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Перевод: footlights

[существительное]
рампа ; огни рампы

Тезаурус:

1. He should not be nervous: by the time he arrives on stage just before the end of the first act the youngsters in the audience had been thoroughly warmed up by all the silliness created by Michael Barrymore and the Roly Polys; the bruisers from Essex who turned up to see their hero had been thoroughly oiled with lager and were ready to send their love across the footlights.
2. Either because he had the hump or because he thought it would make for a good show he started smashing the footlights one by one.
3. The place was heaving when we arrived; there must have been a thousand people squashed into the confines of the Blue Angel club, all waiting to do three minutes for Les Cox and his production team, sitting invisibly beyond the strong footlights on the small stage.
4. The crimson curtain, weighted with gilded fringe and tassels, footlights glowing at its hem, promised delights.
5. I like my ghosts behind the footlights, darling.
6. National's footlights beckon
7. The show was worthy of the Cambridge Footlights, and I have no doubt that some of the participants had been members of that renowned dramatic society.
8. At the other end was a stage with footlights.
9. The choreographer's problem is how to make subtle or vigorous gesture visible to those on the other side of the footlights.
10. I think she spotted me, in spite of the glare of the footlights for when I called at her dressing room back-stage after the show she did not seem surprised to see me.
11. At the point of recording in the theatre, for example, granular carbon microphones - up to 48 of them - were ranged along the footlights.
12. After a welcome and introductory talk by Sylvia Townson, the theatre's public relations officer, visitors were able to wander all over the Edwardian building with most grabbing the chance to stand behind the footlights for a thespians' eye view of the ornate auditorium.
13. The perennial fascination of Karajan's 1954 recordings of Mozart's Cos fan tutte and Strauss's Ariadne auf Naxos lies partly in the exquisitely cast singing and playing, partly in the use Legge and Karajan made of studio conditions to create performances of radical intimacy, the music-making addressed to the microphone and the private listener rather than belted out across some putative theatrical footlights.