GRE阅读模拟在线练习附答案二百五十八

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　　In the fields of Delano. Califomia. In 1965. LuisValdez started the Teatro Campesino (Farm worker'sTheater), and with it initiated the renaissance ofMexican American theater. The Teatro Campesinohad an avowedly political purpose: to rallycampesinos (farmworkers) in support of the farmworkers' strike then being organized by CesarChavez Valdez dramatic presentations, calledactos,spoke to a campesino audience and addressed topics and themes directly related to thestrike. Valdez early actos were composed of a series of scenes about the strike experienceacted by campesino volun-teers. His later actos were presented by a newly constitutedprofessional company, still called the Teatro Campesino, and addressed such themes as theimpact of the Vietnam War on Mexican Americans and the dangers of assimilation, themesrelevant to urban Mexican Americans as well as to campesinos. All Valdez' actos con-tainedelements of song and dance, relied little on stage effects or props, and featured the use ofmasks. These dramatic elements, along with an intensely social or political purpose and theuse of a mixture of Spanish, English, and Mexican American dialects in the dialogues. whichrealistically capture the flavor of Mexican American conver-sation, are still characteristicboth of the acto and of most other forms of Mexican American theater today.

　　Innovative as it is, the acto owes much to the theater traditions or other periods and regions. Like early Spanish American religious dramas, secular folk dramas, and the Mexican carpas ofa somewhat later period, actos are usually performed outdoors by traveling groups of players orby local theater groups. The improvised comic satire of the actos is often attributed toValdez' study of the Italian commedia dell' arte of the sixteenth century, although some criticssee it as a direct reflection of the comic and improvisational qualities of the morecontemporary and local carpas of Mexican theater. The Italian influence is likely, whateverValdez immediate source: the Mexican carpas themselves are said to have originated fromthe theater pieces of a sixteenth-century Spanish writer inspired by encounters with Italiancommedia dell'arte troupes on tour in Spain. The English-language theater has providedelements as well: Valdez himself has acknowledged his debt to the agitprop socialist theaterthat appeared in the United States during the 1920's and 1930's. In particular, his actoscontain the same assortment of semiallegorical characters and the same blend of music, chorus, and dialogue found in some of the agitprop pieces, as well as the same fierce spirit ofsocial and political critique. Finally, many of Valdez' later theater pieces freely incorporatecharacters, plots and symbols drawn from the indigenous myths and rituals of the pre-Hispanic peoples of Latin America. In fact, no other art form illustrates more clearly the depthand complexity of the Mexican American heritage itself than does the acto of Luis Valdez andthe Teatro Campesino.

　　According to the passage, the original impetus behind the establishment of the TeatroCampesino was which of the following?

　　A.To help urban Mexican Americans understand the problems confronting strikingcampesinos in California

　　B.To promote an attitude of pride in the depth and richness of the Mexican American heritageamong striking campesinos

　　C.To provide striking campesinos an opportunity to use their creative talents to expresstheir political opinions

　　D.To allow its founder to express his personal support of the campesinos’ strike effort

　　E.To mobilize campesinos to support the farm workers’ strike in California

　　The author cites all of the following as probable influences on Valdez’development ofthe acto EXCEPT the

　　A.theater of sixteenth-century Italy

　　B.carpas of Mexico

　　C.drama of classical Greece

　　D.English-language theater of the United States

　　E.myths and rituals of pre-Hispanic America

　　The passage suggests that which of the following was true of the later actos of theTeatro Campesino?

　　A.They were more politically effective than were earlier actos.

　　B.They were presented primarily outdoors, whereas earlier actos were presented insidetheaters.

　　C.They used a greater mixture of dialects than did the earlier actos.

　　D.They addressed a broader audience than did the earlier actos.

　　E.They differed from earlier actos in that they contained fewer improvisational elements.

　　Which of the following best describes the author’s evaluation of the views of thecritics cited in lines 36-39?

　　A.Their views, if correct, do not preclude the existence of an Italian influence on the acto.

　　B.Their views are unlikely to be correct, given the differences existing between Mexican andMexican American theater.

　　C.Their views concerning the Mexican carpas are essentially correct, but they lack familiaritywith the acto.

　　D.Their views are probably more correct than the views of those who have attributed the comicand improvisational elements of the acto to earlier sources.

　　E.Their views betray a lack of familiarity with the commedia dell’arte.

　　The passage suggests that which of the following explains the characteristic use of amixture of Spanish, English, and Mexican American dialects in the works of MexicanAmerican playwrights?

　　A.Mexican American playwrights wish to include in their works elements drawn from thetraditions and history of pre-Hispanic America.

　　B.Mexican American playwrights try to guarantee that their works are fully understood by thebroadest possible audience, including those who may speak only one language.

　　C.Such a linguistic mix faithfully reflects the linguistic diversity of Mexican American culture, and is easily understood by most Mexican Americans.

　　D.Many Mexican American playwrights are quite familiar with both the Spanish-language andthe English-language theater traditions.

　　E.Many different languages are still spoken within the confines of the United States, althoughEnglish is still the most common first language of its citizens.

　　According to the passage, which of the following elements characteristic of the actoare also found in some agitprop theater pieces?

　　A.The use of masks

　　B.Comic improvisation

　　C.An outdoor setting

　　D.Minimal use of complex stage effects or props

　　E.An assortment of semiallegorical characters

　　Which of the following, if true, most strengthens the author’s argument concerningthe debt of the acto to the theater traditions of other periods and regions?

　　A.Many popular forms of theater rely heavily on improvisation.

　　B.Plays resembling the acto in structure were written in the 1970’s by West African playwrightswho are interested in dramatizing the richness of their own cultures.

　　C.The use of masks has, at one time or another, been characteristic of the theater traditionsof almost all cultures, even those most isolated from outside influences.

　　D.During a strike, it is common for union members to present musical skits dramatizing thevalues of solidarity and resistance.

　　E.Before 1965 Luis Valdez had attended many performances of traditional Mexican theatergroups touring the western United States.

　　正确答案:E C D A C E E

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