托福TPO1閱讀文本及題目答案Part2
托福TPO是我們托福閱讀的重要參考資料，為了方便大家備考，下面小編給大家整理了托福TPO1閱讀文本及題目答案Part2，希望大家喜歡。
托福TPO1閱讀原文：Part2
The Origins of Theater
In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw. The most widely accepted theory, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theater as emerging out of myth and ritual. The process perceived by these anthropologists may be summarized briefly. During the early stages of its development, a society becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. Perceiving an apparent connection between certain actions performed by the group and the result it desires, the group repeats, refines and formalizes those actions into fixed ceremonies, or rituals.
Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a person becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group's oral tradition and may even come to be acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theater as an autonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.
Although origin in ritual has long been the most popular, it is by no means the only theory about how the theater came into being. Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures. Thus, the recalling of an event (a hunt, battle, or other feat) is elaborated through the narrator's pantomime and impersonation and eventually through each role being assumed by a different person.
A closely related theory sees theater as evolving out of dances that are primarily pantomimic, rhythmical or gymnastic, or from imitations of animal noises and sounds. Admiration for the performer's skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.
In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater. Why did theater develop, and why was it valued after it ceased to fulfill the function of ritual? Most answers fall back on the theories about the human mind and basic human needs. One, set forth by Aristotle in the fourth century B.C., sees humans as naturally imitative-as taking pleasure in imitating persons, things, and actions and in seeing such imitations. Another, advanced in the twentieth century, suggests that humans have a gift for fantasy, through which they seek to reshape reality into more satisfying forms than those encountered in daily life. Thus, fantasy or fiction (of which drama is one form) permits people to objectify their anxieties and fears, confront them, and fulfill their hopes in fiction if not fact. The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.
But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed. One necessary condition seems to be a somewhat detached view of human problems. For example, one sign of this condition is the appearance of the comic vision, since comedy requires sufficient detachment to view some deviations from social norms as ridiculous rather than as serious threats to the welfare of the entire group. Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense. For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them, nevertheless, they retained as parts of their oral tradition the myths that had grown up around the rites and admired them for their artistic qualities rather than for their religious usefulness.
Paragraph 1: In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw. The most widely accepted theory, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theater as emerging out of myth and ritual. The process perceived by these anthropologists may be summarized briefly. During the early stages of its development, a society becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. Perceiving an apparent connection between certain actions performed by the group and the result it desires, the group repeats, refines and formalizes those actions into fixed ceremonies, or rituals.
托福TPO1閱讀題目：Part2
1. The word "championed" in the passage is closest in meaning to
○changed
○debated
○created
○supported
2. The word "attributes" in the passage is closest in meaning to
○ascribes
○leaves
○limits
○contrasts
3. According to paragraph 1, theories of the origins of theater
○are mainly hypothetical
○are well supported by factual evidence
○have rarely been agreed upon by anthropologists
○were expressed in the early stages of theater's development
4. According to paragraph 1, why did some societies develop and repeat ceremonial actions?
○To establish a positive connection between the members of the society
○To help society members better understand the forces controlling their food supply
○To distinguish their beliefs from those of other societies
○To increase the society's prosperity
Paragraph 2: Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a person becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group's oral tradition and may even come to be acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theater as anautonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.
5. The word "this" in the passage refers to
○the acting out of rites
○the divorce of ritual performers from the rest of society
○the separation of myths from rites
○the celebration of supernatural forces
6. The word "autonomous" in the passage is closest in meaning to
○artistic
○important
○independent
○established
7. According to paragraph 2, what may cause societies to abandon certain rites?
○Emphasizing theater as entertainment
○Developing a new understanding of why events occur
○Finding a more sophisticated way of representing mythical characters
○Moving from a primarily oral tradition to a more written tradition
Paragraph 5: In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater. Why did theater develop, and why was it valued after it ceased to fulfill the function of ritual? Most answers fall back on the theories about the human mind and basic human needs. One, set forth by Aristotle in the fourth century B.C., sees humans as naturally imitative-as taking pleasure in imitating persons, things, and actions and in seeing such imitations. Another, advanced in the twentieth century, suggests that humans have a gift for fantasy, through which they seek to reshape reality into more satisfying forms than those encountered in daily life. Thus, fantasy or fiction (of which drama is one form) permits people to objectify their anxieties and fears, confront them, and fulfill their hopes in fiction if not fact. The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.
