准备英文版octopath traveler材料！英文阅读理解第一弹！

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原发至https://bbs.a9vg.com/thread-5358832-1-1.html
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 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

The ideal approach to enjoy a theatrical performance, as is described in the passage, 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

According to the passage, which of the following would the author agree with?
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.

xenoannals

火烧西贡？

ziqian1983

这个游戏日文版比英文版好懂，当然英文版也能玩，但是感觉怪怪的，不是每个人都喜欢那种古英文风格

崔希麥格雷迪

直接放弃……

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xenoannals 发表于 2018-6-28 20:37
火烧西贡？

火早已灭掉。西贡也改名为***市

nemo111

1.D the necessity of a form of guidance
2.A unreservedly commendatory
3.C the scale of an overwhelm
4.D unacquainted
5.D empirically sensitive
6.E listening to an album that one randomly picked up from a store
7.B A play should be enjoyed without preconceived opinions of the work itself.

请指正

longfa

还以为是游戏介绍

everending

我用google搜了下，你的这个帖子在挺前面的

fido_dido

这游戏分级才Teen，根本到不了GRE水平

kiskaddon

有意思...好多年没做阅读理解了