Director: [former Soviet Union] Eldar Ryazanov
The characters in the play
Hero navachev
Lyudmila Polokovyevna, heroine.
( 1)
Navashev: (laughs) Look, damn it, I'm here again.
Lyudmila: Didn't I say goodbye to you, Comrade Navashev?
Nachev: That's right. Uh, but we can say hello again. Good evening, lyudmila poroshenko.
Lyudmila: Good night.
Nachev: Good evening. Can I sit down?
Lyudmila: OK, please sit down.
Nachev: Thank you. Thank you very much. Don't you feel lonely?
Lyudmila: No, I'm used to being alone. I never feel lonely.
Nachev: Well, then, I'd better go?
Lyudmila: You can stay. You won't get in my way.
Nachev: Thank you very much. Want to smoke? Matches or boxes
Lyudmila: Thank you.
Navachev: Brandy, whisky, gin or vodka?
Lyudmila: I told you, I don't drink.
Nachev: Oh, oh, yes, yes, it seems that there is something wrong with my memory. What did the magazine say?
Lyudmila: Nothing, just some things.
Nachev: (laughs) You see, we are sitting here like deaf people, as if we have nothing to say. Let's talk about something. Well, I have already talked about my report. Where are the mushrooms? You are not interested in mushrooms. Look, I don't get it, do I? !
Lyudmila: You heard me right.
Nachev: Are you interested in nuts?
Lyudmila: I became interested after I made jam.
Nachev: Well, what about poetry? What do you think of poetry?
Lyudmila: Not bad.
Nachev: What? Really! Great! Lyudmila Polokovyevna, then, let's talk about poetry. When I was young, you know, I wrote poems when I was young. Have you ever written it?
Lyudmila: No, I don't have the talent yet.
Navachev: Me neither. I'll recite one, and you'll know I didn't.
Lyudmila: That's not necessary. Why take the risk?
Navasilchev: Throwing caution to the wind, I really want to leave a good impression on you.
Lyudmila: You have achieved this goal.
Navasilchev: I want to deepen it, read a passage and read an early work.
"To love others, the burden is too heavy. You are beautiful, you don't have to have curve activities. Appreciate your beauty and have no intention of guessing the secrets of life. To love others-"
Lyudmila: Ah, it seems that you were much smarter when you were young! But I never thought Pasternak was your pen name!
Nachev: I can't believe you know poetry. You know it. You know who wrote it.
Lyudmila: Poetry is good, but you can't read it well.
Nachev: You know this better than I do.
Lyudmila: Of course.
Navasilchev: However, all my friends say that I have the ability to recite.
Lyudmila: That's a compliment. Your reading is terrible.
Nachev: Er, are you interested in music? I mean, any form will do.
Lyudmila: I don't think you can give full play to your musical talent.
Nachev: I just want to sing a song.
Lyudmila: It's so sad.
Nachev: Why? Everyone says I have a good voice. Bass is baritone, treble has, has, has children's voice! Really, there are children's voices.
Lyudmila: I noticed that you drank a little too much.
Nachev: This is ridiculous! If I drink too much, I will get drunk. Hey hey, look how honest I am now!
Lyudmila: Then I'm lucky.
Nachev: What song should I sing for you?
Lyudmila: I think you'd better not sing.
Nachev: So you don't think I can sing either?
Lyudmila: Yes, yes, you make me exhausted.
Nachev: I'll sing you a song, which will relieve your fatigue in no time. Listen, ah, "it's quiet all around. I just don't sleep, my ears are hanging on the branches, and I dance staggeringly, boom, boom, boom, boom, boom, boom, boom, boom,
Lyudmila: You must be crazy.
Nachev: You don't like my singing, do you?
Lyudmila: Yes. I'm sorry
Nachev: You don't like anything. It is hard to please you, but I am determined to try. Now I want to dance for you. Modern dance is not for you. Yes, it's not to your taste. Let's have a classical dance. How about Russian folk dance gypsy woman? Please sing for me, forget it, you won't sing for me. You see, you see, "La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la.
Lyudmila: Get out of the way, get out of the way, Comrade Navashev.
(2)
Navachev: Hello, Brockovia, no, no, no, no, lyudmila poroshenko. I, I, I'm here because ... I don't know what possessed me yesterday.
Lyudmila: Yes, I have learned it.
Nachev: I am like a mad dog with a broken chain.
Lyudmila: Well, that's more like it.
That means the chain is broken.
Lyudmila: All right, sit down, Comrade Navachev.
Nachev: No, you can't sit.
Lyudmila: Aladory Yevni Meki.
Nachev: No, it's better to die standing.
Lyudmila: Sit down and don't be afraid.
Nachev: Ah, thank you!
Lyudmila: Thank you. Please condescend to sit down.
Nachev: Thank you!
