Simone
TPO托福模考软件相信是大家用的最多的工具了，对于托福成绩的提升是非常有帮助的。托福听力可以说是整个托福考试当中比较重要的一个部分，如何利用现有资料TPO模考软件来提升大家的托福成绩呢?今天小编在这里整理了TPO51托福听力conversation1文本+题目+答案解析来分享给大家，希望对大家托福听力备考有帮助。
TPO51托福听力Conversation1原文文本
针对戏剧课的师生问答
Questions About A Drama Class
Listen to a conversation between a student and his drama professor.
Professor: Hi Robert. So how's your paper going?
Robert: Pretty well. It's a lot of work, but I’m getting into it, so I don't mind. I’ll probably have some questions for you in the next week or so.
Professor: Okay. Glad to hear you’re progressing so well.
Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there not really being any original plays.
Professor: There’s no such thing as an original play. Yes. That's the direct quote from Charles Mee.
Robert: Mee… that's with two “e”s, right?
Professor: Yep. M-E-E. You'll probably be hearing a lot about him. He's becoming a pretty famous playwright.
Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there.
Professor: I’ll grant that he's overstating things somewhat. But the theater does have a long tradition of borrowing. Take Shakespeare. Like most writers of his day, he borrowed plots from other sources unabashedly. And the ancient Greeks, all the plays they wrote were based on earlier plays, poems and myths.
Robert: And borrowing applies to plays being written nowadays, too?
Professor: To some extent, yes. Mee, for example, he's made a career out of remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright.
Robert: Oh Full Circle… Wasn't that based on the Caucasian Chalk Circle?
Professor: That's right.
Robert: I remember hearing about that play from my acting coach.
Professor: Okay. Well, the Caucasian Chalk Circle was based on a play by yet another German playwright, someone who was fascinated by the ancient literatures of China, India and Persia, and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play.
Robert: So this Full Circle play, by Charles Mee, the one we're going to study, it's like the third or fourth remake. Wow… And we complain that Hollywood keeps making the same movies over and over again.
Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theater’s always a collaborative effort.
Robert: Well, yeah, the playwright, the director, the actors, people have to work together to produce a play.
Professor: Yes, of course. But Mee means historically. The dramatic literature of early periods is hugely influential in shaping later dramatic works.
Robert: So it's like when the playwright bases a play on a previous playwright's theme or message.It's like they're talking to each other, collaborating. Uh, just not at the same time right?
Professor: Exactly. And the second point Mee's trying to make, I think, is that it's legitimate to retell an old story in a new way, in a way that’s, uh… more in line with contemporary concerns. So when playwrights reinvent or update an earlier play, it shouldn't be construed as a lack of imagination or an artistic failure.
TPO51托福听力Conversation1题目及答案解析
Question 1 of 5
Why does the man go to see the professor?
A. To discuss a play he heard about
B. To get feedback on a paper he is writing
C. To ask about a point made in class
D. To get information about an acting coach
你的答案：
正确答案：C
题目解析：本题定位到原文：Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there're not really being any original plays. 此处原文的大意是：学生提到教授上节课说其实没有完全原创的戏剧。题干问的是男生为什么去见教授; 选项A的意思是为了谈论他听说的一部戏剧，选项B的意思是为了获得他写的论文的反馈，选项C的意思是为了询问老师在课上提出的观点，选项D的意思是为了得到代理教练的信息。只有选项C符合原文意思，其他三个选项都不合适。
Question 2 of 5
Why does the professor mention Shakespeare and the ancient Greek playwrights?
A. To support her statement that some original plays do exist
B. To show that playwrights historically have used themes from earlier plays
C. To point out that Shakespeare was greatly influenced by ancient Greek plays
D. To give examples of playwrights whose plays have inspired later playwrights
你的答案：
正确答案：B
题目解析：本题定位到原文：But the theater does have a long tradition of borrowing. Take Shakespeare. Like most writers of his day, he borrowed plots from other sources unabashedly. And the ancient Greeks, all the plays they wrote were based on earlier plays, poems and myths. 此处原文的大意是：戏剧拥有很长的借鉴历史，比如莎士比亚和古希腊的戏剧，都是基于前人作品的创作。题干问的是为什么教授要提到莎士比亚和古希腊剧作家。 选项A的意思是为了支持他的观点，即原创戏剧还是存在的，选项B的意思是为了表明历史上剧作家会使用早期戏剧的主题，选项C的意思是为了指出莎士比亚被古希腊的戏剧影响很深，选项D的意思是为了给出曾经给后面剧作家以灵感的剧作家的例子。只有选项B符合原文意思，其他三个选项都不合适。
Question 3 of 5
What does the professor imply about the play Full Circle by Charles Mee?