8. All of following are mentioned in paragraph 5 as possible reasons that led societies to develop theater EXCEPT
○Theater allows people to face that they are afraid of.
○Theater gives an opportunity to imagine a better reality.
○Theater is a way to enjoy imitating other people.
○Theater provides people the opportunity to better understand the human mind.
9. Which of the following best describes the organization of paragraph 5?
○The author presents two theories for a historical phenomenon.
○The author argues against theories expressed earlier in the passage.
○The author argues for replacing older theories with a new one.
○The author points out problems with two popular theories.
Paragraph 6: But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed. One necessary condition seems to be a somewhat detached view of human problems. For example, one sign of this condition is the appearance of the comic vision, since comedy requires sufficient detachment to view some deviations from social norms as ridiculous rather than as serious threats to the welfare of the entire group. Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense. For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them, nevertheless, they retained as parts of their oral tradition the myths that had grown up around the rites and admired them for their artistic qualities rather than for their religious usefulness.
10. The word "penchant" in the passage is closest in meaning to
○compromise
○inclination
○tradition
○respect
11. Why does the author mention "comedy"?
○To give an example of early types of theater
○To explain how theater helps a society respond to threats to its welfare
○To help explain why detachment is needed for the development of theater
○To show how theatrical performers become detached from other members of society
12. 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.(4)
○A society's rites were more likely to be retained in the oral tradition if its myths were admired for artistic qualities.
○The artistic quality of a myth was sometimes an essential reason for a society to abandon it from the oral tradition.
○Some early societies stopped using myths in their religious practices when rites ceased to be seen as useful for social well-being.
○Myths sometimes survived in a society's tradition because of their artistic qualities even after they were no longer deemed religiously beneficial.
Paragraph 3: █Although origin in ritual has long been the most popular, it is by no means the only theory about how the theater came into being. █Storytelling has been proposed as one alternative. █Under this theory, relating and listening to stories are seen as fundamental human pleasures. █Thus, the recalling of an event (a hunt, battle, or other feat) is elaborated through the narrator's pantomime and impersonation and eventually through each role being assumed by a different person.
13. Look at the four squares [█] that indicate where the following sentence could be added to the passage.
To enhance their listeners' enjoyment, storytellers continually make their stories more engaging and memorable.
Where would the sentence best fit?
14. Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
