A night out at the opera to see an adaptation of an obscure 17th-century Eng

游客2023-08-29 46

问题 A night out at the opera to see an adaptation of an obscure 17th-century English play may sound like an expensive nap. But what if audience members were handed Venetian masks and invited to wander around the theater as the action unfolded? That’s exactly what the London-based theater company Punchdrunk and the English National Opera have done with The Duchess of Malfi, which opened July 13 in an empty office complex outside the city. With dancers, opera singers, and musicians roving throughout the three-story building, the audience is turned loose to explore an elaborate set that includes Victorian sitting rooms, rustic teahouses — which offer actual cocktails — a ghostly forest, and macabre(恐怖的)offices. Along the way, viewers stumble upon random scenes, which they must piece together before everyone gathers in a warehouse for the grand finale.

The show, which immediately sold out, is just London’s latest example of immersive theater, a popular new genre that blends high drama with haunted-house theatrics in a strange mashup of acting, performance art, and choose-your-own-adventure storytelling. "It’s a combination of spectacle and intimacy, " says Felix Barrett, Punchdrunk’s artistic director, who believes the hunger for deeper, more personalized theater experiences reflects a backlash against the shallow immediacy of today’s Internet culture. "Some people have gotten lazy. And The Duchess of Malfi is something that, really, you have to work for. It’s a theatrical puzzle the audience needs to solve themselves. " For David Jubb, the artistic director at London’s Battersea Arts Centre, who has worked closely with Punchdrunk on past productions, having participants construct their own narrative is part of the "democratization" of the art form. "Too often, theater is something where you sit, and could happen if you were there or not, " he says. "It’s an experience that needs to catch up with the times. "
As with any democracy, participation is key, which is why Jubb is staging a One-on-One Festival this month showcasing a variety of short works performed for one viewer at a time. In most of them, all that’s required is a good-natured willingness to play along. For example, in Rotating in a Room of Images, by the group Lundahl & Seitl, audience members wear headphones while a whispering voice and delicate hands guide them alone through dark rooms, past haunting scenes resembling Dutch Renaissance paintings. Immersive moments are also making their way into more standard fare. Some of the best are the least expected. At a staging of La Boheme at the Cock Tavern Theatre in North London earlier this year, ticketholders filed down to the pub at intermission only to be surprised by a song-and-dance routine performed by actors pretending to be patrons sipping their beers.
Encouraging audience participation has its risks. Blood has even been spilled. During a performance of Money — a piece by the theater company Shunt that takes place on a dystopian(反乌托邦的). machinelike stage set — an overzealous audience member head-butted one of the actors midscene. Rule No. 1 in immersive theatergoing: get your mask at the door, but bring your own helmet. [br] Which of the following can be the best title of the passage?

选项 A、Immersing Oneself in the Drama
B、Going to the New-style Theater
C、Theaters Add More Fun
D、Two Sides of Immersive Theater

答案 A

解析主旨大意题。全文都在介绍与浸入式戏剧有关的内容，[A]项中的immerse具有双关意义，既呼应文中讲述的immersive theater，又表现了人们对于浸入式戏剧的喜爱，故为最合适的题目。新式剧院范围太大，不够准确，文章只介绍了浸入式剧院，故排除[B]项。[C]项剧院增加了乐趣没有具体体现出文章的主题，故排除。文章主要介绍的是浸入式剧院的好的方面，最后一段只是说观众参与可能会导致意外，但并不是对浸入式剧院的否定，[D]项不能准确的表达文章主题，故排除。

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A night out at the opera to see an adaptation of an obscure 17th-century Eng

【S1】[br]【S2】A、obscureB、entireC、distinctD、visibleC词义辨析。根据语义判断，第三句顺承了第二句的意思，

【B1】[br]【B7】A、vagueB、obscureC、subtleD、uncertainC本句意思是“眼睛的许多动作是如此微妙以至于我们只是在