托福听力tpo65section2 对话讲座原文+题目+答案+译文

托福听力tpo65section2对话讲座原文+题目+答案+译文

Conversation2..........................................................................................1

原文........................................................1

题目........................................................3

答案........................................................4

译文........................................................5

Lecture3...................................................................................................6

原文........................................................6

题目........................................................8

答案.......................................................10

译文.......................................................10

Conversation2

原文

Listentoaconversationbetweenastudentandhisprofessor.

Student:ProfessorAnderson,Ireallydon'twantthistocomeoutsoundingallwrong,

likeIreallyappreciateyouseeingme,takingthetimeandeverything…

Professor:Whatisit,Michael?

Student:Well,it'saboutthemoderndramacourse.

Professor:Ah,yeah,well,there*salotofworkinthatclass.Ihearaboutitallthe

timefromstudentssoletmeguess,isthereadingtoodifficult,assignmentstoo

long?

Student:No,actuallyit'sjust,Ithoughtwewouldbereadingdifferentstuff,like

moremodern.

Professor:Whatwearereadingisverymodern,quintessentiallymodern,Imean,

don'tyouthinkSamuelBeckett'sworksaremodern?

Student:Frankly,no.Imean,IthinkheismoremodernthanChekhov,buthewrote

hisbeststuffover50yearsago.

Professor:Oh,Isee.Sobymodernyoumean•••

Student:LikeDavidMamet.Imean,heisaliveandwritingrightnow.

Professor:Ithinkwhatyoumeanisyouwouldliketoreadmorecontemporary

playwrights,isthatit?

Student:Yeah,contemporary,modern,basicallythesamething,right?

Professor:Well,wedousetheminterchangeablyineverydayspeech,butintermsof

thehistoryofdrama,moderngenerallymeanstheearlyandmid-20thcentury,the

firstsixdecadesorso,butreallyithaslesstodowiththespanoftimeandmoreto

dowiththeworkofafewveryimportantplaywrights.

Student:Icanseethatthesepeoplemayhavebeenrevolutionaryartistsfortheir

times,butaretheirideas,like,stillrelevanttoday?Imean,aren'tthey,like,oldhat?

Professor:Well,Ithinkthatifyoutakeacloserlookatcontemporaryplaywrightslike

DavidMamet,you'drealizewhatheisdoingisnotallthatdifferentfromwhat,say,

anearlierplaywrightlikeBeckett,orevenChekhov,forexample,wasdoing.It's

almostimpossibletoimaginethatDavidMametcouldbewritingthewayhedoesif

ithadn'tbeenforthoseearlierplaywrights.

Student:Canyougivemeanexample?

Professor:Mamet'suseoflanguage,andtherhythmofthedialogue,likeBeckett,

rhythmwasanimportantelementinhisdialogue.Thereisoneparticularplay

writtenbyMametcalledTheCryptogram,whichisagreatexampleofthis.Let'sjust

saythatBeckettloomsbehindallofMamet,splays,butthisone,TheCryptogram,

well,it*snotonlyMamet*slanguagethatrecallsBeckett,butalsothepredicament

inwhichMamet'scharactersfindthemselves.

Here,really,Michael,Idon'tthinkthecoursedescriptionismisleading.Thisisa

courseonmoderndramaandthatiswhatwearereading.Imean,ifyouare

interestedincontemporarydramatists,thenyoucanifyouwanttowriteyourfirst

paperonacontemporarypaywright,butonlyifit'sacomparisonwiththeworkof

anearlierplaywright.Ithinkthatwouldbeagoodexercise,anditmightevenhelp

youresolvesomeoftheproblemswetalkedabouttoday.

题目

1.Whydnp«?thestudentgotoqpptheprcfpqqcr?

A.Torequestasuggestionforthetopicofhisfirstpaper

B.Toaskaquestionaboutthehistoryofdrama

C.Tocomplainthatacourseisnotmeetinghisexpectations

D.Todropoutofacoursetheprofessoristeaching

2.Whatisaviewexpressedbythestudentaboutearlyandmid-twentieth-century

playwrights?

A.Theirworkswerequiteconventional.

B.Theirplaysareoftenverysimilartooneanother.

C.Theyhadanegativeinfluenceoncontemporarywriters.

D.Theirworkshavebecomeoutdated.

3.WhydoestheprofessormentionMamet'splayTheCryptogram?

A.ToshowthatMamet'slanguageandrhythmareoriginalandunique

B.Togiveanexampleofearlierplaywrights*influenceonMamet

C.Toillustratethedifferencebetweenmodernandconterrporaryplays

D.ToarguethatMamet'splaysarenottypicallymodern

4.Whatistheprofessor'ssuggestionforthestudent'sfirstpaper?

