序號	題干詞	正確選項詞
1	associate with	connected to
2	assume	suppose
3	astonishing	surprising
4	attest to	provide evidence of
5	augment	add to
6	authority	expert
7	autonomous	independent
8	back up	support
9	baffle	puzzle
10	barrier to	impediment
11	burgeoning	increasingly
12	cease	stop
13	chaotic	disorganize
14	cluster	group
15	coalesce	joint
16	coexist	concurrent
17	coincide with	correspond to
18	collapse	fall inward
19	collate	assemble
20	compact	contract
21	comparative	considerable
22	compatible	coexisting
23	compelling	persuasive
24	modified	changed, made changes to, revised, alter, convert
25	significant	important, considerable, appreciable, notable
26	initiate	start, introduce, begin, originate, trigger
27	exploit	make use of, take advantages of, fully use, use, utilize
28	ultimately	in the end, finally, eventually, over time, in the long run, at a later time
29	inevitable	unavoidable, certain, necessary
30	hence	therefore, thus, consequently
31	subsequent, subsequently	later, following, next, ensuing, in turn
32	distinctive	characteristic, recognizable, typical, identifying
33	potential	possible, likely, promise
34	elaborate	well developed, complex, with great detail, highly developed, complicated, sophisticated, develop
35	substantial	large, significant, considerable, great
36	reinforce	strengthen, make stronger, supports
37	unfavorable	negative, disadvantageous, unpromising, hostile
38	promote	encourage
39	exclusively	solely, only
40	simultaneously	at the same time
41	sustain	continue, support

　　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.

　　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 play.Moreover, 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 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.

　　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. Television drama is rarely about serious social issues.

　　B. People do not usually talk to each other while watching television.

　　C. Television audiences vary greatly in their interest in television dramas.

　　D. People do not typically watch television in large groups.

　　6. According to paragraph 3, movie house audiences are different from audiences at live theatrical performances because movie house audiences do not

　　A. enjoy humor and jokes as much as theater audiences do

　　B. develop broad communal responses

　　C. sympathize with the characters they see dramatized

　　D. generally applaud unless everyone else is applauding

　　7. Why does the author mention the play Waiting for Lefty

　　A. To illustrate the power of the communal response to plays

　　B. To argue that plays about political subjects have more power to evoke deep feelings in an audience than nonpolitical plays do

　　C. To provide an example of a play that was a popular success because it dealt with important political issues

　　D. To compare the political importance of plays in recent times with the political importance of earlier plays

　　8. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage. Incorrect choices change the meaning in important ways or leave out essential information.

　　A. Although experts can detect the changes that occur in different performances, the changes are too subtle to be noticed by anyone else.

　　B. Although their performances vary only subtly from one night to another, actors in most professional productions want audiences to believe that every performance is unique.

　　C. Everyone involved in the professional production of a play knows that very small, almost unnoticeable changes make each performance unique.

　　D. In most professional productions, changes are included from one performance to another that are intended to make every performance a unique one.

　　9. The word thrill in the passage is closest in meaning to

　　A. goal B. weakness C. meaning D. excitement

　　10. The word vitality in the passage is closest in meaning to

　　A. style B. energy C. purpose D. quality 11. According to paragraph

　　4, on any given night the result of actors' efforts to better their previous performances is that the actors

　　A. form long-lasting relationships with the audience

　　B. are better able to overcome their stage fright

　　C. create a quality that is not present in film or television

　　D. are more likely to be admired by audiences

　　12. It can be inferred from paragraph 4 that one of the reasons filmed performances are less exciting than live theatrical performances is because

　　A. there is little chance that a mistake will occur in a filmed performance

　　B. most movies portray situations that audiences have seen before

　　C. audiences are interested in seeing famous actors live rather than on a screen

　　D. most people are accustomed to going to the movies but view the theater as a special event

　　13. Look at the four squaresthat indicate where the following sentence could be added to the passage. Such signs of an audience's engagement thus become part of every performance. Where would the sentence best fit? Click on a square to add the sentence to the passage. (題目不完整)

　　14. Drag your choices to the spaces where they belong. To review the passage, click on View Text. Answer Choices

　　A. Although live theater is unlike either video or cinema, the different genressometimes overlap.

　　B. While live theater is regarded by most film actors as the most exciting place to perform, many are too troubled by stage fright to perform live.

　　C. In the theater, there is a two-way communication between actor and audience that has an effect on the actor's performance.

　　D. Audiences at live theatrical performances form a special connection, sharing the common experience of reacting to a live theatrical performance.

