→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 people 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.
1. The word “championed” in the passage is closest in meaning to
A.Changed
B.Debated
C.Created
D.Supported
2. The word “attributes” in the passage is closest in meaning to
A.Ascribes
B.Leaves
C.Limits
D.Contrasts
3. According to paragraph 1, theories of the origins of theater
A.Are mainly hypothetical
B.Are well supported by factual evidence
C.Have rarely been agreed upon by anthropologists
D.Were expressed in the early stages of theater’s development
4. According to paragraph 1, why did some societies develop and repeat ceremonial actions?
A.To establish a positive connection between the members of the society
B.To help society members better understand the forces controlling their food supply
C.To distinguish their beliefs from those of other societies
D.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 people 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.
5. The word “this” in the passage refers to
A.The acting out of rites
B.The divorce of ritual performers from the rest of society
C.The separation of myths from rites
D.The celebration of supernatural forces
6. The word “autonomous” in the passage is closest in meaning to
A.Artistic
B.Important
C.Independent
D.Established
7. According to paragraph 2, what may cause societies to abandon certain rites?
A.Emphasizing theater as entertainment
B.Developing a new understanding of why events occur.
C.Finding a more sophisticated way of representing mythical characters
D.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:
A.Theater allows people to face that they are afraid of.
B.Theater gives an opportunity to imagine a better reality.
C.Theater is a way to enjoy imitating other people.
D.Theater provides people the opportunity to better understand the human mind.
9. Which of the following best describes the organization of paragraph 5?
A.The author presents two theories for a historical phenomenon.
B.The author argues against theories expressed earlier in the passage.
C.The author argues for replacing older theories with a new one.
DThe 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
A.Compromise
B.Inclination
C.Tradition
D.Respect
11．Why does the author mention “comedy”?
A.To give an example of early types of theater
B.To explain how theater helps a society respond to threats to its welfare
C.To help explain why detachment is needed for the development of theater
D.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.
A.A society’s rites were more likely to be retained in the oral tradition if its myths were admired for artistic qualities.
B.The artistic quality of a myth was sometimes an essential reason for a society to abandon it from the oral tradition.
C.Some early societies stopped using myths in their religious practices when rites ceased to be seen as useful for social well-being.
D.Myths sometimes survived in a society’s tradition because of their artistic qualities even after they were no longer deemed religiously beneficial.
→Paragraph 3:█(A)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.█(B) Storytelling has been proposed as one alternative. █(C)Under this theory, relating and listening to stories are seen as fundamental human pleasures.█(D) 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 listener’s enjoyment, storytellers continually make their stores more engaging and memorable.
Where would the sentence best fit? Click on a square to add the sentence to the passage.
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
1.The presence of theater in almost all societies is thought to have occurred because early story tellers traveled to different groups to tell their stores.
2.Many theorists believe that theater arises when societies act out myths to preserve social well-being.
3.The more sophisticated societies became, the better they could influence desirable occurrences through ritualized theater.
4.Some theories of theater development focus on how theater was used by group leaders to group leaders govern other members of society.
5.Theater may have come from pleasure humans receive from storytelling and moving rhythmically.
6.The human capacities for imitation and fantasy are considered possible reasons why societies develop theater
l 文章逐句翻譯
第一段:
In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw.
由于缺少具體材料，人們在研究戲劇起源時不得不主要依賴猜想。
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.
19世紀(jì)末20世紀(jì)初，一些人類學(xué)家支持的理論得到了世人的廣泛認(rèn)同，該理論視戲劇為一種脫胎于神秘和宗教儀式的藝術(shù)。
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.
科學(xué)家們推論的過程可以簡單地概括如下：在戲劇發(fā)展的早期，人們察覺到某種力量可以影響甚至操控其食物來源和生活狀態(tài)。
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.
由于缺乏對自然知識，人們便把一些合理或不合理的事情都?xì)w咎于超自然的或魔幻的力量，并試圖尋找各種能夠迎合這些力量的途徑。
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.
當(dāng)意識到自己的某些行為和期許的結(jié)果之間存在明顯的聯(lián)系后，人們便開始不斷重復(fù)，修正進(jìn)而完善這些行為，使之成為固定的典禮或宗教儀式。
第二段
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.
