WHICH OF THE THEATRES
You are going to read four texts on four different theatres in London. For Questions 1-19, choose from the theatres (A-D). The theatres may be chosen more than once. There is an example at the beginning (0).
| A. Olivier Theatre | C. Cottesloe Theatre |
| B. Lyttelton Theatre | D. Soho Theatre |
| has the largest amount of seats | 0A | does not have any visual interference | |
| can transform its proscenium | never has a formal atmosphere | ||
| was named after a nobleman | is both big and comfortable | ||
| is traditional in its form only | has a deep stage | ||
| was named after an actor | is the most transformable one | ||
| has the smallest amount of seats | has a stadium-type seat arrangement | ||
| is famous for lighting and sound | uses benches for seating | ||
| has no fixed stalls | can transform everything but one element | ||
| is situated over technical rooms | was named after a National Theatre chairman | ||
| is the least decorated one | runs an education programme |
A. OLIVIER THEATRE
The Olivier-named after Laurence Olivier*, the first director of the National Theatre* (during its years at the Old Vic*), and the outstanding British actor of the century — is the largest of the three theatres at the National. Sited above the entrance foyer and over the workshops and main rehearsal rooms, it can accommodate 1150 people in its fan-shaped auditorium, and 2000 years of drama on its open stage. Two main tiers of steeply raked seats — flanked by side-banks on a higher level — sweep down to the stage. In spite of its size, the Olivier has a concentrated intimacy. No seat is far from an actor's point of command; and the span of the seats matches their effective span of vision. They can hold the audience within the compass of their eyes.
B. LYTTELTON THEATRE
The Lyttelton — named after Oliver Lyttelton, whose parents were among the earliest effective campaigners for the National Theatre and who was himself its first chairman — is a proscenium theatre, conventional in its basic shape though not in the excellence of its sightlines and acoustics. There are no eye-blocking pillars, circle rails, or other familiar hazards and you can see and hear almost equally well from each of its 890 seats. Unlike most traditional theatres, the Lyttelton has an adjustable proscenium.