Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 7. What does Judy do to create realistic dialogues? 1) She copies the speech of her friends. 2) She tries to follow the rules of the genre. 3) She considers the characters’ personalities.

Presenter: Hello everybody and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio we are lucky to have Judy White, whose writing has appeared in the New York Times and News Day, and whose plays have been performed in NYC theatres and at major festivals. She has recently published her first novel 'If I Knew', which is already a number one bestseller worldwide. Hello, Judy. Judy White: Good afternoon. Thank you for inviting me here today. Presenter: Could you please tell us a bit more about the concept of your book? Judy White: With great pleasure. I think the book is so successful thanks to its concept of a collection of linked stories. On the one hand, the book doesn't quite build and develop its storylines the way a novel would. On the other hand, many of the stories do seem like chapters, with narrative arcs of their own and endings that seem incomplete, like the prelude to another story or chapter. Also, some of the chapters are almost character sketches, which is probably insufficient to drive a standalone story, but which, in the context of the book as a whole, are really probing and thoughtful. Presenter: How did you decide on the structure of the book? Judy White: The content and structure of 'If I Knew' almost had a life of its own. I wrote the last story first and knew it was going to be the last story, but really had no idea what would come before. I just started writing the stories pretty much out of sequence, and I would send them to my agent as they were completed. I was simultaneously working on another novel at the same time. I still didn't know if it was going to be a novel or a story collection until the manuscript was finished, and then the linked stories made the most sense, particularly within the location they have in common. I liked the idea of stories about these connected lives that didn't necessarily have neat conclusions and might haunt readers a little after they've finished reading. This seems to have been achieved, according to some of the reviews. Presenter: Your novel has wonderful dialogues, as well as exciting, long, uninterrupted monologues. How do you manage to make them so gripping? Is that the effect of your experience as a playwright? Judy White: I think whether writing dialogue for plays or narrative fiction, you have to pay attention to your characters, more so than to the rules of whatever medium in which you're writing. I like to picture my characters and imagine their speech patterns, the sound of their voices, conversations they might have. Sometimes I'll write snippets of dialogue and think: 'That's a nice couple of lines, but would this character really say that'? So for me, it's more about respecting the characters, trying to stay true to their voices. Presenter: There's a strong sense of belonging which is felt by the characters of your book. How much do you feel the same way? How has your sense of belonging to your community changed as you've grown as a person and an artist? Judy White: I think I've almost always felt like something of an outsider, no matter how much I appear to belong to a particular group. I've spoken to other writers who've experienced this kind of psychic detachment, where externally you are a part of the scene, but internally you might as well be alone, and on some level, you're always observing. It's an interesting paradox because most of the time, unless you tell them, nobody else knows how you're really feeling. I used to live in the place described in the book. I no longer live there, but I have some friends and colleagues who still live there. Presenter: Thank you, Judy. It has been very interesting talking to you. Judy White: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 8. Judy describes herself as … 1) unsuccessful. 2) lonely. 3) outgoing.

Presenter: Hello everybody and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio we are lucky to have Judy White, whose writing has appeared in the New York Times and News Day, and whose plays have been performed in NYC theatres and at major festivals. She has recently published her first novel 'If I Knew', which is already a number one bestseller worldwide. Hello, Judy. Judy White: Good afternoon. Thank you for inviting me here today. Presenter: Could you please tell us a bit more about the concept of your book? Judy White: With great pleasure. I think the book is so successful thanks to its concept of a collection of linked stories. On the one hand, the book doesn't quite build and develop its storylines the way a novel would. On the other hand, many of the stories do seem like chapters, with narrative arcs of their own and endings that seem incomplete, like the prelude to another story or chapter. Also, some of the chapters are almost character sketches, which is probably insufficient to drive a standalone story, but which, in the context of the book as a whole, are really probing and thoughtful. Presenter: How did you decide on the structure of the book? Judy White: The content and structure of 'If I Knew' almost had a life of its own. I wrote the last story first and knew it was going to be the last story, but really had no idea what would come before. I just started writing the stories pretty much out of sequence, and I would send them to my agent as they were completed. I was simultaneously working on another novel at the same time. I still didn't know if it was going to be a novel or a story collection until the manuscript was finished, and then the linked stories made the most sense, particularly within the location they have in common. I liked the idea of stories about these connected lives that didn't necessarily have neat conclusions and might haunt readers a little after they've finished reading. This seems to have been achieved, according to some of the reviews. Presenter: Your novel has wonderful dialogues, as well as exciting, long, uninterrupted monologues. How do you manage to make them so gripping? Is that the effect of your experience as a playwright? Judy White: I think whether writing dialogue for plays or narrative fiction, you have to pay attention to your characters, more so than to the rules of whatever medium in which you're writing. I like to picture my characters and imagine their speech patterns, the sound of their voices, conversations they might have. Sometimes I'll write snippets of dialogue and think: 'That's a nice couple of lines, but would this character really say that'? So for me, it's more about respecting the characters, trying to stay true to their voices. Presenter: There's a strong sense of belonging which is felt by the characters of your book. How much do you feel the same way? How has your sense of belonging to your community changed as you've grown as a person and an artist? Judy White: I think I've almost always felt like something of an outsider, no matter how much I appear to belong to a particular group. I've spoken to other writers who've experienced this kind of psychic detachment, where externally you are a part of the scene, but internally you might as well be alone, and on some level, you're always observing. It's an interesting paradox because most of the time, unless you tell them, nobody else knows how you're really feeling. I used to live in the place described in the book. I no longer live there, but I have some friends and colleagues who still live there. Presenter: Thank you, Judy. It has been very interesting talking to you. Judy White: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 9. Which of the following is TRUE about the setting of the book If I Knew…? 1) Judy knows nobody there. 2) Judy dislikes this place. 3) Judy used to live there.

