Практичне заняття №1 (2 години). 33 страница

подобные вещи так часто). I don't want to make trouble between you and your

wife (я не хочу создавать проблем между вами и вашей женой). Why won't

men leave me alone (почему же мужчины не оставят меня в покое: «одну»;

alone — в одиночестве, наедине)?"

It was a cruel caricature that Julia gave (это была безжалостная карикатура,

которую Джулия изобразила; cruel — жестокий, бессердечный). It was quite

ruthless (она была довольно жестокой; ruthless — безжалостный). It amused

her so much that she burst out laughing (ее это так позабавило, что она

разразилась смехом).

"Well, there's one thing (ну, все-таки одно /точно/ есть), I may not have any sex

appeal (я могу не иметь сексуальной привлекательности), but after seeing my

imitation (но, /после того как/ увидев мое подражание) there aren't many people

(не так много людей /останется/) who'd think Lydia had either (которые

подумают, что у Лидии она тоже есть; either — зд. также, тоже /в

отрицательных предложениях/)."

It made her feel much better (от этого она почувствовала себя гораздо лучше:

«это заставило ее почувствовать гораздо лучше»).

between [bI'twi:n] caricature ['kxrIkqtSVq] ruthless ['ru:TlIs]

"Oh, my dear man, I've heard that sort of thing so often. I don't want to make

trouble between you and your wife. Why won't men leave me alone?"

It was a cruel caricature that Julia gave. It was quite ruthless. It amused her so

much that she burst out laughing.

"Well, there's one thing, I may not have any sex appeal, but after seeing my

imitation there aren't many people who'd think Lydia had either."

It made her feel much better.

REHEARSALS began and distracted Julia's troubled mind (начались репетиции

и отвлекли растревоженные мысли Джулии). The revival that Michael put on

when she went abroad (тот возобновленный спектакль, что Майкл поставил,

когда она уехала за границу) had done neither very well nor very badly (не был

ни очень успешным, ни провальным; to do well — зд. процветать,

преуспеть), but rather than close the theatre (но, вместо того чтобы закрыть

театр) he was keeping it in the bill till Nowadays was ready (он продолжал

держать его на афише, до тех пор, пока «В наши дни» не будет готов).

Because he was acting two matinees a week (из-за того, что он играл в двух

дневных спектаклях в неделю), and the weather was hot (и погода была

жаркой), he determined that they should take rehearsals easy (он твердо решил,

что им не следует чрезмерно усердствовать с репетициями; to take easy —

относиться спокойно, не волноваться). They had a month before them (у них

был еще целый месяц /в запасе/: «перед ними»).

Though Julia had been on the stage so long (хотя Джулия и играла на сцене так

долго) she had never lost the thrill she got out of rehearsing (она никогда так и не

утратила того нервного возбуждения, которое она получала от репетиций),

and the first rehearsal still made her almost sick with excitement (и первые

репетиции до сих пор заставляли ее почти что заболевать от волнения). It was

the beginning of a new adventure (они были началом нового приключения). She

did not feel like a leading lady then (тогда она не чувствовала себя ведущей

актрисой), she felt as gay and eager (она чувствовала себя такой же веселой и

нетерпеливой) as if she were a girl playing her first small part (как если бы она

была молодой актрисой: «девушкой», играющей свою первую маленькую

роль). But at the same time she had a delicious sense of her own powers (но в

тоже самое время, у нее было восхитительное чувство своих собственных

сил). Once more she had the chance to exercise them (еще раз ей выпадал шанс

проявить их).

nowadays ['naVqdeIz] delicious [dI'lISqs] exercise ['eksqsaIz]

REHEARSALS began and distracted Julia's troubled mind. The revival that

Michael put on when she went abroad had done neither very well nor very badly,

but rather than close the theatre he was keeping it in the bill till Nowadays was

ready. Because he was acting two matinees a week, and the weather was hot, he

determined that they should take rehearsals easy. They had a month before them.

