Zadania do recytacji w języku angielskim oraz kryteria oceniania.
Jednym z zadań II etapu konkursu jest recytacja fragmentu dzieł W. Szekspira.
Recytacja rozumiana jest tutaj jako publiczne, artystyczne czytanie utworu poetyckiego, deklamacja.
Do etapu finałowego (II etap – ustny), zespoły przygotowują recytację w języku
wszystkich podanych poniżej fragmentów dzieł W. Szekspira.
angielskim
Zadanie będzie polegało na wylosowaniu i odczytaniu jednego z sześciu fragmentów.
Recytację wylosowanego fragmentu wykonuje jeden członek każdego zespołu. Zespół dokonuje
wyboru, który z zawodników ma ich reprezentować.
Po wylosowaniu fragmentu tekstu do recytacji każdy z zawodników ma minutę czasu na
przygotowanie się do niej.
Każdy zespół wykonuje recytację innego tekstu.
Ocenie podlegać będzie:
- poprawność wymowy,
- płynność i wyrazistość deklamowanego tekstu,
- komunikatywność w przekazie treści recytowanego tekstu.
WYKAZ FRAGMENTÓW DZIEŁ do przygotowania do recytacji:
SEN NOCY LETNIEJ – akt II, sc 1, wierszyk Duszka,
MAKBET – akt II sc 3, monolog odźwiernego,
HAMLET – akt III, sc .2, wypowiedź Ofelii,
ROMEO I JULIA – prolog przed akt.I,
WIELE HAŁASU O NIC – akt V sc 1, kwestia Pedro,
POSKROMIENIE ZŁOŚNICY – akt IV, sc 3, wypowiedź Kasi.
SEN NOCY LETNIEJ – akt II, sc 1, wierszyk Duszka,
Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire,
I do wander everywhere,
Swifter than the moon's sphere;
And I serve the fairy queen,
To dew her orbs upon the green.
The cowslips tall her pensioners be:
In their gold coats spots you see;
Those be rubies, fairy favours,
In those freckles live their savours:
I must go seek some dewdrops here
And hang a pearl in every cowslip's ear.
Farewell, thou lob of spirits; I'll be gone:
Our queen and all our elves come here anon.
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MAKBET – akt II sc 3, monolog odźwiernego
[Knocking within. Enter a Porter]
Here’s a knocking indeed! If a man were porter
of hell-gate, he should have old turning the key.
[Knocking within]
Knock, knock, knock! Who’s there, i’ the name of
Beelzebub? Here’s a farmer, that hanged himself on the
expectation of plenty: come in time; have napkins
enow about you; here you’ll sweat for’t.
[Knocking within]
Knock, knock! Who’s there, in the other devil’s
name? Faith, here’s an equivocator, that could
swear in both the scales against either scale; who
committed treason enough for God’s sake, yet could
not equivocate to heaven: O, come in, equivocator.
[Knocking within]
Knock, knock, knock! Who’s there? Faith, here’s an
English tailor come hither, for stealing out of
a French hose: come in, tailor; here you may
roast your goose.
[Knocking within]
Knock, knock; never at quiet! What are you? But
this place is too cold for hell. I’ll devil-porter
it no further: I had thought to have let in
some of all professions that go the primrose
way to the everlasting bonfire.
[Knocking within]
Anon, anon! I pray you, remember the porter.
HAMLET – akt III, sc .2, wypowiedź Ofelii,
O, what a noble mind is here o’erthrown!
The courtier’s, scholar’s, soldier’s, eye, tongue, sword,
The expectancy and rose of the fair state,
The glass of fashion and the mould of form,
The observ’d of all observers,–quite, quite down!
And I, of ladies most deject and wretched
That suck’d the honey of his music vows,
Now see that noble and most sovereign reason,
Like sweet bells jangled, out of tune and harsh;
That unmatch’d form and feature of blown youth
Blasted with ecstasy: O, woe is me,
To have seen what I have seen, see what I see!
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ROMEO I JULIA – prolog przed akt.I,
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
WIELE HAŁASU O NIC – akt V sc 1, kwestia Pedro,
I'll tell thee how Beatrice praised thy wit the other
day. I said thou hadst a fine wit: ‘True,’ said she, ‘a fine little
one.’ ‘No,’ said I, ‘a great wit.’ ‘Right,’ says she, ‘a great gross(160)
one.’ ‘Nay,’ said I, ‘a good wit.’ ‘Just,’ said she, ‘it hurts
nobody.’ ‘Nay,’ said I, ‘the gentleman is wise.’ ‘Certain,’ said
she, a wise gentleman.' ‘Nay,’ said I, ‘he hath the tongues.’
‘That I believe’ said she, ‘for he swore a thing to me on
Monday night which he forswore on Tuesday morning.(165)
There's a double tongue; there's two tongues.’ Thus did she
an hour together transshape thy particular virtues. Yet at
last she concluded with a sigh, thou wast the properest man
in Italy
POSKROMIENIE ZŁOŚNICY – akt IV, sc 3, wypowiedź Kasi.
The more my wrong, the more his spite appears:
What, did he marry me to famish me?
Beggars, that come unto my father's door,
Upon entreaty have a present aims;
If not, elsewhere they meet with charity:
But I, who never knew how to entreat,
Nor never needed that I should entreat,
Am starved for meat, giddy for lack of sleep,
With oath kept waking and with brawling fed:
And that which spites me more than all these wants,
He does it under name of perfect love;
As who should say, if I should sleep or eat,
'Twere deadly sickness or else present death.
I prithee go and get me some repast;
I care not what, so it be wholesome food.
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