A.AnessaycomparingtwoplaysbyChekhov

B.Apaperonplayswrittenbyplaywrightsfromdifferenttimeperiods

C.Anessayfocusingonthecharacteristicsofcontemporarydrama

D.ApaperonTheCryptogramanditsinfluenceoncontemporaryplaywrights

5.Whydoestheprofessorsaythis:

Here,really,Michael,Idon'tthinkthecoursedescriptionismisleading.Thisisa

courseonmoderndramaandthatiswhatwearereading.

A.Tocorrectamistakeinthecoursesyllabus

B.Toassurethestudentthattheclasswilldiscusstheplayshelikes

C.Torejectthestudent'sobjectionconcerningthereadingassignments

D.Toindicatethatsheunderstandswhythestudentisconfused

答案

CDBBC

译文

请听一段学生和教授之间的对话。

学生：安德森教授，我真的不想让这一切听起来都不对，像我真的很感激花时间

来见我。。。

教授：怎么了，迈克尔？

学生：嗯，是关于现代戏剧课程的。

教授：是啊，那门课有很多作业要做。我经常从学生那里听说，所以让我猜猜,

是阅读太难了，作业太长了吗？

学生：不，只是，我以为我们会读不同的东西，更现代的东西。

教授：我们读的是非常现代的，很典型的现代，我的意思是，你不认为塞缪尔•贝

克特的作品是现代的吗？

学生：坦率地说,没有。我是说，我认为他比契诃夫更现代，但他最好的作品是在

50多年前写的。

教授：哦，我明白了。你说的现代是指…

学生：像DavidMamet。我是说，他现在还活着并且还在写作。

教授：我想你的意思是你想读更多当代剧作家的作品，对吗？

学生：是的，当代的，现代的，基本上是一样的，对吧？

教授：嗯，我们在日常用语中确实可以互换使用它们，但就戏剧史而言，现代通

常指20世纪初和中期，前60年左右，但实际上它与时间跨度关系不大，更多地

与一些非常重要的剧作家的作品有关。

学生：我能看出这些人可能是他们那个时代的革命性艺术家，但他们的想法，在

今天还适用吗？我是说，他们不是很老吗？

教授：嗯，我认为如果你仔细观察当代的剧作家，比如DavidMamet,你会发现

他所做的和早期的剧作家，比如贝克特，甚至契诃夫，所做的并没有什么不同。

如果没有这些早期的剧作家，几乎无法想象大卫•马梅会以这样的方式写作。

学生：能给我举一个例子吗？

教授:Mamet对语言的运用和对话的节奏，和贝克特一样，节奏是他对话中的一

个重要元素。

马梅写过一部叫做《密码学》的戏剧，就是一个很好的例子。

我们可以这么说，贝克特隐藏在Mamet所有戏剧的背后，但这一部，《密码》，

不仅是Mamet的语言让人想起了贝克特，还有马梅笔下的人物所处的困境。

说实在的，迈克尔，我不认为课程描述有误导性。这是一门关于现代戏剧的课程，

我们现在读的就是这门课。我的意思是，如果你对当代剧作家感兴趣，如果你想

写你的第一篇关于当代剧作家的论文，你可以写，但前提是它要和早期剧作家的

作品进行比较。我认为这是一个很好的练习，它甚至可以帮助你解决我们今天谈

到的一些问题。

Lecture3

原文

Listentopartofalectureinanarthistoryclass.

Professor:Perspective,thiswasabrand-newideainartduringtheEuropean

Renaissance.Beforethistime,paintershadacceptedthefactthatapaintingwas

two-dimensionalandeverythingwasmoreorlessflatinapainting.Butyoucan,as

you'repaintingordrawing,makeitlooklikeithasdepth,makeitlooklikethingsget

fartherawayastheygoback.

DuringtheRenaissance,newtechniquesweredevelopedtodothis.Nowthe

simplestexamplewouldbetryingtodrawapictureofaroad.Ifyoudrawtwo

parallellinesrightnexttooneanother.Theroadlooksflat.Itdoesn'tlooklikeit

stretchesoffintothedistance.Inordertomakeitlookli<eitstretchesoffintothe

distance,youdrawyourtwolinesslightlyconverging,gettingcloserandcloser

togetheruntiltheymeetctwhatwecallthevanishingpoint.Thisgivesyouthe

illusionthattheroadgetsfartherandfartherawayfromyou,theviewer.

Soasthisprocessofperspectiveinpaintingbecamemoreandmorecommonand

moreandmorepopular;itbegantobeusedbysetdesigners.Setdesignersinthe

theateratthistimeweregenerallypainters,sothesepainterswhowerecreating

perspectivepaintingsdecidedtodothesamethingonstageandcreateperspective

setdesigns.Inordertodothis,theyhadtousewings.

Whatisawingyouask?

Goodquestion.Well,itdoesn*tinvolvebirdsorflying.Inthiscontext,awingisa

largewoodenframecoveredwithacanvas.Basically,it*saverylargepainting.Let'

ssay,threemeterslongbytwoandahalfmeterstall.Atypicalsetdesignduringthe

Renaissancewouldhavefourwingsonstageleft,fourwingsonstageright,and

anotheroneintheback,creatingtheillusionofonebiggiantpainting.Andyou

wouldarrangetheseonstageanditwouldlooklikeatownsquareoragroveoftrees

inthewoodsorwhateverthesettingwas.