Though Julia had been on the stage so long she had never lost the thrill she got out

of rehearsing, and the first rehearsal still made her almost sick with excitement. It

was the beginning of a new adventure. She did not feel like a leading lady then, she

felt as gay and eager as if she were a girl playing her first small part. But at the

same time she had a delicious sense of her own powers. Once more she had the

chance to exercise them.

At eleven o'clock she stepped on to the stage (в одиннадцать часов она вступила

на сцену). The cast stood about idly (артисты стояли кто где: «труппа стояла

без дела»). She kissed and shook hands with the artists she knew (она

поцеловалась и поздоровалась за руку с теми актерами, которых она знала)

and Michael with urbanity introduced to her those she did not (и Майкл, вежливо:

«с учтивостью» представила ей тех, которых она не /знала/). She greeted

Avice Crichton with cordiality (она приветствовала Эвис Крайтон с

сердечностью). She told her how pretty she was (она сказала ей, какая та

хорошенькая) and how much she liked her hat (и как ей понравилась ее

шляпка); she told her about the lovely frocks she had chosen for her in Paris (она

рассказала ей о тех прекрасных платьях, что она выбрала для нее в Париже).

"Have you seen Tom lately (ты виделась с Томом в последнее время)?" she

asked (спросила она).

"No, I haven't (нет, не виделась). He's away on his holiday (он уехал в отпуск)."

"Oh, yes. He's a nice little thing, isn't he (он приятный малыш, не правда ли)?"

"Sweet (милый)."

The two women smiled into one another's eyes (и две женщины улыбнулись,

/глядя/ друг другу в глаза). Julia watched her when she read her part (Джулия

наблюдала за ней, когда она читала свою роль) and listened to her intonations

(и прислушивалась к ее интонациям). She smiled grimly (она мрачно

улыбалась). It was exactly what she had expected (это было именно то, что она

ожидала). Avice was one of those actresses (Эвис была одной из тех актрис)

who were quite sure of themselves from the first rehearsal (которые были

совершенно уверены в себе с самой первой репетиции). She didn't know what

was coming to her (она не знала, что ее ожидает). Tom meant nothing to Julia

any more (Том больше ничего не значил для Джулии), but she had a score to

settle with Avice (но ей осталось еще свести счеты с Эвис; to settle a score —

расплачиваться, платить долг, оплатить за обиду) and she wasn't going to

forget it (и она не собиралась забыть об этом). The slut (потаскушка)!

urbanity [q:'bxnItI] cordiality ["kO:dI'xlItI] intonation ["Intq'neIS(q)n]

At eleven o'clock she stepped on to the stage. The cast stood about idly. She kissed

and shook hands with the artists she knew and Michael with urbanity introduced to

her those she did not. She greeted Avice Crichton with cordiality. She told her how

pretty she was and how much she liked her hat; she told her about the lovely frocks

she had chosen for her in Paris.

"Have you seen Tom lately?" she asked.

"No, I haven't. He's away on his holiday."

"Oh, yes. He's a nice little thing, isn't he?"

"Sweet."

The two women smiled into one another's eyes. Julia watched her when she read

her part and listened to her intonations. She smiled grimly. It was exactly what she

had expected. Avice was one of those actresses who were quite sure of themselves

from the first rehearsal. She didn't know what was coming to her. Tom meant

nothing to Julia any more, but she had a score to settle with Avice and she wasn't

going to forget it. The slut!

The play was a modern version of The Second Mrs. Tanqueray (спектакль был

современной версией «Вторая миссис Тенкерей»), but with the change of

manners of this generation (но, со сменой нравов нынешнего: «этого»

поколения) it had been treated from the standpoint of comedy (он трактовался с

точки зрения комедии; to treat — обращаться, рассматривать). Some of the

old characters were introduced (некоторые из старых героев были введены), and

Aubrey Tanqueray, now a very old man, appeared in the second act (и Обри

Тенкерей, теперь уже очень старый мужчина, появлялся во втором акте).

