Обучение учащихся старших классов гимназий с гуманитарным профилем культуроведческому дискурсу на основе медиа ресурсов

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Название	Обучение учащихся старших классов гимназий с гуманитарным профилем культуроведческому дискурсу на основе медиа ресурсов
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If relatives or friends weren't speaking to each other for some reason, they'd meet for tea to make up and used their samovar as a mediator. They'd actually talk to it, asking to pass on their message. Dear samovar, please, tell my cameraman to stop sulking because we are almost done and we will be going home soon. – Ha, dear samovar, please tell Svetlana that I'm very happy about it.
The first Russian samovar was made in the 18th century and soon people throughout the country couldn't imagine living without it. Samovar competitions became all the rage -- the biggest ones usually won.

Many samovars perished during World War II, melted into bullets by order of Stalin. But a lot of them survived. And if they're lucky they can even get a new life. In his workshop, Valery Shakhray, a samovar restorer, collects old samovars and restores them to their former glory. A completely restored samovar will set you back some $2,000. But for him, it's more than just business.

Valery Shakhray, samovar restorer: «If you take a good look at it, you'll notice: each samovar has a story to tell – a story not just about someone who used it a hundred years ago, but a story of someone who made it. Just like people, they're all different».

Journalist: And whether they're used purely for decoration or actual tea-making, samovars have firmly become part of Russian exotica.

Barack Obama was treated to a cup of tea from a samovar, kindled in a traditional way – with a jackboot.

And it's no surprise that samovars are a permanent fixture in souvenir shops.

Shop assistant, souvenir shop: «It will be in different shape, like this or bigger shape, or smaller shape, it will be painted in different style, like we have different traditional colors».

A Russian writer once said that while in Europe it's hard to imagine a home without a fireplace, in Russia it's hard to imagine a home without a samovar. Not every Russian home now has one. But you can hardly find a taste more Russian than a cup of tea brewed in a samovar.

Shakespeare's Globe Theatre London; All The World's A Stage.

Behind me is Shakespeare`s Theatre rebuilt recently but it was originally constructed in the seventeenth century. Its name is The Globe, which comes from the expression that everyone in the world is an actor. The conditions of the time when this would have been built were very different from the way actors work now. It was all done during the day because they couldn't afford candles to put on the plays at night. So there would have been far more interaction between the public and the actors. And in fact, the groundlings, which were the cheapest seats just under the open cover, they would shout at the actors and throw things at them if they didn't like the play.

At the time, as well, none of the actors were women because they weren't allowed to be in plays. And also the church was very critical of theatre. They called it “the nest of the Devil”. And it was usually just outside the city walls, because it wasn`t really allowed. It was seen as something very popular and very affordable because, just as I said before, the cheapest seats could be afforded by everyone.

So this is where the groundlings stand and to come here its only five pounds to see a play and they say its one of the best places even though if it rains, you're going to get wet. But they say it would have been the best place as well because the audience participated, so you are right next to the actor's foot. You could see right up his nose and if he spat down at you, it would have been a big problem. But it is great participation because the audience can see you, the actors, everybody's involved in the play which makes kind of a difference from the typical West End play where everybody is in the dark. Here, you felt like you were really part of it.

The Globe Theatre put some plays made by Shakespeare and they're pretty authentic evendown to the finest detals like the original seventeenth century underwear. So it`s very not that comfortable. And nowadays we go and see a play but back then the most important thing was the acoustics. So it was more important that you heard the play. So wherever you`ve sat the more expensive seats were the ones that had the best sound.

The stage represents three different elements: the top with the Zodiac signs (it`s painted blue) represents Heaven. The stage represents the Earth. There's a trapdoor to go underneath which represents hell.

This round shape kind of increases the sense of participation. The building itself though was hard to get permission for because in the seventeenth century it had burned down twice.

So to make this thatched roof after the Great Fire of London was pretty tough to do. It took them 8 years to get permission but they finally managed to go ahead with it.

“Shell I compare thee to a summer`s day?” Not if it is summer`s day in London.

Joy Womack talks to Dance Channel TV

Joy: Hi, I`m Joy Womack, I`m currently a principal dancer with Kremlin Ballet in Moscow.

Journalist: Tell me please how you`ve got started with the ballet?