Lyudmila: Yesterday.
Nachev: Huh?
Lyudmila: Sit down. You said I didn't ... have no feelings.
Nachev: I made it all up yesterday. You don't have to take what I said seriously.
Lyudmila: No, it should be taken seriously, because you have spoken the minds of some people in our bureau, and it is in public.
Nachev: Yes.
Lyudmila: Slander me.
Nachev: This is slander.
Lyudmila: Everything you said is a lie.
Nachev: It's all lies.
Lyudmila: This is a shameless lie. I will never agree to such a lie.
Navasilchev: I don't agree.
Lyudmila: You always prevaricate.
Nachev: I didn't prevaricate.
Lyudmila: I can't figure out who you really are.
Nachev: Why did you touch me? Do not touch me.
Lyudmila: You said I had a heart of stone.
Nachev: No, tofu heart.
Lyudmila: Call me as cold as ice.
Nachev: No, you are passionate.
Lyudmila: Call me heartless.
Nachev: You are full of courage.
Lyudmila: It's babbling.
Nachev: No, you're soaked. Excuse me, lyudmila poroshenko.
Lyudmila: Shut up and please stop being sarcastic.
Nachev: I didn't, for God's sake. I just, I, I didn't think, I, I don't understand, how can I say something wet. I mean, you are very kind, lyudmila poroshenko. That's what I really want to say, lyudmila poroshenko.
Lyudmila: I don't understand why you hate me so much. I'm sorry. What? I'm in pain-
Nachev: Where did you come to the conclusion that I hate you so much?
Lyudmila: I didn't hurt you!
Nachev: No, I didn't.
Lyudmila: I didn't fire you.
Nachev: Not yet.
Lyudmila: I will give you a bonus every month.
Nachev: Yes, lyudmila Polokovic.
Lyudmila: I criticized your report, but it's my right. I am still the director of this bureau.
Nachev: We respect and love you from the bottom of our hearts. Really, from the bottom of my heart, we all respect you. It's true.
Lyudmila: It's so deep that I can't feel it.
Navachev: You should feel it.
Lyudmila: What are you talking about? Don't say that.
Nachev: You are a good leader and very democratic.
Lyudmila: You are talking nonsense again. Stop talking nonsense.
Nachev: You have always been democratic. Yes, yes, really, I can't believe it.
Lyudmila: So you're not ashamed?
Navasilchev: If you invite someone to your office, it's like a holiday, really, just like a holiday.
Lyudmila: Oh, I'm so angry.
Nachev: What's the matter with you?
Lyudmila: You broke into my office and talked nonsense to me.
Nachev: Don't cry, your job shouldn't cry!
Lyudmila: Oh, don't worry. Don't worry. What should I do or not do? I am the leader, and this is my leadership.
(crying)
Nachev: No, no, no.
Nachev: Oh, water, cold water bottle.
(crying)
Euler: May I come in?
Navachev: Oh, Euler, wait, get out first, I beg you, I beg you, get out.
Euler: What's the matter?
Nachev: We are having a meeting, a meeting.
Euler: What's the matter?
Lyudmila: He is unreasonable. I want to fire him.
Euler: lyudmila poroshenko, I want to talk to you.
Nachev: Wait, let's finish the meeting. Damn it.
Lyudmila: Don't tell me what to do here. I am the leader here. I can do whatever I want. I am the host, and I am the hostess here.
Nachev: Yes, you are the hostess.
Euler: I'm going to be stupid again. What a daredevil
Nachev: Stop crying, damn it. Why are you crying? What's the big deal? Let me coax you like a nanny?
Lyudmila: Then why are you bothering me?
Then cry, cry, cry. Crying may be good for you. You can still cry, which means you can still be saved.
( *** )
Nachev: Well, don't worry. I'll get it. I'll get it.
Hey, damn it, hey-she's busy. Minister? What minister?
Lyudmila: Give it to me, give it to me!
Nachev: No, she can't. She can't receive the minister now.
Lyudmila: Oh, give it to me, give it to me, please give me the phone!
Lyudmila: Oh, look, look, what have you done? How can you talk to the department head like that? Even I dare not. Look what you did.
Nachev: Come on, come on, have a drink.
Lyudmila: Oh, we all lost our minds.
Nachev: Uh, no, burp. Have fun.
Lyudmila: I don't understand why everyone treats me like a monster, a monster.
Navasilchev: Nothing, don't exaggerate, not everyone, not a particularly strange monster, it doesn't matter.
Lyudmila: No ... I can't stand it. You go, I don't want to see you ... I don't want to hear you say.
Navasilchev: To be honest, I never meant to offend you, but your crying made me feel that you are a normal woman, and I was deeply shocked.
Lyudmila: Come on, you're boring me.