After Paula's death he had married for the third time (после смерти Полы он

женился в третий раз). Mrs. Cortelyon had undertaken to compensate him for his

unfortunate experience with his second wife (миссис Кортельон принялась

вознаграждать его за его несчастливый опыт с его второй женой; to undertake

— предпринимать, брать на себя), and she was now a cantankerous and insolent

old lady (и она сама была теперь сварливой и высокомерной пожилой дамой).

generation ["dZenq'reIS(q)n] cantankerous [kxn'txNk(q)rqs]

insolent ['Insqlqnt]

The play was a modern version of The Second Mrs. Tanqueray, but with the

change of manners of this generation it had been treated from the standpoint of

comedy. Some of the old characters were introduced, and Aubrey Tanqueray, now

a very old man, appeared in the second act. After Paula's death he had married for

the third time. Mrs. Cortelyon had undertaken to compensate him for his

unfortunate experience with his second wife, and she was now a cantankerous and

insolent old lady.

Ellean, his daughter (Эллин, его дочь), and Hugh Ardale had agreed to let

bygones be bygones (и Хью Ардейл решили забыть о прошлом; let bygones be

bygones — что прошло, то быльем поросло, bygone — пережитое, прошлые

обиды), for Paula's tragic death (так как трагическая смерть Полы) had seemed

to wipe out the recollection (казалось, стерла воспоминания) of his lapse into

extra-conjugal relations (о его «соскальзывании» во внебрачные отношения;

lapse — упущение, отклонение от правильного пути); and they had married (и

они поженились). He was now a retired brigadier-general (он был теперь

вышедшим в отставку бригадным генералом) who played golf and deplored the

decline of the British Empire (который играл в гольф и оплакивал: «сожалел о»

падение Британской империи) — "Gad (Бог мой), sir (сэр), I'd stand those

damned socialists against a wall (я бы поставил тех чертовых социалистов к

стенке: «напротив стенки») and shoot 'em if I had my way (и перестрелял бы

их, если бы я мог поступить по-своему)", whereas Ellean, by this time an elderly

woman (в то время как Эллин, к этому времени стареющая женщина), after a

prudish youth (после излишне скромной/излишне цепетильной/чопорной

молодости) had become gay, modern and plain-spoken (стала веселой,

современной и откровенной).

bygone ['baIgOn] conjugal ['kOndZVg(q)l] deplore [dI'plO:]

Ellean, his daughter, and Hugh Ardale had agreed to let bygones be bygones, for

Paula's tragic death had seemed to wipe out the recollection of his lapse into extra-

conjugal relations; and they had married. He was now a retired brigadier-general

who played golf and deplored the decline of the British Empire — "Gad, sir, I'd

stand those damned socialists against a wall and shoot 'em if I had my way",

whereas Ellean, by this time an elderly woman, after a prudish youth had become

gay, modern and plain-spoken.

The character that Michael played was called Robert Humphreys (героя, которого

играл Майкл, звали Роберт Хамфри), and like the Aubrey of Pinero's play he

was a widower with an only daughter (и, как Обри из пьесы Пинеро, был

вдовцом, с единственной дочерью); he had been a consul in China for many

years (он прослужил: «был» консулом в Китае долгие годы), and having come

into money (и, получив наследство; to come into money — получить деньги,

богатое наследство) had retired (вышел в отставку) and was settling on the

estate (и обосновался в поместье), near where the Tanquerays still lived (рядом с

которым семья Тенкереев все еще жила), which a cousin had left him (которое

/поместье/ кузен оставил ему). His daughter, Honor (его дочь, Онор) (this was

the part for which Avice Crichton had been engaged (это была та роль, на

которую Эвис Крайтон была ангажирована)), was studying medicine with the

intention of practising in India (изучала медицину, с тем намерением, чтобы

практиковать в Индии).

widower ['wIdqVq] consul ['kOns(q)l] medicine ['meds(q)n]

The character that Michael played was called Robert Humphreys, and like the

Aubrey of Pinero's play he was a widower with an only daughter; he had been a

consul in China for many years, and having come into money had retired and was

settling on the estate, near where the Tanquerays still lived, which a cousin had left

him. His daughter, Honor (this was the part for which Avice Crichton had been

engaged), was studying medicine with the intention of practising in India.