神話故事逐漸圍繞這些儀式誕生出來，其中經(jīng)常囊括了宗教儀式所試圖影響的超自然力量的原型。
Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations.
在儀式或慶典舉行過程中，表演者們會穿上戲裝和面具來扮演神秘角色或超自然力量。
As a people becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites.
然而，隨著人類變得更加精于世故，其對超自然力量和相關(guān)因果關(guān)系的定義發(fā)生了改變，因而人們選擇拋棄或修改某些儀式。
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.
但是，從儀式中發(fā)展起來的神話故事仍會不時從人們口中提及，甚至?xí)跊]有儀式需要的情況下繼續(xù)演繹。
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.
這樣，戲劇作為一項(xiàng)獨(dú)立活動便邁出了第一步，其娛樂和審美價值開始逐漸取代人們先前對其神秘作用的關(guān)注。
第三段:
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.
盡管戲劇起源于宗教儀式的說法是目前最被大眾認(rèn)可的，但這并非戲劇起源的定論。
Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures.
另一理論認(rèn)為戲劇源于說書彈詞，并認(rèn)為講述和聆聽故事是人類的基本樂趣。
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.
這樣，對某一事件（如打獵，戰(zhàn)爭等）的回憶被講述者通過啞劇或模仿詳細(xì)化，最終故事的每一角色都被不同的人來擔(dān)任。
第四段:
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.
另外一相關(guān)理論認(rèn)為，戲劇主要是從啞劇舞蹈、有節(jié)奏的舞蹈、體操、或動物聲音的模仿過程中逐漸演變而來。
Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.
人們對于表演者技巧，精湛技術(shù)和優(yōu)雅的崇拜被認(rèn)為是一種激勵，它促使表演者將這些活動精細(xì)化并使其最終成為夸張的戲劇表演。
第五段:
In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater.
除了探尋戲劇起源之外，一些學(xué)者還關(guān)注人類發(fā)展戲劇的動機(jī)。
Why did theater develop, and why was it valued after it ceased to fulfill the function of ritual?
為什么戲劇會發(fā)展？為什么在戲劇完全脫離宗教儀式后還被人們所欣賞？
Most answers fall back on the theories about the human mind and basic human needs.
答案源于對人類心智和基本需求的理解。
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.
一種理論在公元前4世紀(jì)由亞里士多德提出，它認(rèn)為人類天生具有模仿性----通過模仿他人、他物和動作以及觀看這種模仿來獲得歡愉。
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.
另一在20世紀(jì)得到發(fā)展的理論認(rèn)為人類具有幻想的天賦，通過幻想人類試圖重塑現(xiàn)實(shí)，使其變得比現(xiàn)實(shí)生活中所遇到的更加令人滿意。
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.
因此，幻想和虛擬作品允許人們將他們的焦慮、恐懼具現(xiàn)化，并面對它們，同時滿足在現(xiàn)實(shí)中不能滿足的愿望。
The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.
這樣，戲劇便成為人類定義生活，理解生活或者逃避痛苦現(xiàn)實(shí)的工具。
第六段:
But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed.
但是，無論是人類的模仿本能或是對幻想的嗜好都不能直接導(dǎo)致戲劇發(fā)展成為一門獨(dú)立的藝術(shù)，因此人們需要其它的解釋。
One necessary condition seems to be a somewhat detached view of human problems.
戲劇發(fā)展的一個必要條件很可能是人類看待事物超脫性觀點(diǎn)的形成。
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.
例如，這種情況的一個標(biāo)志是喜劇觀點(diǎn)的出現(xiàn)，因?yàn)橄矂∫笕藗兂浞值貜耐纯嘀忻撾x，并將一些與社會準(zhǔn)則相偏離的表現(xiàn)看做滑稽可笑的而不是視其為對群體利益的巨大威脅。
Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense.
另一導(dǎo)致戲劇發(fā)展的條件是審美感的出現(xiàn)。
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.
例如，一些早期社會不再認(rèn)為特定儀式與他們的安康息息相關(guān)從而拋棄了這些儀式，然而，他們將圍繞儀式產(chǎn)生的神話變?yōu)榭陬^傳授傳統(tǒng)的一部分，并且對其所具有的藝術(shù)價值而不是宗教價值進(jìn)行贊美。
→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 people 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.