Navachev: lyudmila poroshenko, please understand that I was born with a clumsy tongue. I, I think it's normal to ask questions, but as soon as I express them, I just-
Lyudmila: Oh, well, well, what did the minister say?
Nachev: Who knows? I don't think he knows what I mean. I'm not used to talking to ministers.
Lyudmila: If the minister wants me to go now, how can I meet him? My eyes are red all day, and so is my nose.
Navasilchev: If you rub it with your hands, your eyes will turn red. If you wait for the tears to dry themselves, no one will see them.
Lyudmila: (Laughter) You know, I haven't cried like this for a long time. How I want to cry alone! However, what's the point of crying alone? Like an alcoholic, he pours and drinks himself. (Laughter)
Navasilchev: Yes, next time, if you want to cry, please call me and let's cry together.
Lyudmila: Please get me some water. Thank you.
Lyudmila: You are better than me. You have two children.
Navasilchev: Yes, one is a boy and the other is a boy.
Lyudmila: As for me, there is only one person. Every morning when I get up, I go to make coffee. You know, I don't want to eat breakfast, but I have to. I will go to work after breakfast. This office and this small balcony are my real home. But what should I do at night? You know how afraid I am of the night. I stayed here for a long time until the doorman's big key rang, and I had to leave here. I pretend to have a lot of work to do, but in fact I have nowhere to go. Home, home, home, what's at home? There is a TV set. I don't even dare to have a dog. No one takes it out for a walk during the day. This is my situation. Of course, there are many acquaintances and friends, and others have families, children and housework, so I simply turned myself into an old woman. Actually, I'm only 36.
Navasilchev: Only 36 years old?
Lyudmila: Yes, yes, I am younger than you, Aladori Yevnemech. How old do I look?
Nachev: Well, about 35 years old.
Lyudmila: You lied again, Comrade Navashev.
Nachev: Yes, the color of the clothes you are wearing is a little dark.
Lyudmila: Really?
Navasilchev: It's a little dark and colorless.
Lyudmila: Well, I didn't notice. All right, Aladori Yevni Meki. Go home, I have a lot of things to do. By the way, what did the minister call about?
Nachev: Don't be angry with me and don't scold me.
Lyudmila: Don't scold me either. I have been nagging you for a long time.
Training skills
The plot of the former Soviet film "The Story of the Office" is like this:
Lyudmila Polokovyevna is a director of the Light Industry Bureau and a single middle-aged woman with an eccentric personality. She kept silent in front of her subordinates all day, and the staff called her a cold-blooded animal behind her back. Statistician Navasilchev was a brilliant young man when he was a student, but now he is down and out, aging before he gets old, relying on Nuo Nuo to raise two children by himself and suffering a lot. He works hard, but because of his cautious nature, he is not good at "showing" himself in front of his boss. It seems that he is destined to be unknown all his life. However, these two people with completely different status and personality, after several collisions, all showed the true colors of human nature and the bright spots of personality. Finally, they broke the barrier, produced love and started a happy marriage.
The film focuses on the emotional life of middle-aged people, but depicts the whole office life as the background, connecting individuals with the overall environment and interweaving personal life with social life, which is truly touching and has a strong realistic color. The film reflects the general psychology of people of different classes, touches on the loneliness problem of middle-aged people that is common in life, and reveals that as social people, only by better understanding themselves and daring to break the invisible gap between people can we finally realize the harmony between people and between people and society, which has profound internal philosophy.
However, through a romantic comedy that is neither a stranger nor a friend, the film vividly interprets this profound philosophy with humorous techniques, accurate and vivid performances and humorous language, which makes people think deeply in a relaxed way. It is a rare classic film.
The first clip selected, let's call it "making friends", is dominated by male voices. Encouraged by others, the leading actor Navasilchev crustily skin of head tried every means to befriend her in order to get a promotion and leave a good impression on her boss, but she repeatedly ran into a wall and finally quarreled with her indifferent female boss angrily. When dealing with this scene, we should grasp the contrast between the two personalities. The hero is passive towards Nuo Nuo, Nuo Nuo, but "throwing caution to the wind". He crustily skin of head to change his tricks, but he can't be regarded as eloquent. Therefore, the sound should be combined with reality, with more empty sounds, sticky words and a continuous breath. The heroine is unsmiling and boring, her voice is solid and her pronunciation is crisp and neat, but it can't be simply understood as indifference and stubbornness, and her attitude and mood have a gradual process.
The second clip is called "Apology and Communication", which is mainly female. This episode shows the psychological process of the heroine lyudmila Poroshenko's apology from reprimand to sadness and then to confession. The treatment of this scene should take lyudmila's psychological transformation process as the main line, and the use of voice should be combined with reality, paying attention to the use of crying breath. Male voices should also pay attention to the psychological transformation process from being at a loss to apologizing and then listening and communicating.