Joy: I`ve got started dancing ballet/ probably, when I was around 3, like most of American children, in a sort of “Mommy and me” dance class setting. And then, when I got a little bit older and my parents realized this was something I really enjoyed they`ve put me into dance classes at West Side, in Santa-Monica school. Actually it is not small, it is big. And then I studied there, while taking from other teachers around ballet area. And then my parents decided to move to Austin, and there was no ballet in Austin. So we found this random Russian teacher, she`ve changed my style completely. And from there I`ve got accepted to the Kirov academy. And after being at the Kirov academy for 2 years I thought: “I wanna find something even harder”, it was crazy, there we had classes for 4,5 hours a day. And then I got accepted to the Bolshoi ballet academy.

Journalist: When did you realize you wanted to get Russian training?

Joy: The thing that helped me to make a decision to switch myself into Russian style was the fact that there was no other option in Austin. So I sort of closed myself in my room and went on hunger strike. And I was only watching Russian dancers. And then all of a sudden there was this Russian teacher showing me that it makes more sense to train that way for my body.

Journalist: What do you think, what is the difference between Russian style and American style?

Joy: Definitely, the base. And for me it is the esthetic line. And for me Russian technique is built on the basics of anatomy and it makes sense from an esthetic point of view. I think that it`s more historically accurate. But the American style is built for the Balanchine technique, it is built for the Balanchine ballet. Russian ballet is a base for any classical style. So if you want to be able to dance classical ballet in a beautiful way I would suggest training in a Russian style. If you`re more passionate about serenade and sort of barocco, go for the ACB style. But I don`t think they are interchangeable, it`s very difficult to train Balanchine dancer to dance Giselle in a way that is up to the world standard.

Journalist: When you went to Russia to study at the Bolshoi, what was the biggest challenge besides the technique?

Joy: I think that number one challenge for me moving to Russia not knowing any Russian was certainly learning the language and learning the way that people interact. So I definitely had a huge cultural shock because I hadn`t been exposed to anybody in that world beforehand and I have been very much in American lifestyle.

Journalist: While you were training at the Russia through this intense training, what was in your mind? Were you looking back and thinking you had wasted all your time or you were thinking you found something new to learn?

Joy: When I started training in Russia and even when I was training in Kirov I thought about how many years have I wasted training in a wrong way for my body. And how much more sense it makes and how I wish I could go back in time and study in a Russian technique from age 10 instead of having to get rid of everything and learn everything from the ground up which is basically what they did for me in Moscow. In the Bolshoi there are so meticulous details about where the bones are. It was like my eyes had opened.

Journalist: Do you find ballet really easy once you get correct training and know how your body needs to work?

Joy: I think ballet is so much easier once you find the correct way to work and the correct anatomical way to dance. Vaganova trains dancers, she doesn`t train teachers or students. She gives you the tools to go and take any choreography and put it into your body and make it work. So I`m very grateful for that opportunity.

Journalist: You ever thought about quitting and not doing it?

Joy: Oh my gosh! I think there are several times in your career when you decide: “Oh, I think this is not worth it and I don`t want to do it anymore”. Recently I`ve had 2 of these episodes. When you go through a period of change it`s like you redoing your vows to ballet. I think that one of the hardest times for a dancer is the transition between a student to a professional dancer.

Journalist: What does it take to become a ballerina?

Joy: There is a lot that goes into the word “ballerina”. Ballerina is not just somebody who puts her points on. Ballerina is a woman who carries the company, who carries the repertoire. It`s extreme amount of responsibility and there is so much dedication that goes into being a ballerina because a ballerina is often a mother, a wife, a regular person, a woman who has tastes and ideas. But it is also a machine and has to be so dependable and able to produce a communication and give in an emotional state to an audience. So it`s almost like you are making a transition into becoming something other world. In order to do that you have to sacrifice something. You cannot reach that state without sacrificing a part of you.

Journalist: Do you find ballerinas kind of insane?

Joy: I think the word “insane” we associate with some kind of taboo. I think ballerinas are not insane but we`re doing the same thing over and over again and we`re expecting differences. So we are insane but in a way that is not socially destructive.

Journalist: In the process of this hard work do you see the future that you would be working for the rest of your life or do you think you will stop and do something else?

Joy: For me my life is painted in the brightest color of ballet. This is my life, this is what I`m doing and I`m really committed to it. I don`t see it as just my job, it is my lifestyle. After I finish my dancing career, I would hope to continue, to help ballet evolve and become more financially feasible for the dancers.

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