Alone in London (/будучи/ одиноким в Лондоне), and friendless after so many

years abroad (и, без друзей, после стольких многих лет за границей), he had

picked up a well-known woman of the town called Mrs. Marten (он познакомился

с хорошо известной дамой /сомнительного поведения/, по имени миссис

Мартен). Mrs. Marten belonged to the same class as Paula, but she was less

exclusive (миссис Мартен принадлежала к тому же классу: «категории», что и

Пола, но была менее взыскательной: «исключительной»); she "did" the

summer and the winter season at Cannes (она «работала» летний и зимний

сезоны в Каннах) and in the intervals lived in a flat in Albemarle Street (и в

промежутках жила на квартире на Элбемарл-стрит) where she entertained the

officers of His Majesty's brigade (где она развлекала офицеров бригады его

величества). She played a good game of bridge (она хорошо играла в бридж; to

play a good game — быть хорошим игроком) and an even better game of golf (и

даже еще лучше в гольф). The part well suited Julia (эта роль отлично

подходила Джулии).

friendless ['frendlIs] entertain ["entq'teIn] majesty ['mxdZIstI]

brigade [brI'geId]

Alone in London, and friendless after so many years abroad, he had picked up a

well-known woman of the town called Mrs. Marten. Mrs. Marten belonged to the

same class as Paula, but she was less exclusive; she "did" the summer and the

winter season at Cannes and in the intervals lived in a flat in Albemarle Street

where she entertained the officers of His Majesty's brigade. She played a good

game of bridge and an even better game of golf. The part well suited Julia.

The author followed the lines of the old play closely (автор точно следовал

тексту: «строкам» старой пьесы; closely — близко, тесно, внимательно).

Honor announced to her father (Онор объявила /своему/ отцу) that she was

abandoning her medical studies (что она забросила: «оставила» изучение

медицины) and until her marriage wished to live with him (и до момента своей

свадьбы, хочет жить с ним), for she had just become engaged to Ellean's son, a

young guardsman (так как она только что обручилась с сыном Эллин,

молодым гвардейцем). Somewhat disconcerted, Robert Humphreys broke to her

his intention of marrying Mrs. Marten (немного смущенный, Роберт Хамфри

открывает ей свое намерение жениться на миссис Мартен; to break (broke,

broken) — зд. сообщать известие). Honor took the information with composure

(Онор принимает эту информацию со спокойствием).

"Of course you know she's a tart, don't you (конечно же, ты знаешь, что она

уличная девка, не так ли)?" she said coolly (говорит она невозмутимо).

He, much embarrassed, spoke of the unhappy life she had led (он, еще более

смущенный, говорит о той несчастной жизни, которую она до этого вела) and

how he wanted to make up to her for all she had suffered (и как ему хотелось бы

компенсировать ей все, что она выстрадала).

author ['O:Tq] guardsman ['gQ:dzmqn] composure [kqm'pqVZq]

The author followed the lines of the old play closely. Honor announced to her

father that she was abandoning her medical studies and until her marriage wished

to live with him, for she had just become engaged to Ellean's son, a young

guardsman. Somewhat disconcerted, Robert Humphreys broke to her his intention

of marrying Mrs. Marten. Honor took the information with composure.

"Of course you know she's a tart, don't you?" she said coolly.

He, much embarrassed, spoke of the unhappy life she had led and how he wanted

to make up to her for all she had suffered.

"Oh, don't talk such rot (о, не говори такой чепухи)," she answered (ответила

она). "It's grand work if you can get it (это отличная работа, если ты можешь на

нее устроиться)."