Anthropologists have developed many theories to help understand why and how theater originated.
●
●
●
Answer choices
○The presence of theater in almost all societies is thought to have occurred because early storytellers traveled to different groups to tell their stories.
○Many theorists believe that theater arises when societies act out myths to preserve social well-being.
○The more sophisticated societies became, the better they could influence desirable occurrences through ritualized theater.
○Some theories of theater development focus on how theater was used by group leaders to group leaders govern other members of society.
○Theater may have come from pleasure humans receive from storytelling and moving rhythmically.
○The human capacities for imitation and fantasy are considered possible reasons why societies develop theater
托福TPO1閱讀答案：Part2
1. ○4
2. ○1
3. ○1
4. ○4
5. ○3
6. ○3
7. ○2
8. ○4
9. ○1
10. ○2
11. ○3
12. ○4
13. ○4
14. Many theorists believe that…
Theater may have come from…
The human capacities for imitation…
托福TPO1閱讀真題翻譯：戲劇的起源
由于幾乎沒有具體材料可供研究，探尋戲劇的起源只能憑推測(cè)。19世紀(jì)末20世紀(jì)初，為人類學(xué)家們所擁護(hù)的一種理論得到了世人的廣泛認(rèn)同;這種觀點(diǎn)認(rèn)為戲劇起源于神話和宗教儀式。這些人類學(xué)家們推論過(guò)程可簡(jiǎn)要概括如下：在社會(huì)發(fā)展早期，人們相信有股力量可以影響甚至操控他們的食物供應(yīng)和幸福生活。在對(duì)自然原因并不十分了解的情況下，他們把希望或不希望發(fā)生的事情都?xì)w咎于超自然的或魔幻的力量，并且試圖尋找各種途徑贏得這些力量的厚愛。當(dāng)他們意識(shí)到自己的某些行為和期許的結(jié)果之間存在明顯的聯(lián)系以后，人們便開始重復(fù)并且完善這些行為，最終形成固定的典禮或宗教儀式。
故事(神話)在這種儀式中發(fā)展起來(lái)，這些故事中經(jīng)常會(huì)有儀式慶?；蚱谕绊懙某匀涣α康牡湫?。在這種儀式或伴隨的慶典中，表演者們可能會(huì)穿上戲裝戴上面具來(lái)扮演神秘的角色或超自然力量。當(dāng)人們認(rèn)識(shí)事物的能力進(jìn)一步加強(qiáng)的時(shí)候，他們對(duì)超自然力量以及與其引發(fā)的事件間因果關(guān)系的認(rèn)識(shí)就發(fā)生了改變;于是，他們會(huì)拋棄或者修改某些儀式。不過(guò)在這些儀式中發(fā)展起來(lái)的神話故事繼續(xù)在人們的口頭流傳，甚至可能脫離了儀式而被演繹著。這時(shí)侯，戲劇做為一種自發(fā)的活動(dòng)邁出了自己的第一步，接著，戲劇的娛樂(lè)和審美價(jià)值開始漸漸取代先前的帶有神話色彩的、在社會(huì)上靈驗(yàn)的關(guān)注。
盡管戲劇起源于宗教儀式的說(shuō)法是目前最被大眾認(rèn)可的，但無(wú)論如何這都不是戲劇起源的唯一理論;另一種推測(cè)認(rèn)為戲劇源于說(shuō)書。在這個(gè)理論中，與故事產(chǎn)生聯(lián)系和聆聽故事被視為是人類基本的樂(lè)趣。因此，講述人通過(guò)自己的手勢(shì)和模仿把對(duì)一個(gè)事件的回憶(一次打獵、戰(zhàn)役或是其它功勛偉業(yè))表現(xiàn)得淋漓盡致，這種方式最終演變成為由不同的人來(lái)演繹不同的角色。
另外一種與之相關(guān)的理論認(rèn)為，戲劇主要是從無(wú)聲的、有節(jié)奏的舞蹈、體操，或模仿動(dòng)物聲音的過(guò)程逐漸演變而來(lái)。人們對(duì)表演者的演技、審美能力和優(yōu)雅的欣賞被視為是表演者將他們的表演精心策劃為戲劇的動(dòng)力。
為了進(jìn)一步探尋戲劇的起源，一些學(xué)派開始從人類發(fā)展戲劇的動(dòng)機(jī)上建立理論。為什么戲劇會(huì)發(fā)展，為什么在戲劇完全脫離宗教儀式以后還有這么大的價(jià)值?大部分答案都回到那些關(guān)于人類心智和人類基本需求的理論中。首先，亞里士多德在公元前4世紀(jì)提出，人們天生好模仿，并從模仿他人、事物和動(dòng)作以及觀看模仿中獲得樂(lè)趣。另外，20世紀(jì)提出的先進(jìn)理論認(rèn)為人類擅長(zhǎng)幻想，通過(guò)幻想將日常生活中的現(xiàn)實(shí)重塑成更加令人滿意的形式。因此，人們通過(guò)幻想或虛構(gòu)(戲劇的一個(gè)形式)把他們的焦慮和恐懼具體化，再通過(guò)這種方式面對(duì)焦慮和恐懼，并從虛構(gòu)中滿足他們現(xiàn)實(shí)中無(wú)法實(shí)現(xiàn)的愿望。所以，戲劇成為了一種幫助人們認(rèn)識(shí)和理解這個(gè)世界，或是幫助人們逃避不滿現(xiàn)實(shí)的工具。
但是，無(wú)論是人類模仿的本能或是對(duì)幻想的嗜好本身都不能發(fā)展成為獨(dú)立的戲劇，因此，我們需要更多解釋。一個(gè)必要的條件可能是一種要脫離通常人們看待問(wèn)題的視角。比如，這個(gè)條件的一個(gè)標(biāo)志是喜劇構(gòu)想的出現(xiàn)，因?yàn)橄矂∫笞銐虻陌l(fā)散思維，我們需要將社會(huì)規(guī)范中的離經(jīng)叛道的行為視作極其荒謬的事情，而不是對(duì)公眾群體福利的嚴(yán)重威脅。另一個(gè)導(dǎo)致戲劇獨(dú)立的條件是審美感覺的出現(xiàn)。例如，一些早期社會(huì)的人們認(rèn)為有的儀式對(duì)他們的幸福生活來(lái)說(shuō)不再是必需品，并且取消了那些儀式。雖然如此，人們還是保留了那些口頭傳述故事的傳統(tǒng)并且熱愛從這些儀式里發(fā)展起來(lái)的神話，出于它們的藝術(shù)性，而不是宗教原因。
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