　　E. Many people go to the theater excited to see in a live performance an actor that they have never seen before except on television or in films.

　　F. The excitement of live theater cannot be achieved in any other medium, and its immediacy and uncertainty help us deal with life's fundamental uncertainty.

　　與視頻和電影不同(盡管有時兩者都使用元素)，劇院是一個活生生的、實時的事件，表演者和觀眾相互交流，每個人都知道對方的即時存在。這是一個非常重要的區(qū)別。杰出的電影明星，特別是那些有戲劇背景的人(大多數(shù)人)，通常會回到現(xiàn)場戲劇舞臺，盡管電影作品的財政報酬大大增加，而且由于觀眾的反應(yīng)劇場提供了相應(yīng)的刺激和存在感，他們總是更喜歡舞臺表演。

　　第一個是演員和觀眾之間的融洽關(guān)系。兩者呼吸著同樣的空氣;兩者都同時出現(xiàn)在同一空間中，與戲劇所描繪的舞臺生活相同。有時他們的共同魅力幾乎是顯而易見的;每一個演員的表演都受到觀眾產(chǎn)生或保留其反應(yīng)的影響:笑聲、嘆息、掌聲、喘息、沉默。戲劇表演永遠(yuǎn)是舞臺和房子之間的雙向溝通。

　　第二，戲劇在觀眾中創(chuàng)造了一種關(guān)系。當(dāng)觀眾們以個人或兩三個群體的身份來到影院時，觀眾們很快發(fā)現(xiàn)自己與完全陌生的人有了共同的體驗:嘲笑相同的笑話，同情相同的人物，感受同樣的啟示。這種廣泛的公共反應(yīng)從來不是由電視劇,主要是單獨或集中觀眾(因為頻繁的商業(yè)廣告)只是間歇性地訂婚,也不可能發(fā)生在電影院,實際上就是讓觀眾認(rèn)為一對一關(guān)系與屏幕和很少(私人或團(tuán)體放映除外)在一個強大的集體反應(yīng)爆發(fā),少得多的掌聲。相比之下，現(xiàn)場戲劇表演產(chǎn)生的觀眾活動在本質(zhì)上是社會性的:人群在同一時間到達(dá)劇場，人們在互相交流的時候相互交談，在一起，經(jīng)常在激烈的談話中談?wù)撨@出戲。此外，他們在劇中進(jìn)行交流:笑聲和掌聲建立在他們自己身上，從別人的笑聲和掌聲中獲得力量�，F(xiàn)場演出的最后一個獨特之處，不可避免地要包括觀眾對自己的鼓掌，以及表演者對表演的理解和欣賞，這些都是他們共同看到的。玩弄政治主題甚至可以產(chǎn)生集體的政治反應(yīng)。在一個著名的例子中，1935s在等待Lefty的演出，好像觀眾是一群工會成員;演出結(jié)束時，觀眾們大聲叫嚷!罷工!為了回應(yīng)這出戲的問題。顯然，只有現(xiàn)場表演才能引起這樣的反應(yīng)。

　　最后，現(xiàn)場演出不可避免地具有即時性。這出戲正在上演，正在觀看，任何事情都有可能發(fā)生。盡管在大多數(shù)專業(yè)作品中，從一個晚上到另一個夜晚的表演的變化是如此微妙，只有專家才會注意到，事實是每個晚上的演講都是獨一無二的，每個人都有觀眾、演員和幕后的人知道。這種意識使那些完全在罐頭里的戲劇事件無法達(dá)到令人興奮的程度。當(dāng)然，令人興奮的一個原因是，在現(xiàn)場表演中，錯誤可能會發(fā)生;這種可能性有時會帶來持久的緊張感，甚至可能是怯場的邊緣，有些人說這是戲劇的最終刺激。但正如災(zāi)難可以毫無預(yù)兆地降臨，輝煌也一樣。在任何一個特定的夜晚，每個演員都在努力改善他或她之前的表現(xiàn)，沒有人知道這個集體努力何時會凝聚成某種崇高的東西。演員們不斷努力的自我超越給了劇院一種生命力，這種活力在錄像帶或電影膠片上一成不變的表演中消失了。但也許最恰當(dāng)?shù)氖�，現(xiàn)場表演的即時性體現(xiàn)了生活的根本不確定性。戲劇的一個主要功能是解決人類存在的不確定性，而現(xiàn)場表演的形式表現(xiàn)了我們眼前的一刻不確定性。最終，這個直接的戲劇幫助我們定義了我們生活中的問題和困惑，讓我們在當(dāng)下抓住他們的影響。