1. The word “championed” in the passage is closest in meaning to
A.Changed
B.Debated
C.Created
D.Supported
2. The word “attributes” in the passage is closest in meaning to
A.Ascribes
B.Leaves
C.Limits
D.Contrasts
3. According to paragraph 1, theories of the origins of theater
A.Are mainly hypothetical
B.Are well supported by factual evidence
C.Have rarely been agreed upon by anthropologists
D.Were expressed in the early stages of theater’s development
4. According to paragraph 1, why did some societies develop and repeat ceremonial actions?
A.To establish a positive connection between the members of the society
B.To help society members better understand the forces controlling their food supply
C.To distinguish their beliefs from those of other societies
D.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 people 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.
5. The word “this” in the passage refers to
A.The acting out of rites
B.The divorce of ritual performers from the rest of society
C.The separation of myths from rites
D.The celebration of supernatural forces
6. The word “autonomous” in the passage is closest in meaning to
A.Artistic
B.Important
C.Independent
D.Established
7. According to paragraph 2, what may cause societies to abandon certain rites?
A.Emphasizing theater as entertainment
B.Developing a new understanding of why events occur.
C.Finding a more sophisticated way of representing mythical characters
D.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:
A.Theater allows people to face that they are afraid of.
B.Theater gives an opportunity to imagine a better reality.
C.Theater is a way to enjoy imitating other people.
D.Theater provides people the opportunity to better understand the human mind.
9. Which of the following best describes the organization of paragraph 5?
A.The author presents two theories for a historical phenomenon.
B.The author argues against theories expressed earlier in the passage.
C.The author argues for replacing older theories with a new one.
DThe 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
A.Compromise
B.Inclination
C.Tradition
D.Respect
11．Why does the author mention “comedy”?
A.To give an example of early types of theater
B.To explain how theater helps a society respond to threats to its welfare
C.To help explain why detachment is needed for the development of theater
D.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.
A.A society’s rites were more likely to be retained in the oral tradition if its myths were admired for artistic qualities.
B.The artistic quality of a myth was sometimes an essential reason for a society to abandon it from the oral tradition.
C.Some early societies stopped using myths in their religious practices when rites ceased to be seen as useful for social well-being.
D.Myths sometimes survived in a society’s tradition because of their artistic qualities even after they were no longer deemed religiously beneficial.
→Paragraph 3:█(A)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.█(B) Storytelling has been proposed as one alternative. █(C)Under this theory, relating and listening to stories are seen as fundamental human pleasures.█(D) 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 listener’s enjoyment, storytellers continually make their stores more engaging and memorable.
Where would the sentence best fit? Click on a square to add the sentence to the passage.
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.
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Answer choices
1.The presence of theater in almost all societies is thought to have occurred because early story tellers traveled to different groups to tell their stores.
2.Many theorists believe that theater arises when societies act out myths to preserve social well-being.
3.The more sophisticated societies became, the better they could influence desirable occurrences through ritualized theater.
4.Some theories of theater development focus on how theater was used by group leaders to group leaders govern other members of society.
5.Theater may have come from pleasure humans receive from storytelling and moving rhythmically.
6.The human capacities for imitation and fantasy are considered possible reasons why societies develop theater
l 文章逐句翻譯
第一段:
In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw.
由于缺少具體材料，人們在研究戲劇起源時不得不主要依賴猜想。
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.
19世紀(jì)末20世紀(jì)初，一些人類學(xué)家支持的理論得到了世人的廣泛認(rèn)同，該理論視戲劇為一種脫胎于神秘和宗教儀式的藝術(shù)。
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.
科學(xué)家們推論的過程可以簡單地概括如下：在戲劇發(fā)展的早期，人們察覺到某種力量可以影響甚至操控其食物來源和生活狀態(tài)。
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.
由于缺乏對自然知識，人們便把一些合理或不合理的事情都?xì)w咎于超自然的或魔幻的力量，并試圖尋找各種能夠迎合這些力量的途徑。
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.
當(dāng)意識到自己的某些行為和期許的結(jié)果之間存在明顯的聯(lián)系后，人們便開始不斷重復(fù)，修正進(jìn)而完善這些行為，使之成為固定的典禮或宗教儀式。
第二段
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.
