оборота there are some:
1. There are some stones in my shoe.
2. There are some eggs on the shelf.
3. There are some books on your desk.
4. There are some grapes in the cupboard.
5. There are some tools in the shed.
6. There are some lights in the distance.
II. Прочтите вслух следующие предложения, обращая внимание на размещение ударений и на слабые формы слов arc you:
1. Where are you taking me?
2. Where are you going now?
3. Where are you sending this?
4. Where are you working now?
5. Where are you coming from?
6. Where are you staying now?
III. Прочтите вслух данные предложения, обращая внимание на размещение ударений и на слабые формы слов are you:
1. Why are you looking at me?
2. Why are you waiting here?
3. Why are you doing this?
4. Why are you going there?
5. Why are you hurting me?
6. Why are you taking this?
IV. Измените по образцу первого предложения:
1. Why don't you let us finish the scene without interrupting? I wish you'd let us finish the scene without interrupting.
2. Why don't you speak naturally?
3. Why don't you trust me?
4. Why doesn't he try to do his best?
Why don't they hurry?