There are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world, even the seasonal changes, as unpredictable, and they sought through various means, to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.

Those who believed that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances, and when the entire community did not participate, a clear division was usually made between the "acting area" and the "auditorium". In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect-success in hunt or battle, the coming rain, the revival of the Sun-as an actor might. Eventually such dramatic representations were separated from religious activities.

Another theory traces the theater’s origin from the human interest in storytelling. According to this view, tales (about the hunt, war, or other feats) are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.

1. What does the passage mainly discuss?

A. The origins of theater. B. The role of ritual in modern dance.

C. The importance of storytelling. D. The variety of early religious activities.

2. What aspect of drama does the author discuss in the first paragraph??

A. The reason drama is often unpredictable.

B. The seasons in which dramas were performed.

C. The connection between myths and dramatic plots.

D. The importance of costumes in early drama.

3. Which of the following is NOT mentioned as a common element of theater and ritual?

A. Dance.?B. Costumes.?C. Music.?D. Magic.

4. According to the passage, what is the main difference between ritual and drama?

A. Ritual uses music whereas drama does not.

B. Ritual is shorter than drama.

C. Ritual requires fewer performers than drama.

D. Ritual has a religious purpose and drama does not.

5. The passage supports which of the following statements?

A. No one really knows how the theater began.

B. Myths are no longer represented dramatically.

C. Storytelling is an important part of dance.

D. Dramatic activities require the use of costumes.

答案解析：

1. A) 這是一道主旨題。根據(jù)文章第一句“There are many theories about the beginning of drama in ancient Greece.”及第三段第一句“Another theory traces the theater’s origin from the human interest in storytelling.”可知本文是討論戲劇的起源的。故選項(xiàng)A為正確答案。

2. C) 這也是一道主旨題。本題可用排除法來(lái)做。通過(guò)閱讀第一段，首先很明顯可將選項(xiàng)B和D排除;選項(xiàng)A(戲劇無(wú)法預(yù)測(cè)的原因)也不正確，故只有選項(xiàng)C(神話與戲劇情節(jié)的聯(lián)系)為正確答案。

3. D) 這是一道細(xì)節(jié)題。在做本題時(shí)要注意題干中的NOT。通過(guò)閱讀文章很明顯選項(xiàng)D Magic 為正確答案。

4. D) 根據(jù)文章第二段可知盡管有人說(shuō)戲劇起源于宗教儀式，但是它們還是有區(qū)別的，例如：戲劇演出“performances”要有合適的演出地點(diǎn);戲劇表演時(shí)，“表演區(qū)”(“acting area”)和“觀看區(qū)”( “auditorium”)有明顯的分界線，另外表演戲劇還要有演員。而宗教儀式在進(jìn)行過(guò)程中為了避免犯錯(cuò)誤都是由宗教領(lǐng)袖來(lái)進(jìn)行，由他們戴上面具，穿上服裝來(lái)模仿其他人，動(dòng)物或超自然的東西，做出一些動(dòng)作以求達(dá)到一些目的，例如：在打獵或戰(zhàn)斗中取得勝利，祈雨等。由此可判斷宗教儀式都有一定的宗教目的，而戲劇卻沒(méi)有，這正符合選項(xiàng)D。

5. A) 通過(guò)閱讀文章可知，選項(xiàng)A 為正確答案。

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