Thereweretwowaystoarrangethesewingstocreatetheillusionofperspectiveon

stage.

Theearliestmethodwasknownasangledwingsbecauseperspectivewasdifficultto

doatfirst,right?Itwasanewtechnique.Painterswerejustgettingthehangofit.

Thisinvolvedplacingyourv/ingsnotdirectlyfacingtheaudience,butslightlyangled

towardthebackofthestage.

Thisisjustlikethatdrawingoftheroad,wherethelinesstarttocometogether.By

placingthewingsatthisangle,itmadeitmucheasierforthepainterstocreatethe

illusionthatthingsgotfartheraway,asyoumovetowardthebackofthestage.

Whetheritwasbuildings,trees,ortypeofsetyouweretryingtocreate.Therewasa

problemwithangledwings,though.Theillusionwasbeautiful,butangledwingsare

verydifficulttochange,madeitveryhardtohavemorethanjustonesettingforany

givenplay.

Theycameupwithamethodforshiftingorchangingtheseangledwings.Butyou'II

seethatitwasn'tveryconvenient.Itinvolvedsimplyhavingmultiplecanvasesfor

eachwing.Ifyouhaveyourwing,andithasitsscenepaintedonit,youcouldhang

twoorthreemorecanvasesovertheback.Whenyouwantedtochangesets,you

simplytakethatcanvasandflipitovertothefront.Ofcourseitrequiresanumberof

peopletodothatanditneverquitelooksrightbecauseit'snotfirmlyattachedto

theframe.

Anotherwaywasknownasflatwings.Soaspaintersgotbetteratpaintingin

perspectiveastheirtechniquesbecamemoreadvanced,theydevelopedtheability

tohavethesewingsdirectlyfacingtheaudienceinsteadofanglingthemin.

Thisdevelopmentmadeiteasiertochangesets.Theysaid,we'IIjustputanother

behindanotherbehindanother.Whenit,stimetochangeaset,wesimplypullthe

firstonesawayandwerevealtheonesthatarebehind.O*course,theproblemwith

liningthemupwasitstillrequiredanumberofpeopletodragtheselargewingsout

oftheway.

Then,in1645,thechariot-and-polesystemwasdeveloped.Thechariotwassimplya

rollingwagonlocatedbelowthestageontracks,polesconnectedittothewings

throughlongholesinthestagefloor.Usingasystemofpulleysandropesthatwere

allattachedtoasinglecrank,onepersoncouldsitbelowthestageandmoveallthe

wingsofforonstageatonce.

题目

l.Whatisthelecturemainlyabout?

A.Adescriptionofthefirsttechniqueusedtoachieveperspectiveinart

B.Theinfluenceofthree-dimensionalsetdesignonthestoriestoldinRenaissance

plays

C.Thedevelopmentanduseofperspectiveintheatersetdesign

D.Theinfluenceofnewconstructionmaterialsontheatersetdesign

2.Whydoestheprofessormentionapictureofaroad?

A.TodescribetypicalRenaissancetheatersetdecoration

B.Toillustratehowtheillusionofdepthcanbeachieved

C.Toexplainhowthecharict-and-polesystemworks

D.Toexplainwhythree-dimensionalimagesaredifficulttocreate

3.Whatlimitationdidangledwingshelptoovercome?

A.Theatershadalimitednumberofseatsthatofferedagcodviewofthestage.

B.Theaterstageshadalimitednumberofplacesfromwhichactorscouldentera

scene.

C.Theaterstageshadlimitedspaceforwhichpainterscouldcreatewings.

D.Paintershadlimitedskillsinrepresentingperspectiveinpaintings.

4.Whatwasanadvantageofflatwingsoverangledwings?

A.Flatwingscouldbeusedonsmallerstages.

B.Flatwingswereeasiertochange.

C.Flatwingsweremadeofalighter-weightmaterial.

D.Flatwingscouldbeviewedbetterbytheaudience.

5.Howdidtheinventionofthechariot-and-polesystemchangetheaterproductions?

A.Fewerpeoplewereneededtocompletesetchanges.

B.Setdesignscoulduseagreaternumberofwingsperproduction.

C.Bothangledandflatwingscouldbeusedinthesameproduction.

D.Setscouldconveytheillusionofdepthwithouttheneedforskilledpainters.

6.Whydoestheprofessorsaythis:

Whatisawingyouask?

Goodquestion.Well,itdoesn'tinvolvebirdsorflying.

A.Heispreparingtochangethetopic.

B.Hedoesnotwantthestudentstointerrupthim.

C.Heisabouttocontradictwhathejustsaid.

D.Hefeelsthatfurtherexplanationisnecessary.

答案

C