Presenter: Hello everybody and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio we are lucky to have Judy White, whose writing has appeared in the New York Times and News Day, and whose plays have been performed in NYC theatres and at major festivals. She has recently published her first novel 'If I Knew', which is already a number one bestseller worldwide. Hello, Judy. Judy White: Good afternoon. Thank you for inviting me here today. Presenter: Could you please tell us a bit more about the concept of your book? Judy White: With great pleasure. I think the book is so successful thanks to its concept of a collection of linked stories. On the one hand, the book doesn't quite build and develop its storylines the way a novel would. On the other hand, many of the stories do seem like chapters, with narrative arcs of their own and endings that seem incomplete, like the prelude to another story or chapter. Also, some of the chapters are almost character sketches, which is probably insufficient to drive a standalone story, but which, in the context of the book as a whole, are really probing and thoughtful. Presenter: How did you decide on the structure of the book? Judy White: The content and structure of 'If I Knew' almost had a life of its own. I wrote the last story first and knew it was going to be the last story, but really had no idea what would come before. I just started writing the stories pretty much out of sequence, and I would send them to my agent as they were completed. I was simultaneously working on another novel at the same time. I still didn't know if it was going to be a novel or a story collection until the manuscript was finished, and then the linked stories made the most sense, particularly within the location they have in common. I liked the idea of stories about these connected lives that didn't necessarily have neat conclusions and might haunt readers a little after they've finished reading. This seems to have been achieved, according to some of the reviews. Presenter: Your novel has wonderful dialogues, as well as exciting, long, uninterrupted monologues. How do you manage to make them so gripping? Is that the effect of your experience as a playwright? Judy White: I think whether writing dialogue for plays or narrative fiction, you have to pay attention to your characters, more so than to the rules of whatever medium in which you're writing. I like to picture my characters and imagine their speech patterns, the sound of their voices, conversations they might have. Sometimes I'll write snippets of dialogue and think: 'That's a nice couple of lines, but would this character really say that'? So for me, it's more about respecting the characters, trying to stay true to their voices. Presenter: There's a strong sense of belonging which is felt by the characters of your book. How much do you feel the same way? How has your sense of belonging to your community changed as you've grown as a person and an artist? Judy White: I think I've almost always felt like something of an outsider, no matter how much I appear to belong to a particular group. I've spoken to other writers who've experienced this kind of psychic detachment, where externally you are a part of the scene, but internally you might as well be alone, and on some level, you're always observing. It's an interesting paradox because most of the time, unless you tell them, nobody else knows how you're really feeling. I used to live in the place described in the book. I no longer live there, but I have some friends and colleagues who still live there. Presenter: Thank you, Judy. It has been very interesting talking to you. Judy White: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 3. What do we learn about Maggie’s musical education? 1) She attended a musical school for 9 years. 2) She didn’t like playing the piano very much. 3) She didn’t have a special music talent.

