全国公共英语三级(pets3)考试复习资料.doc

全国公共英语三级（pets3）考试复习资料Recently in the Scottish Highlands,260theatergoers were led up a well-lit, pin-tree-lined con- crete path. Theirdestination? A vacant water plant. The large concrete space had the impersonalfeel of an army camp-exactly the atmosphere the producers of Black Watch hopedto reproduce. The play is based on the true story of a Highlands troop sentoverseas in 2004.Essentially, site-specific theater refers toplays produced in places directly relevant to their ac- tion. At the MuseumHotel in Wellington, New Zealand, audiences filed into room 217 to watch a taleabout the various personalities who had occupied the room over time. Ithink people are tired of the same old plays in the same confines of space,says Paul McLaughlin, who produced Hotel.Drama happens all aroundus-at the bus stop, in a supermarket-so we attempted to show how people caninteract with the space that surrounds them. To be sure, on-scene productions presenttheir own set of challenges. Producers of Black Watch had to scout aroundLondon for a location for when the show comes to the British capital. But formany audience members, leaving the comfort of their theater seats makes for amore meaningful experience. A lot of site-specific work challenges theway you look and think, says Nick Kaye, adrama professor at theUniversity of Exeter.Site-specific shows can also satisfy thegrowing desire for individualized entertainment fueled by on-demand televisionand the Intemet. In Faust, which the London-based theater group Punch- drunkjust wrapped up, audience members got to pick what they wanted to see. Housedin an old five-story storehouse in east London, the play featured different settings.Audience members could choose to watch a scene and follow certain actors fromlocation to location. Felix Barrett, the direc- tor of Faust, says todaystheatergoers expect more than just the traditional audience-actor relation-ship. What I wanted to do was to create a piece where the audience cancarve out the night they want to have, and it stays with them. Creating astrong sense of place goes a long way toward a- chieving that. -51. Recently,260 Scottish people went to adeserted water plantAto toura newly-built military base B towatch a play about military life C. to visit a military troop back home D. to attend a military trainingprogram 52. The essence of site-specific theaterlies in the idea that dramaA shouldbe made as lifelike as possibleB. should reflect peoples feelings andideasC.should reveal what is going on in theworld D.should be acted by those related to thestory 53. Compared with the conventional form oftheater, on-scene theater to producers is lessAmeaningful Bdemanding C.convenient Dinteractive 54. In the play Faust, audience members canArevisethe story in their own way B. talk freely to their favoriteactors Cchooseto take part in the acting D.jump over uninteresting scenes 55. We learn from the text thatsite-specific drama is created to accommodateA. the change in what theatergoers expect ofa play Btheatergoersgrowing need for a sense of place Cthechange in the role modem drama is to play Dtheatergoers falling interest in entertainment Forgive and forget. Most of us find theforgetting easier, but maybe we should work on the for- giving part.Holding on to hurts wears you down physically and emotionally, saysStanford Uni- versity psychologist Fred Luskin, author of Forgive for Good.Forgiving someone can be a powerful remedy. In a recent study, Charlotte Van OyenWitvliet, assistant professor of psychology at Hope Col- lege in Holland,Michigan, and colleagues asked 71 volunteers to remember a past hurt. Tests re-corded sudden increases in blood pressure, heart rate and muscl e tension-thesame responses that occur when people are beside themselves. Research haslinked temper and heart diseases. When the volunteers were asked to imagineforgiving those whod wronged them, they remained calm by comparison.Whats more, forgiveness can be learned,insists Luskin, director of the Stanford Forgiveness Project. We teachpeople to rewrite their story in their minds, to change from victim to hero. Ifthe hurt is from a husbands or a wifes unfaithfulness, we might encouragethem to think of themselves not only as a person who was cheated on, but as theperson who tried to keep the marriage togeth- er. Two years ago Luskintested his method on five Northern Irish women whose sons had been murdered.After undergoing a week of forgiveness training, the womens sense of hurt,measured u- sing psychological tests, had fallen by more than half. They werealso much less likely to feel de- pressed and angry. Forgiving isntabout regarding what happened as harmless or acceptable, says Luskin.It is about breaking free of the person who wronged us. The early signs that forgiving improvesoverall health are promisings. A survey of 1,423 adults by the University ofMichigans Institute for Social Research in 2001 found that people who hadforgiven someone in their past also reported being in better health than thosewho hadnt.However, while 75 per cent said they weresure God had forgiven them for past mistakes, only52 per cent had been able tofind it in their hearts to forgive others. Forgiveness, it seems, is stilldivine.56. In Luskins opinion, people could enjoybetter health if theyAholdpast hurts backBavoidthe wrongdoers Cbecomeless emotional Dlet offthose who hurt them57. According to Luskin, to forgive anunfaithful husband, a wife needs toAurgeherself to see the hurt as nothing Btakemeasures in restoring the marriage C.persuade herself to put up with the hurtD seehe