Контрольная по английскому British Theatre


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Данная контрольная работа по английскому языку будет полезна для студентов гуманитарных специальностей вузов. Здесь вы найдете задания по таким темам английского языка: союзы both ... and, either ...or, neither ... nor, вопросительные и отрицательные формы предложений, частица to. В контрольной есть задание на письменный перевод английского текста.


British Theatre. Английский язык.


Контрольные работы английскому языку


Контрольные работы по английскому языку дают возможность студенту увидеть свои пробелы в знаниях английского. Тот, кто учит английский язык, просто обязан выполнять контрольные по английскому языку. Потому что контрольные по английскому закрепляют знания и дают опыт.

I. Употребите частицу to, там, где это необходимо. Переведите предложения на русский язык.
1. His answer sometimes makes him_feel uneasy.
2. I'd like my aunt_leave me alone.
3. Robert heard someone_move upstairs.
4. Could you make your brother_stop teasing me?
5. I don't want her_stay. I want her_leave my house and never come back.

II. Раскройте скобки, употребляя the Future Perfect. Сделайте вопросительную и отрицательную формы этих предложений. Переведите предложения на русский язык.
1. I hope they (to build) the bridge by the end of the year.
2. Your guests (to go) by five?
3. By the end of the year Mr. Faith (to work) for this company for fifty years.
4. We (to complete) the task by the time he comes.
5. Next year is their 10th wedding anniversary. They (to be married) for ten years.

III. Употребите возвратные местоимения, где это необходимо. Переведите предложения на русский язык.
1. Look in the mirror, you won't recognize___. You're too dirty, go and wash___.
2. We introduced_as correspondents of the evening paper.
3. How do you feel___?
4. I only liked the music, not the play_.
5. I didn't expect you to help him_.

IV. Составьте короткие диалоги, используя союзы both ... and, either ...or, neither ... nor. Переведите предложения на русский язык.
A. both ... and
Образец: John is going to the cinema. Is Mary going too? - Yes, both John and Mary are going to the cinema.
1. I was tired when I arrived home. I was hungry.
2. It was a very boring film. It was very long too.
B. either... or
Образец: You will ask John, or you will ask Mary. - I will ask either John or Mary.
1. We can leave today or we can leave tomorrow - whichever you pre¬fer.
2. Is that man's name Richard? Or is it Robert? - That man's name___.
C. neither... nor
Образец: John won't be there. Will Mary be there? - No, neither John nor Mary will go there.
1. She didn't write when she was in Rome. Did she phone?
2. You haven't got time to go on holiday. And have you got the money?

V. Добавьте соответствующие сокращенные утвердительные или отрицательные предложения. Переведите полученные предложения.
Образец: a) I know this person well. - So do I.
b) I haven't read this book in the original. - Neither (nor) have I.
1. Jackie didn't want to go to New York, and (Sally).
2. I had a test yesterday, and (Marcia).
3. Nicole can't pronounce this sound properly, and (Val).
4. Barb wants to accept your invitation, and (Steve).
5. Ann is going to live here, and (Sue).

VI. Подберите соответствующие части условных предложений. Запишите и переведите их.
A) Conditional Sentence (Type II)
1. What would happen ... а) ... if you stop smoking.
2. You'd feel better ... b)... if you were offered this job?
3. What would you buy ... c) ... if you overslept tomorrow?
4. What would you say ... d) ... if you had enough money?
5. Would you buy this flat... e)... if you won a lot of money?

B) Conditional Sentence (Type III)
1. No one would have bothered you a)... if he had missed the train.
2. He would've never asked you to give him a lift... b) ... if she hadn't been wearing a seat-belt.
3. She would've been injured in the crash ... c) ... if he had left some clues, but he hadn't.
4. I wouldn't have fallen off... d)... if you had told us you wanted to sleep
5. The man would have been arrested long ago… e) ... if someone had been holding that ladder.

VII. Прочитайте следующий текст.

British Theatre
Britain has a long and rich dramatic tradition. The two national companies, the National itself which stages a wide range of modern and classical plays and the Royal Shakespeare company, which is performing in Stratford-upon-Avon, and in London, are the society hostesses of drama, elegant and sophisticated but isolated from the rest of the British theatrical world by their prestige.
British theatre has become more cosmopolitan in outlook, with the World Theatre seasons that started in London in 1964, and more receptive to influences
from abroad. Whatever other changes have taken place over the past years, the theatre in Britain has gained in diversity.
A clear division has emerged between established theatre practice, whether commercial or subsidized, and what is called its «Fringe», the experimental, mostly small-scale activity that is free, or almost free, from financial and conventional restraints.
Contemporary British playwrights who have received recognition at home and overseas include Harold Pinter, Tom Stoppard and some others. Of all the many dramatists now writing for the English theatre, there is one who has occupied a dominant position ever since the late fifties, namely Harold Pinter. His work is particularly hard to assess, though it must be noted that he is one of that small company of writers whose name has been turned into an adjective which seems to sum up some common element in our experience. It is those situations when language is used without communicating, when one misunderstanding leads on to another, when no one listens to what anyone else is saying, that is described as «Pinteresque». It is part of Pinter's achievement. He remains concentrated on problems of communication; on how far a small group of people can convey anything to each other, whether by words or silences or gesture. Pinter's achievement points the way towards the future; he has shown that it is possible to combine the poetic imagery, the open construction of the Theatre of the Absurd with techniques, which do not deviate too much from the mainstream of the tradition of drama. «The Caretaker» (1960), a disturbing but funny play, first established Pinter as a major talent.
Considerable interest is shown at present for the professional arts festivals which take place each year. The Edinburgh International Festival featuring a wide range of different arts is the largest of its kind in the world.

VIII. Найдите в тексте эквиваленты следующих слов и выражений:
ставить пьесу
восприимчивый к
добиться разнообразия
устоявшаяся практика
традиционные ограничения
получить признание
занимать господствующее положение
сосредоточиваться на вопросах
поэтическая образность
отступать от традиций
основное направление (в литературе)

IX. Ответьте письменно на вопросы:
1. What are the two national companies in Great Britain? What do they stage?
2. How has British Theatre changed since 1964?
3. What is called «Fringe»?
4. Why is Harold Pinter's work hard to assess?
5. What way does Pinter's achievement point?

X. Выполните письменный перевод текста.

XI. Выполните письменный перевод следующего текста.
Language Typology
Language families should not be confused with the quite separate classifications of languages by reference to their sharing certain predominant features of grammatical structure. Such classifications give rise to what are called typological classes.
Grammatical structure has things in common in all known languages, particularly at the deeper levels of grammar. All known languages have words or wordlike elements combined in accordance with rules into sentences; all known languages distinguish in some way nounlike and verblike sentence components; and all known languages have the means of embedding or subordinating one sentence within another as an included clause (e. g., «Joan was playing tennis» and «Joan twisted her ankle»: «Joan, who was playing tennis, twisted her ankle», or «while she was playing tennis, Joan twisted her ankle»).
Languages exhibit various types of structure. This can most readily be seen by comparing the relations between the forms of words and their syntactic functions in different languages. Such a comparison is the basis of three broad types of language that have been distinguished since the beginning of the 19th century. They are, in fact, more like characteristics than types, in that most languages contain traces of all three, in different proportions.