Ellean's son had been one of Mrs. Marten's numerous lovers (сын Эллин был

одним из многочисленных любовников миссис Мартен) just as Ellean's

husband had been one of Paula Tanqueray's (так же, как муж Эллин был когда-

то одним из /любовников/ Полы Тенкерей). When Robert Humphreys brought

his wife down to his home in the country (когда Роберт Хамфри привозит свою

жену в свой загородный дом: «свой дом за городом») and this fact was

discovered (и этот факт раскрывается), they decided that Honor must be

informed (они решают, что надо сообщить /об этом/ Онор). To their

consternation Honor did not turn a hair (к их ужасу, Онор и глазом не моргнула;

not to turn a hair — не выказывать тревоги, hair — волос, волосинка). She

knew already (она уже знает).

"I was as pleased as Punch when I found out (я была рада-радешенька, когда

обнаружила это; as pleased as Punch — очень довольный, Punch — Панч,

Петрушка — балаганный персонаж)," she told her stepmother (говорит она

своей мачехе). "You see, darling, you can tell me if he's all right in bed (видите

ли, дорогая, вы сможете сказать мне, хорош ли он в постели)."

numerous ['nju:m(q)rqs] consternation ["kOnstq'neIS(q)n]

stepmother ['step"mADq]

"Oh, don't talk such rot," she answered. "It's grand work if you can get it."

Ellean's son had been one of Mrs. Marten's numerous lovers just as Ellean's

husband had been one of Paula Tanqueray's. When Robert Humphreys brought his

wife down to his home in the country and this fact was discovered, they decided

that Honor must be informed. To their consternation Honor did not turn a hair. She

knew already.

"I was as pleased as Punch when I found out," she told her stepmother. "You see,

darling, you can tell me if he's all right in bed."

This was Avice Crichton's best scene (это была самая лучшая сцена Эвис

Крайтон), it lasted a full ten minutes (она длилась целых десять минут), and

Michael had realized from the beginning that it was effective and important (и

Майкл понял с самого начала, что она была очень действенной и важной).

Avice's cold, matter-of-fact prettiness (холодная, прозаичная миловидность

Эвис) had been exactly what he had thought would be so telling in the

circumstances (была именно тем, что /как/ он думал, будет таким эффектным

при данных обстоятельствах). But after half a dozen rehearsals (но, после с

полдюжины репетиций) he began to think that that was all she had to give (он

начал думать, что это /ее внешность/ было все, на что она была способна:

«что она могла дать»). He talked it over with Julia (он обговорил это с

Джулией).

"How d'you think Avice is shaping (как тебе кажется, у Эвис получается; to

shape — придавать/принимать форму, выходить, формироваться)?"

"It's early days to tell yet (еще рано: «ранние дни» что-нибудь говорить)."

"I'm not happy about her (я не очень ей доволен; happy — счастливый,

благоприятный, веселый). You said she could act (ты сказала, что она может

играть). I've seen no sign of it yet (я не видел еще ни единого признака этого)."

"It's a cast-iron part (это готовая роль; cast-iron — чугунный, твердый,

непоколебимый). She can't really go wrong in it (не может же она, на самом

деле, испортить ее; to go wrong — сбиться с пути, не выйти, не получиться,

разладиться)."

"You know just as well as I do (ты знаешь так же хорошо как и я) that there's no

such thing as a cast-iron part (что нет такой вещи как готовая роль). However

good a part is (насколько бы не была роль хороша), it has to be acted for all it's

worth (ее надо сыграть, изо всех сил: «на все, чего она стоит»). I'm not sure if

it wouldn't be better (я не уверен, не будет ли лучше) to kick her out and get

somebody else (вышвырнуть ее и заполучить кого-нибудь еще; to kick —

давать пинок, лягаться, выгнать, выставить)."

prettiness ['prItInIs] matter-of-fact ["mxtq(r)qv'fxkt] shaping ['SeIpIN]

This was Avice Crichton's best scene, it lasted a full ten minutes, and Michael had

realized from the beginning that it was effective and important. Avice's cold,

matter-of-fact prettiness had been exactly what he had thought would be so telling

in the circumstances. But after half a dozen rehearsals he began to think that that

was all she had to give. He talked it over with Julia.