神話故事逐漸圍繞這些儀式誕生出來，其中經(jīng)常囊括了宗教儀式所試圖影響的超自然力量的原型。
Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations.
在儀式或慶典舉行過程中，表演者們會穿上戲裝和面具來扮演神秘角色或超自然力量。
As a people becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites.
然而，隨著人類變得更加精于世故，其對超自然力量和相關(guān)因果關(guān)系的定義發(fā)生了改變，因而人們選擇拋棄或修改某些儀式。
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.
但是，從儀式中發(fā)展起來的神話故事仍會不時從人們口中提及，甚至?xí)跊]有儀式需要的情況下繼續(xù)演繹。
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.
這樣，戲劇作為一項(xiàng)獨(dú)立活動便邁出了第一步，其娛樂和審美價值開始逐漸取代人們先前對其神秘作用的關(guān)注。
第三段:
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.
盡管戲劇起源于宗教儀式的說法是目前最被大眾認(rèn)可的，但這并非戲劇起源的定論。
Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures.
另一理論認(rèn)為戲劇源于說書彈詞，并認(rèn)為講述和聆聽故事是人類的基本樂趣。
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.
這樣，對某一事件（如打獵，戰(zhàn)爭等）的回憶被講述者通過啞劇或模仿詳細(xì)化，最終故事的每一角色都被不同的人來擔(dān)任。
第四段:
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.
另外一相關(guān)理論認(rèn)為，戲劇主要是從啞劇舞蹈、有節(jié)奏的舞蹈、體操、或動物聲音的模仿過程中逐漸演變而來。
Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.
人們對于表演者技巧，精湛技術(shù)和優(yōu)雅的崇拜被認(rèn)為是一種激勵，它促使表演者將這些活動精細(xì)化并使其最終成為夸張的戲劇表演。
第五段:
In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater.
除了探尋戲劇起源之外，一些學(xué)者還關(guān)注人類發(fā)展戲劇的動機(jī)。
Why did theater develop, and why was it valued after it ceased to fulfill the function of ritual?
為什么戲劇會發(fā)展？為什么在戲劇完全脫離宗教儀式后還被人們所欣賞？
Most answers fall back on the theories about the human mind and basic human needs.
答案源于對人類心智和基本需求的理解。
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.
一種理論在公元前4世紀(jì)由亞里士多德提出，它認(rèn)為人類天生具有模仿性----通過模仿他人、他物和動作以及觀看這種模仿來獲得歡愉。
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.
另一在20世紀(jì)得到發(fā)展的理論認(rèn)為人類具有幻想的天賦，通過幻想人類試圖重塑現(xiàn)實(shí)，使其變得比現(xiàn)實(shí)生活中所遇到的更加令人滿意。
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.
因此，幻想和虛擬作品允許人們將他們的焦慮、恐懼具現(xiàn)化，并面對它們，同時滿足在現(xiàn)實(shí)中不能滿足的愿望。
The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.
這樣，戲劇便成為人類定義生活，理解生活或者逃避痛苦現(xiàn)實(shí)的工具。
第六段:
But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed.
但是，無論是人類的模仿本能或是對幻想的嗜好都不能直接導(dǎo)致戲劇發(fā)展成為一門獨(dú)立的藝術(shù)，因此人們需要其它的解釋。
One necessary condition seems to be a somewhat detached view of human problems.
戲劇發(fā)展的一個必要條件很可能是人類看待事物超脫性觀點(diǎn)的形成。
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.
例如，這種情況的一個標(biāo)志是喜劇觀點(diǎn)的出現(xiàn)，因?yàn)橄矂∫笕藗兂浞值貜耐纯嘀忻撾x，并將一些與社會準(zhǔn)則相偏離的表現(xiàn)看做滑稽可笑的而不是視其為對群體利益的巨大威脅。
Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense.
另一導(dǎo)致戲劇發(fā)展的條件是審美感的出現(xiàn)。
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.
例如，一些早期社會不再認(rèn)為特定儀式與他們的安康息息相關(guān)從而拋棄了這些儀式，然而，他們將圍繞儀式產(chǎn)生的神話變?yōu)榭陬^傳授傳統(tǒng)的一部分，并且對其所具有的藝術(shù)價值而不是宗教價值進(jìn)行贊美。