英语阅读测试第一弹

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做做完把～

I started writing in the early 1980s, at a moment in American theater when introductions and other presumably helpful apparatus—incredibly detailed historical timelines, research documentation and theoretical notation—announced the unapologetic embrace by narrative theater-makers of an intellectual and political seriousness that had previously been at home in European theaters and among American experimental theater artists. Dramaturgs arrived for the first time on the staffs of not-for-profit regional theater; with the advent of production dramaturgy in America came a new deluge of prefatory and introductory information, served up from enormous black ring binders to the casts of plays as they sat around a table in the first days of rehearsal, and they offered to audiences in their theater programs. Formerly these programs were slim pamphlets containing lists of the production’s personnel and short biographies, place and time settings, and restaurants ads. Staff dramaturgs were now instructed to jam-pack programs with poetry, imagery, critical theory, and facts, messages from the playwright, director, and artistic director. Before they opened their programs, audiences most likely would have passed through lobby displays revealing the historical truths behind the fiction to which they were about to be exposed. I was enamored of this extra-theatrical informational bombardment. As a young playwright, I loved reading Shaw’s* prefaces, and I looked forward to having plays of my own to preface. I felt only slightly guilty observing theatergoers diligently, frantically, trying to absorb this embarrassment of supplementary illumination before the house lights dimmed and the play began.
        I’ve changed, and in recent years I’ve grown averse to anything that intrudes itself upon an innocent audience and the play it’s about to watch, or an innocent reader about to read a play for the first time. If a playwright has done his or her job, if the production team and the cast are doing theirs, the text of the play and the experience of watching or reading it should be sufficient unto it.
        The moment a play begins, or a reader takes in the world of the script on the first page, is as exciting and scary as any plunge into the ocean ought to be. Disappointment, bewilderment, outrage, great horror, pity and joy may follow, but these are only to be encountered once the plunge is made. Introductory material is for reluctant dawdlers and lag-behinds. A dusty grammar school usher and a sub-sub-librarian take many pages to tell you everything known about whales before each steps aside (well, before each dies, actually) to permit you to hazard the extremely perilous, mind-, heart- and molecule-altering voyage that is Moby-Dick, in the course of which voyage you realize that neither the usher nor the sub-sub, nor you, nor for that matter the crew of the Pequod** nor their lunatic captain knows Thing One about what a whale is. When it’s a damp, drizzly November in your soul, Ishmael** tells you, plunge in without preparation! The sea awaits!

*Bernard Shaw, an Irish playwright.
**Pequod is a character in Moby-Dick, and Ishmael is the narrator of the novel.

The passage is mainly concerned with
A) a change in public consciousness           B) the challenges facing a profession
C) the nostalgia of a bygone tradition         D) the necessity of a form of guidance
E) the integrity of an artistic venture

In the beginning, the author’s attitude towards “introductions and other presumably helpful apparatus” is best described as
A) unreservedly commendatory                               B) favorable if not without reservations
C) skeptical but hopeful                                                 D) politely critical
E) unreservedly condemnatory

The author’s use of “bombardment” (Paragraph 1) mainly highlights
A) the gravity of an issue                            B) the degree of a disappointment
C) the scale of an overwhelm                      D) the helplessness of a situation
E) the destructiveness of a practice

In context, the meaning of “innocent” (Paragraph 2) is closest to
A) innocuous                       B) ingenuous                        C) credulous     
D) unacquainted                       E) impeccable

The passage implies that people who take “the plunge” (Paragraph 3) should be
A) reasonably ***ured                     B) emotionally experienced               
C) intrepidly spontaneous             D) empirically sensitive               
E) scrupulously fearless

According to the passage, the ideal approach to enjoy a theatrical performance is most analogous to
A) playing a demanding video game without any prior experience in gaming
B) venturing into a dangerous land after meticulous preparation
C) watching a foreign language movie without subtitles
D) buying an obscure manuscript that is barely legible
E) listening to an album that one randomly picked up from a store

Which of the following contradicts the passage?
A) Theater programs used to be more informational than their contemporary counterparts.
B) A play should be enjoyed without preconceived opinions of the work itself.
C) The world of a play should be able to stand alone without physical productions.
D) A satisfying theatrical performance requires input from both the creatives and the audience.
E) Knowing facts about whales alone does not allow the readers to touch the essence of Moby-Dick.

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没有人要挑战一下吗？

kushinada

看不懂，什么几把玩意儿

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kushinada 发表于 2018-6-9 20:24
看不懂，什么几把玩意儿

题做完了应该就懂了

鱼与飞鸟4

就第一句比较难，不要怕。感觉像是6级或8级的题.

I started writing in the early 1980s, at a moment in American theater when introductions and other presumably helpful apparatus—incredibly detailed historical timelines, research documentation and theoretical notation—announced the unapologetic embrace by narrative theater-makers of an intellectual and political seriousness that had previously been at home in European theaters and among American experimental theater artists.

我在80年代初开始写作，当时在美国剧院，当时引进的新事物和其他可能有帮助的仪器（它们不可思议地细化了历史）还有研究文档和理论记录，被一贯在智力和***方面严肃认真的剧情片制作人宣告无可避免地拥抱了。这些人以前只在欧洲老家剧院出现，和美国实验性的剧院艺术家***现。

鱼与飞鸟4

第一句太难，其实考试的时候可以不要管第一句。看懂后面的文章也可以做题。第一句就是拿出来唬人的。

鱼与飞鸟4

纠正下

I started writing in the early 1980s, at a moment in American theater when introductions and other presumably helpful apparatus—incredibly detailed historical timelines, research documentation and theoretical notation—announced the unapologetic embrace by narrative theater-makers of an intellectual and political seriousness that had previously been at home in European theaters and among American experimental theater artists.

我在80年代初开始写作，当时在美国剧院，当时引进的新事物和其他可能有帮助的仪器（它们不可思议地细化了历史）还有研究文档和理论记录，被一贯在智力和***方面严肃认真的剧情片制作人宣告无可避免地拥抱了。这件事以前只在欧洲老家剧院发生，和美国实验性的剧院艺术家中发生。

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鱼与飞鸟4 发表于 2018-6-11 00:05
纠正下

I started writing in the early 1980s, at a moment in American theater when introductions and ...

可惜 句子结构没有理清楚

鱼与飞鸟4

CynthiaNixon 发表于 2018-6-15 16:45
可惜 句子结构没有理清楚

你贴个标准答案我看下，不然不能服气啊

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鱼与飞鸟4 发表于 2018-6-15 19:15
你贴个标准答案我看下，不然不能服气啊

I started writing in the early 1980s,

   =>what was the early 1980s like:     
a moment in American theater when introductions and other presumably helpful apparatus announced the unapologetic embrace by narrative theater-makers  
       =>what are the "introductions and other presumably helpful apparatus"?
             incredibly detailed historical timelines, research documentation and theoretical notation
       =>what is so special about the narrative theater-makers?
             of an intellectual and political seriousness   
            =>what needs to be mentioned about the "seriousness"
                 had previously been at home in European theaters and among American experimental theater artists.