Question

Books, Films and Plays

The novelist’s medium is the written word, one might almost say the printed word. Typically the novel is consumed by a silent, individual reader, who may be anywhere at the time. The paperback novel is still the cheapest, most portable and adaptable form of narrative entertainment. It is limited to a single channel of information---writing. The narrative can go, effortlessly, anywhere: into space, people’s head, palaces, prisons and pyramids, without any consideration of cost or practical possibility. In determining the shape and content of his narrative, the writer is restricted by nothing except purely artistic criteria. The novelist keeps absolute control over his text until it is published and received by the audience. He may be advised by his editor to revise his text, but if the writer refused to meet this condition no one would be surprised. It is not unknown for a well-established novelist to deliver his or her manuscript(手稿) and expect the publisher to print it exactly as written.

However, not even the most well-established playwright or screenplay writer would submit a script and expect it to be performed without any rewriting. This is because plays and motion pictures are cooperative forms of narrative, using more than one channel of communication.

The production of a stage play involves, as well as the words of the author, the physical presence of the actors, their voices and gestures, the “set” and possibly music. Although the script is the essential basis of both stage play and film, it is a basis for subsequent revision negotiated between the writer and the other creative people involved. They are given “approval” of the choice of director and actors and have the right to attend rehearsals(排演), during which period they may undertake more rewriting work. In the case of the screenplay, the writer may have little or no control over the final form of his work. Contracts for the production of plays protect the rights of authors in this respect.

In film or television work, on the other hand, the screenplay writer has no contractual right to this degree of consultation. While the script is going through its various drafts, the writer is in the driver’s seat, although sometimes receiving criticism from the producer and the director. But once the production is under way, artistic control over the project tends to pass to the director. This is a fact overlooked by most journalistic critics of television drama, who tend(unlike film critics) to give all the credit or blame for success or failure of a production to the writer and actors, ignoring the contribution, for good or ill, of the director.

1.Where might you find the passage?

A. In a textbook.

B. In a movie magazine.

C. In a travelling brochure.

D. In a shopping guide.

2.Which of these subtitles would be most appropriate?

A. Why does the future look good for writers of books, plays and films?

B. What do audiences want from these three forms of entertainment?

C. How do these forms of media compare for their producers?

D. What benefit can we get from these forms of media?

3.Why can the novelist expect the publisher to print the manuscript exactly as written?

A. Because the novelist keeps absolute control over his text.

B. Because the paperback novel is most portable and adaptable.

C. Because the novel is limited to a single channel of information---writing.

D. Because the novelist is seldom advised by editors to revise the text.

4.Which of the following statements is True according to the passage?

A. Playwrights envy the simplicity of the novelist’s work.

B. Experience in the theatre improves the work of screenplay writers.

C. Screenplay writers usually have the final say in how a TV drama will turn out.

D. Playwrights are frequently involved in revising their work.

5.What can be implied from the last sentence of the passage?

A. TV critics often blame the wrong people for the failure of a program.

B. The director is a determining factor in the future of a television drama.

C. Few people know that the screenplay writer is often criticized by the director.

D. It is urgent for the film critics to realize their mistakes.

Answer

1.A

2.C

3.C

4.D

5.A

【解析】

试题分析：文章讲述了小说家的文字是最适合便携和叙事的娱乐形式，而有时候也会因为需要而做出改变，又或是被表演出来，其过程又有许多人参与，而这些人也是表现形式的组成部分之一。

1.A推理判断题。根据文章中的介绍，可知此类文章应该出现在教科书上。故选A。

2.C细节理解题。从文章的描述看，每一个段落都在描述一个表现形式和产生它的人，而其中又有对这些人的描写、比较。故选C。

3.C细节理解题。根据第一段It is not unknown for a well-established novelist to deliver his or her manuscript(手稿) and expect the publisher to print it exactly as written.和It is limited to a single channel of information---writing. 故选C。

4.D推理判断题。根据第一段He may be advised by his editor to revise his text和倒数第二段Although the script is the essential basis of both stage play and film, it is a basis for subsequent revision negotiated between the writer and the other creative people involved. They are given “approval” of the choice of director and actors and have the right to attend rehearsals(排演), during which period they may undertake more rewriting work. 的描写说明剧作家也会参与修订剧本的过程。故选D。

5.

考点：考查科普类阅读

【名师点睛】

科普类的阅读理解一般为介绍科学知识、社会知识的文章。阅读这类短文时，要以文章事实为中心进行思考。

本篇文章较难理解， 个别题目要根据文章中的事实答题。而不能根据自己的理解臆断。

答题技巧：

1.加强整体意识，把握文章的主要内容。给重要的句子和关键词做上记号，特别是各段中心句，可以更快捷的答题。本篇文章较难理解，但是从文章的段落描述也不难找到相关答案。考生在阅读时要注意对文章关键句以及段落关键句的寻找。

2.审清题干，弄清楚问题的要点，从文章对应处寻找答案。比如第63题：细节理解题。根据第一段It is not unknown for a well-established novelist to deliver his or her manuscript(手稿) and expect the publisher to print it exactly as written.和It is limited to a single channel of information---writing. 故选C。

3.生词模糊：

遇到生词；如无关答题，直接跳过；涉及答题，则根据语境、构词法等猜词。