2018年1月13日托福阅读小范围考试预测

三立教育

2018

年

1

月

13< /p>

日托福阅读小范围考试预测

报考了

2018

年

1

月< /p>

13

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2018

年

1

月

13

日

托福阅

读小范围考试预测

，大家可以参考一下。

2018

年

1

月

13

日托福阅读考试小范围预测

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Title

：

Live Performance

Unlike video and cinema (although sometimes employing elements of both), the

theater

is

a

living,

real-time

event,

with

both

performers

and

audience

mutually

interacting, each aware of the other's immediate presence. This turns out to be an

extremely

important

distinction.

Distinguished

film

stars,

particularly

those

with

theater

backgrounds

(as

most

have),

routinely

return

to

the

live

dramatic

stagedespite the substantially greater financial rewards of film workand invariably

prefer stage acting because of the immediate audience response theater provides,

with its corresponding sensations of excitement and presence.

The

first

of

these

is

the

rapport

existing

between

actor

and

audience.

Both

are

breathing

the

same

air;

both

are

involvedat

the

same

time

and

in

the

same

spacewith the stage life depicted by the play. Sometimes their mutual fascination is

almost

palpable;

every

actor's

performance

is

affected

by

the

way

the

audience

yields or withholds its responses: its laughter, sighs, applause, gasps, silences. Live

theatrical

performance

is

always

a

two-way

communication

between

stage

and

house.

三立教育

Second,

theater

creates

a

relationship

among

the

audience

members.

Having

arrived

at

the

theaters

as

individuals

or

in

groups

of

two

or

three,

the

audience

members

quickly

find

themselves

fused

into

a

common

experience

with

total

strangers:

laughing

at

the

same

jokes,

empathizing

with

the

same

characters,

experiencing

the

same

revelations.

This

broad

communal

response

is

never

developed

by

television

drama,

which

is

played

chiefly

to

solitary

or

clustered

viewers

who

(because

of

frequent

commercial

advertisements)

are

only

intermittently engaged, nor is it likely to happen in movie houses, where audience

members essentially assume a one-on-one relationship with the screen and rarely

(except in private or group screenings) break out in a powerful collective response,

much

less

applause.

By

contrast,

live

theatrical

presentations

generate

audience

activity that is broadly social in nature: the crowd arrives at the theater at about the

same time, people mingle and chat during intermissions, and all depart together,

often in spirited conversation about the er, they communicate during

the play: laughter and applause build upon themselves and gain strength from the

recognition

that

others

are

laughing and applauding.

The final

ovationunique

to

live performanceinevitably involves the audience applauding itself, as well as the

performers, for understanding and appreciating the theatrical excellence they have

all

seen

together.

And

plays

with

political

themes

can

even

generate

collective

political response. In a celebrated example, 1935s Waiting for Lefty was staged as if

the audience were a group of union members; by the play's end the audience was

yelling

Strike!

Strike!

in

response

to

the

play's

issues.

Obviously,

only

a

live

三立教育

performance could evoke such a response.

Finally, live performance inevitably has the quality of immediacy. The action of the

play

is

taking place

right

now,

as

it

is

being

watched, and anything

can

happen.

Although in most professional productions the changes that occur in performance

from one night to another are so subtle that only an expert would notice, the fact is

that

each

night's

presentation

is

unique,

and

everyone

presentthe

audience,

the

cast, and those behind the scenesknows it. This awareness lends an excitement that

cannot be achieved by theatrical events that are wholly in the can. One reason for

the

excitement,

of

course,

is

that

in

live

performance,

mistakes

can

happen;

this

possibility

occasions

a

certain

abiding

tension,

perhaps

even

an

edge

of

stage

fright, which some people say creates the ultimate thrill of the theater. But just as

disaster can come without warning, so too can splendor. On any given night, each

actor is trying to better his or her previous performance, and no one knows when

this

collective

effort

will

coalesce

into

something

sublime.

The

actors'

constant

striving toward selftranscendence gives the theater a vitality that is missing from

performances

fixed

unalterably

on

videotape

or

celluloid.

But

perhaps

most

appropriately,

the

immediacy

of

live

performance

embodies

the

fundamental

uncertainty of life. One prime function of theater is to address the uncertainties of

human

existence,

and

the

very

format

of

live

performance

presents

a

moment-to-moment uncertainty right before our eyes. Ultimately, this immediate

theater

helps

us

define

the

questions

and

confusions

of

our

lives

and

lets

us

grapple, in the present, with their implications.

三立教育

1. The word distinction in the passage is closest in meaning to

A. idea

B. blend

C. definition

D. difference

2. Paragraph 1 makes which of the following points about theater and film

A. Theater audiences tend to be more critical than film audiences.

B. Actors in the theater are usually not as well-known as film actors.

C.

Theater

companies

tend

to

pay

more

than

film

companies

do

for

the

most

distinguished actors.

D. Audiences respond to actors differently in theater than in film.

3.

Paragraph

1

suggests

that

the

reason

distinguished

film

stars

return

to

live

theater is that they

A. are able to command higher fees as well-known actors

B. enjoy the excitement of performing before a live audience

C. have great respect for theatrical drama as an art form

D. are dissatisfied with the roles they are offered in films and television

4. The word rapport in the passage is closest in meaning to

A. excitement B. balance C. bond D. fascination

5. In paragraph 3, which of the following is mentioned as support for the statement

that This broad communal response is never developed by television drama

A. T

elevision drama is rarely about serious social issues.