Presenter: Hello everybody and welcome to our daily programme 'Stardom'. Today in our studio we have Maggie Smith, a famous actress. Hello Maggie. Maggie Smith: Hello. It's so nice being here. Thank you for inviting me. Presenter: Could you please tell us about what led you to become an actress? Maggie Smith: Well, it's a long story and it's connected with my musical education. Presenter: Did you attend a musical school? Maggie Smith: When I was nine years old, I started playing the piano. I was obsessed. I needed to play for several hours every day. But I wasn't great, though I was good and I had tremendous passion. I didn't have any real technical skill, so no matter how much I practised, I was never going to be able to really play in front of people. I had tremendous stage fright. Still, the piano was the beginning of me going, I need an outlet, I need a vehicle. And then from music, I joined the drama club in high school. I got on stage and I went, oh wow, no stage fright. I couldn't do public speaking and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, this is home. I felt an immediate right thing, and the exchange between the audience and the actors on the stage was so fulfilling. I just went, that is the conversation I want to have. It was unequivocal. There was nobody acting in my family, but there didn't need to be. I just understood what I wanted to do at once. Presenter: Was it easy to find your director? Would you like to try directing yourself? Maggie Smith: Well, speaking about working with good directors, that has always been a certain kismet with me. I was lucky. There was a period in the 1980s where you had people who were born to direct, born to shepherd stories, like David Lynch, who was so unusual, such a rare storyteller, so personal and private and dreamlike from his subconscious. You know, people ask me why I don't direct. Well, it's because I've worked with people where that's what they were born to do, and it's a little intimidating after you've worked with a rash of those people one after another. Then it's like, I like acting. Acting is good. Presenter: What kind of films do you like acting in? Maggie Smith: I don't think the genre matters much. I even try not to look at the story itself, because even a banal story may turn into a blockbuster. What I pay attention to and fall in love with is the script. If the script is good, I start just living in those dialogues or monologues. Presenter: You play a lot of family women. How come? Maggie Smith: I've always played mums. I once played someone who wants to be a mum. The thing with the role of a mother in our legacy, in world history, in world mythology, is that the role of a mother encompasses the entire universe. There is no limit to what you can express if you are representing that in a story. I've just got nominated for an Emmy for playing a mother. Presenter: Modern women are constantly looking for ways to be more beautiful. As a woman and as an actress, are you satisfied with your appearance? Maggie Smith: I think that my looks through the years have served me well because I was never a great beauty and I was never cast as a great beauty, so I never leaned on it and I never really made that a high value. I've always been kind of androgynous and it's one of the reasons why I love being an actress. I love experimenting with the male and the female in any character. That balance, the ying and the yang of it, is always in play because everybody is male and female. Presenter: Thank you, Maggie. It has been a real pleasure talking with you today.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 4. Why did Maggie want to become an actress? 1) This profession runs in her family. 2) Acting on stage felt natural to her. 3) She wanted to overcome the stage fright.

Presenter: Hello everybody and welcome to our daily programme 'Stardom'. Today in our studio we have Maggie Smith, a famous actress. Hello Maggie. Maggie Smith: Hello. It's so nice being here. Thank you for inviting me. Presenter: Could you please tell us about what led you to become an actress? Maggie Smith: Well, it's a long story and it's connected with my musical education. Presenter: Did you attend a musical school? Maggie Smith: When I was nine years old, I started playing the piano. I was obsessed. I needed to play for several hours every day. But I wasn't great, though I was good and I had tremendous passion. I didn't have any real technical skill, so no matter how much I practised, I was never going to be able to really play in front of people. I had tremendous stage fright. Still, the piano was the beginning of me going, I need an outlet, I need a vehicle. And then from music, I joined the drama club in high school. I got on stage and I went, oh wow, no stage fright. I couldn't do public speaking and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, this is home. I felt an immediate right thing, and the exchange between the audience and the actors on the stage was so fulfilling. I just went, that is the conversation I want to have. It was unequivocal. There was nobody acting in my family, but there didn't need to be. I just understood what I wanted to do at once. Presenter: Was it easy to find your director? Would you like to try directing yourself? Maggie Smith: Well, speaking about working with good directors, that has always been a certain kismet with me. I was lucky. There was a period in the 1980s where you had people who were born to direct, born to shepherd stories, like David Lynch, who was so unusual, such a rare storyteller, so personal and private and dreamlike from his subconscious. You know, people ask me why I don't direct. Well, it's because I've worked with people where that's what they were born to do, and it's a little intimidating after you've worked with a rash of those people one after another. Then it's like, I like acting. Acting is good. Presenter: What kind of films do you like acting in? Maggie Smith: I don't think the genre matters much. I even try not to look at the story itself, because even a banal story may turn into a blockbuster. What I pay attention to and fall in love with is the script. If the script is good, I start just living in those dialogues or monologues. Presenter: You play a lot of family women. How come? Maggie Smith: I've always played mums. I once played someone who wants to be a mum. The thing with the role of a mother in our legacy, in world history, in world mythology, is that the role of a mother encompasses the entire universe. There is no limit to what you can express if you are representing that in a story. I've just got nominated for an Emmy for playing a mother. Presenter: Modern women are constantly looking for ways to be more beautiful. As a woman and as an actress, are you satisfied with your appearance? Maggie Smith: I think that my looks through the years have served me well because I was never a great beauty and I was never cast as a great beauty, so I never leaned on it and I never really made that a high value. I've always been kind of androgynous and it's one of the reasons why I love being an actress. I love experimenting with the male and the female in any character. That balance, the ying and the yang of it, is always in play because everybody is male and female. Presenter: Thank you, Maggie. It has been a real pleasure talking with you today.