"How d'you think Avice is shaping?"

"It's early days to tell yet."

"I'm not happy about her. You said she could act. I've seen no sign of it yet."

"It's a cast-iron part. She can't really go wrong in it."

"You know just as well as I do that there's no such thing as a cast-iron part.

However good a part is, it has to be acted for all it's worth. I'm not sure if it

wouldn't be better to kick her out and get somebody else."

"That wouldn't be so easy (это будет не так-то просто /сделать/). I think you

ought to give her a chance (я думаю, что ты должен: «тебе следует» дать ей

шанс)."

"She's so awkward (она такая неуклюжая), her gestures are so meaningless (ее

движения такие бессмысленные)."

Julia reflected (Джулия размышляла). She had her reasons for wishing to keep

Avice in the cast (у нее были собственные причины, чтобы желать оставить

Эвис в труппе). She knew her well enough to be sure (она знала ее достаточно

хорошо, чтобы быть уверенной) that if she were dismissed (что, если бы ее

уволили; to dismiss — распускать, освобождать от работы, отвергать) she

would tell Tom that it was because Julia was jealous of her (он сказала бы Тому,

что это из-за того, что Джулия ревновала к ней). He loved her and would

believe anything she said (он любил ее и поверит во все, что она скажет). He

might even think that Julia had put this affront on her (он может даже подумать,

что Джулия нанесла ей такое оскорбление; affront — обида, унижение,

публичное оскорбление) in revenge for his desertion (из мести за то что он ее

бросил; desertion — дезертирство). No, no, she must stay (нет, нет, она

должна остаться). She must play the part, and fail (она должна сыграть эту роль

и провалиться); and Tom must see with his own eyes (и Том должен увидеть,

своими собственными глазами) what a bad actress she was (какой плохой

актрисой она была). They both of them thought the play would make her (они

оба думали, что этот спектакль устроит ее /карьеру/). Fools (дураки). It would

kill her (он похоронит: «убьет» ее).

meaningless ['mi:nINlIs] affront [q'frAnt] revenge [rI'vendZ]

desertion [dI'zq:S(q)n]

"That wouldn't be so easy. I think you ought to give her a chance."

"She's so awkward, her gestures are so meaningless."

Julia reflected. She had her reasons for wishing to keep Avice in the cast. She

knew her well enough to be sure that if she were dismissed she would tell Tom that

it was because Julia was jealous of her. He loved her and would believe anything

she said. He might even think that Julia had put this affront on her in revenge for

his desertion. No, no, she must stay. She must play the part, and fail; and Tom

must see with his own eyes what a bad actress she was. They both of them thought

the play would make her. Fools. It would kill her.

"You know how clever you are, Michael (ты же знаешь, как ты талантлив,

Майкл), I'm sure you can train her (я уверена, что ты можешь научить ее) if

you're willing to take a little trouble (если ты захочешь приложить усилия)."

"But that's just it (но в этом-то и дело: «но это как раз это»), she doesn't seem

able to take direction (она, кажется, неспособна следовать указаниям). I show

her exactly how to say a line (я показываю ей, как точно произносить реплику)

and then she goes and says it in her own way (и вот она идет и говорит ее

совершенно по-своему). You wouldn't believe it (ты не поверишь в это), but

sometimes I can hardly help thinking (но иногда я почти что уверен: «не могу

не думать») she's under the delusion (что она пребывает в уверенности: «под

заблуждением») that she knows better than I do (что она знает лучше, чем я)."

"You make her nervous (ты нервируешь ее). When you tell her to do something

(когда ты говоришь ей сделать что-то) she's in such a dither (она так дрожит;

dither — смятение, дрожание) she doesn't know what she's up to (что забывает:

«не знает», на что способна; to be up to — зд. быть способным)."

"Good lord (Господи), no one could be more easy than I am (никто не может

быть более снисходительным, чем я; easy — легкий, удобный, уживчивый).

I've never even been sharp with her (я никогда даже не был резок с ней)."