A. It served as the basis for a Hollywood film.
B. It is indirectly based on a Chinese play.
C. It has influenced a more recent play.
D. It uses themes from ancient Greek literature.
你的答案：
正确答案：B
题目解析：本题定位到原文：Professor: To some extent, yes. Mee, for example, he's made a career out of remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright. …… Okay. Well, the Caucasian Chalk Circle was based on a play by yet another German playwright, someone who was fascinated by the ancient literature as of China, India and Persia and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play. 此处原文的大意是：Mee的Full Circle直接基于一部德国戏剧，但是德国剧作家又对中国古文化着迷。题干问的是教授为什么提到Mee的Full Circle; 选项A的意思是它作为了好莱坞电影的基础，选项B的意思是它间接地基于中国戏剧，选项C的意思是它影响了一部近代电影，选项D的意思是它使用了古希腊文学的主题。只有选项B符合原文意思，其他三个选项都不合适。
Question 4 of 5
What two points does Charles Mee make about playwriting? Click on 2 answers
A. Rewriting old plays to deal with modern issues is a respectable practice.
B. Playwrights should preserve as much of the original as possible when updating an older play.
C. Older plays tend to show more imagination than newer plays.
D. In a way, modern playwrights work with playwrights of the past.
你的答案：
正确答案：AD
题目解析：本题定位到原文：Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theaters always a collaborative effort. …… Robert: So it's like when the playwright bases a play on a previous playwrights theme or message. It's like they're talking to each other collaborating. Uh, just not at the same time right? Professor: Exactly. And the second point Mee's trying to make, I think, is that it's legitimate to retell an old story in a new way, in a way that, uh… some more in line with contemporary concerns. So when playwrights reinvent or update an earlier play it shouldn't be construed as a lack of imagination or an artistic failure. 此处原文的大意是：学生和老师讨论戏剧中的借鉴问题，双方都认为对旧戏剧的借鉴其实类似于新老剧作家跨越时空的合作，并不能被算成是缺少想象力或者失败的艺术。题干问的是Mee对于戏剧创作的观点。 选项A的意思是对以前的戏剧的重写，使其能对应当代的问题，选项B的意思是剧作家应该在改编旧戏剧的时候保存尽可能多的原创，选项C的意思是旧时候的戏剧比新的戏剧倾向于去展示更多的想象力，选项D的意思是某种程度上，当代剧作家跟以前的剧作家一起合作。选项AD符合原文，另外两个则不符合。
Question 5 of 5
What does the man imply when he says this:
A. He thinks the professor misunderstood his point.
B. He has written some original plays himself.
C. He doubts that what Charles Mee said is true.
D. He has read some original plays by Charles Mee.
你的答案：
正确答案：C
题目解析：本题定位到原文：Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there. 此处原文的大意是： 学生怀疑老师前面说过的原创戏剧几乎不存在的事情。 题干问的是学生为什么要这样说。选项A的意思是他觉得教授错误理解了他的意思，选项B的意思是他自己写了一些原创戏剧，选项C的意思是他怀疑Mee说的内容的真实性，选项D的意思是他读过一些Mee的原创戏剧。选项C符合原文，其他三个选项均不符合。
TPO51托福听力Conversation2原文文本
Sounds In The Film
Listen to part of a lecture in a film studies class.
Professor: Nowadays we take sound in films for granted. I mean you still might see black and white films occasionally. But you'll hardly ever see silent films anymore.
So it's interesting to note that the use of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be used, that it would destroy the purity of cinema, somehow reverse all the progress that had been made in the art of cinema. Abby?
Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something?
Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then.
And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater.
Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common.
Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise.
So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always used to very good effect. First it was, you know, amazing to see somebody's mouth move at the same time you hear the words, or hear a door close when you see it closing on screen.
But that luster wears off, of course. And if you're a director, a filmmaker, what's the next step?
Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible?
Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking.
But they also predicted that there would be a problem that sound would be misused and, boy, was it ever.Because the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.”
So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they used for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk.
So, remedy? Well what was proposed by a number of filmmakers and theorists was the creative expressive use of sound, what they generally called nonsynchronous sound.
Okay, synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen. And everything was recorded simultaneously, which… Well, since the sound technicians working on films often had experience with live radio that made sense to them. Recording the sound separately and adding it in afterward? Well, that idea was less obvious.
Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is…
Abby: The sound doesn't match the picture?
Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible.
Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous.
So, that doesn't seem so radical, does it? But again, those early producers didn't think their audiences could keep up with this.
Abby: Excuse me, but did you say earlier that some filmmakers actually advocated not using sound at all?
Professor: Well, yes. But that was a bit of an exaggeration, I guess. What I meant to say was that some filmmakers thought that the way the film sound was actually used was setting the art of filmmaking back.But everyone agreed that sounds solved some very difficult issues and offered potentially exciting tools.
TPO51托福听力Conversation2题目
Question 1 of 5
What is the lecture mainly about?
A. The influence of theater on early sound films
B. Conflicting views on uses of sound during the early days of sound films
C. The great progress in cinema after the development of sound
D. Viewer reactions to early sound films
Question 2 of 5
According to the professor, what types of sound were used in silent film theaters? Click on 3 answers
A. Live music performed in the theater
B. Sound effects created in the theater
C. Recorded sound tracks played with the film
D. Live narration during the film
E. Musical entertainment offered before the film
Question 3 of 5
What is the professor's attitude toward early movie producers?
A. He is critical of their influence on films.
B. He thinks they had little influence on films.
C. He thinks they understood what audiences wanted.
D. He acknowledges that they made progress possible.
Question 4 of 5
According to the professor, what was characteristic of sound films in the 1920s?
A. Dialogues between characters were kept to a minimum.
B. Many films were closely based on theater plays.
C. Musical sound tracks were added to most films.
D. Sounds were recorded separately and added to films later.
Question 5 of 5
What is an example of synchronous sound in a film?
A. A character hearing a train that is not visible
B. A past conversation being replayed in a character's mind
C. A character playing guitar and singing on screen
D. A song playing at the end of a film as credits appear on the screen
TPO51托福听力Conversation2答案
正确答案：B
题目解析：本题定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此处原文的大意是：我们不妨来说说声音最开始应用的时候是怎样有争议的。 题干问的是这个讲座的大意是什么。选项A的意思是电影院对于早期有声电影的影响，选项B的意思是早期有声电影的声音使用中的争论，选项C的意思是在声音发展之后电影的巨大进步，选项D的意思是观看者对于早期有声电影的反应。只有选项B符合原文，其余三个选项都不合适。
正确答案：ABD
题目解析：本题定位到原文：And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. ...... Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. ...... Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action. 此处原文的大意是： 1. 以前的电影不是不需要声音，而是技术没有发展到可以加进声音的程度，而且当时还有现场演奏; 2. 剧院里已经使用了很好声音效果很长时间了; 3. 电影播放现场会有配音演员现场发声;题干问的是默片剧院会使用怎样的声音。 选项A的意思是现场音乐演奏，选项B的意思是剧院里创造出来的音效，选项C的意思是录制好的声音，选项D的意思是电影里的现场旁白，选项E的意思是电影之前的音乐演出。选项ABD符合原文。其余两个则不符合。
正确答案：A
题目解析：本题定位到原文：an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. 此处原文的大意是：这一点很好地例证了当时绝多数情况下只顾挣钱的影片制作人，对自己的观众没信心，担心不这么做，观众就看不懂电影了。题干问的是教授对于早期电影制作人的态度。 选项A的意思是他对他们在电影上的影响持批判的态度，选项B的意思是他觉得他们没有影响电影，选项C的意思是他觉得他们能理解观众需要的东西，选项D的意思是他认为他们可能会有进步。只有选项A合适，其余三个选项均不符合原文。
正确答案：B
题目解析：本题定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此处原文的大意是：因此，20年代的电影基本上都是直接从舞台(也就是剧院)里成功的戏剧直接转换过来的。 题干问的是二十世纪二十年代有声电影的特征是什么。选项A的意思是角色之间的对话最少，选项B的意思是很多电影是紧紧基于戏剧的，选项C的意思是音乐被添加到了大多数电影里，选项D的意思是声音被单独录制然后后期加进电影里。选项B合适原文，其余三个选项均不合适。
正确答案：C
题目解析：本题定位到原文：Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. 此处原文的大意是：除非我们看到无线电或者管弦乐队，音乐就是“非同步声”。如果摄像机拍到的是听众，而不是演讲者，那就是“非同步声”。如果我们听到的不在屏幕上的背景音，那就是“非同步声”。题干问的是同步声的例子是哪一个。 选项A的意思是角色听到火车声但看不到火车，选项B的意思是过去的对话在角色脑海中重现，选项C的意思是角色弹吉他唱歌，选项D的意思是片尾曲。只有选项C符合原文，其余三个选项不符合。
