2018年6月7日雅思閱讀考試大范圍預(yù)測

　　雅思閱讀文章題目：The history of Russian Ballet

　　重復(fù)年份：20160114 20150418 20121124

　　雅思閱讀題材：發(fā)展史

　　雅思閱讀題型：判斷6+填空7

　　雅思閱讀文章大意：芭蕾舞發(fā)源于意大利，從17世紀(jì)后傳入俄國后一直欣欣向榮。出了很多優(yōu)秀的藝術(shù)家和作品，外國舞派也對俄國芭蕾舞發(fā)展有著影響。后期以戲劇味發(fā)展主流，一直講到本世紀(jì)70年代的發(fā)展。

　　參考閱讀：

　　Until 1689, ballet in Russia was nonexistent. The Tsarist control and isolationism in Russia allowed for little influence from the West. It wasn't until the rise of Peter the Great that Russian society opened up to the West. St. Petersburg was erected to embrace the West and compete against Moscow’s isolationism. Peter the Great created a new Russia which rivaled the society of the West with magnificent courts and palaces. His vision was to challenge the west. Classical ballet entered the realm of Russia not as entertainment, but as a “standard of physical comportment to be emulated and internalized-an idealized way of behaving. The aim was not to entertain the masses of Russians, but to create a cultivated and new Russian people.

　　Empress Anna, (1730 – 1740) was devoted to ostentatious amusements (balls, fireworks, tableaux), and in the summer of 1734 ordered the appointment of Jean-Baptiste Landé as dancing-master in the military academy she had founded in 1731 for sons of the nobility. In 1738, he became ballet master and head of the new ballet school, launching the advanced study of ballet in Russia, and winning the patronage of elite families.

　　France provided many leaders such as Charles Didelot in St Petersburg (1801-1831), Jules Perrot(1848-1859) and Arthur Saint-Léon (1859-69).

　　In the early 19th century, the theaters were opened up to anyone who could afford a ticket. A seating section called a rayok, or 'paradise gallery', consisted of simple wooden benches. This allowed non-wealthy people access to the ballet, because tickets in this section were inexpensive.

　　One author describes the Imperial ballet as “unlike that of any other country in the world…the most prestigious of the ballet troupes were those attached to the state-supported theatres. The directors of these companies were personally appointed by the tsar, and all the dancers were, in a sense, Imperial servants. In the theatre, the men in the audience always remained standing until the tsar entered his box and, out of respect, after the performance they remained in their places until he had departed. Curtain calls were arranged according to a strict pattern: first, the ballerina bowed to the tsar’s box, then to that of the theater director, and finally to the general public.