TPO托福模考軟件相信是大家用的最多的工具了，對于托福成績的提升是非常有幫助的。托福聽力可以說是整個(gè)托?？荚嚠?dāng)中比較重要的一個(gè)部分，如何利用現(xiàn)有資料TPO?？架浖硖嵘蠹业耐懈３煽兡?今天小編在這里整理了TPO51托福聽力conversation1文本+題目+答案解析來分享給大家，希望對大家托福聽力備考有幫助。

　　TPO51托福聽力Conversation1原文文本

　　針對戲劇課的師生問答

　　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托福聽力Conversation1題目及答案解析

　　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：

　　正確答案：C

　　題目解析：本題定位到原文：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. 此處原文的大意是：學(xué)生提到教授上節(jié)課說其實(shí)沒有完全原創(chuàng)的戲劇。題干問的是男生為什么去見教授; 選項(xiàng)A的意思是為了談?wù)撍犝f的一部戲劇，選項(xiàng)B的意思是為了獲得他寫的論文的反饋，選項(xiàng)C的意思是為了詢問老師在課上提出的觀點(diǎn)，選項(xiàng)D的意思是為了得到代理教練的信息。只有選項(xiàng)C符合原文意思，其他三個(gè)選項(xiàng)都不合適。

　　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：

　　正確答案：B

　　題目解析：本題定位到原文：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. 此處原文的大意是：戲劇擁有很長的借鑒歷史，比如莎士比亞和古希臘的戲劇，都是基于前人作品的創(chuàng)作。題干問的是為什么教授要提到莎士比亞和古希臘劇作家。 選項(xiàng)A的意思是為了支持他的觀點(diǎn)，即原創(chuàng)戲劇還是存在的，選項(xiàng)B的意思是為了表明歷史上劇作家會(huì)使用早期戲劇的主題，選項(xiàng)C的意思是為了指出莎士比亞被古希臘的戲劇影響很深，選項(xiàng)D的意思是為了給出曾經(jīng)給后面劇作家以靈感的劇作家的例子。只有選項(xiàng)B符合原文意思，其他三個(gè)選項(xiàng)都不合適。

　　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：

　　正確答案：B

　　題目解析：本題定位到原文：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. 此處原文的大意是：Mee的Full Circle直接基于一部德國戲劇，但是德國劇作家又對中國古文化著迷。題干問的是教授為什么提到Mee的Full Circle; 選項(xiàng)A的意思是它作為了好萊塢電影的基礎(chǔ)，選項(xiàng)B的意思是它間接地基于中國戲劇，選項(xiàng)C的意思是它影響了一部近代電影，選項(xiàng)D的意思是它使用了古希臘文學(xué)的主題。只有選項(xiàng)B符合原文意思，其他三個(gè)選項(xiàng)都不合適。

　　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：

　　正確答案：AD

　　題目解析：本題定位到原文：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. 此處原文的大意是：學(xué)生和老師討論戲劇中的借鑒問題，雙方都認(rèn)為對舊戲劇的借鑒其實(shí)類似于新老劇作家跨越時(shí)空的合作，并不能被算成是缺少想象力或者失敗的藝術(shù)。題干問的是Mee對于戲劇創(chuàng)作的觀點(diǎn)。 選項(xiàng)A的意思是對以前的戲劇的重寫，使其能對應(yīng)當(dāng)代的問題，選項(xiàng)B的意思是劇作家應(yīng)該在改編舊戲劇的時(shí)候保存盡可能多的原創(chuàng)，選項(xiàng)C的意思是舊時(shí)候的戲劇比新的戲劇傾向于去展示更多的想象力，選項(xiàng)D的意思是某種程度上，當(dāng)代劇作家跟以前的劇作家一起合作。選項(xiàng)AD符合原文，另外兩個(gè)則不符合。

　　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：

　　正確答案：C

　　題目解析：本題定位到原文：Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there. 此處原文的大意是： 學(xué)生懷疑老師前面說過的原創(chuàng)戲劇幾乎不存在的事情。 題干問的是學(xué)生為什么要這樣說。選項(xiàng)A的意思是他覺得教授錯(cuò)誤理解了他的意思，選項(xiàng)B的意思是他自己寫了一些原創(chuàng)戲劇，選項(xiàng)C的意思是他懷疑Mee說的內(nèi)容的真實(shí)性，選項(xiàng)D的意思是他讀過一些Mee的原創(chuàng)戲劇。選項(xiàng)C符合原文，其他三個(gè)選項(xiàng)均不符合。

　　TPO51托福聽力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托福聽力Conversation2題目

　　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托福聽力Conversation2答案

　　正確答案：B

　　題目解析：本題定位到原文：So it's interesting to note that the use of recorded sound was originally controversial. 此處原文的大意是：我們不妨來說說聲音最開始應(yīng)用的時(shí)候是怎樣有爭議的。 題干問的是這個(gè)講座的大意是什么。選項(xiàng)A的意思是電影院對于早期有聲電影的影響，選項(xiàng)B的意思是早期有聲電影的聲音使用中的爭論，選項(xiàng)C的意思是在聲音發(fā)展之后電影的巨大進(jìn)步，選項(xiàng)D的意思是觀看者對于早期有聲電影的反應(yīng)。只有選項(xiàng)B符合原文，其余三個(gè)選項(xiàng)都不合適。

　　正確答案：ABD

　　題目解析：本題定位到原文：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. 此處原文的大意是： 1. 以前的電影不是不需要聲音，而是技術(shù)沒有發(fā)展到可以加進(jìn)聲音的程度，而且當(dāng)時(shí)還有現(xiàn)場演奏; 2. 劇院里已經(jīng)使用了很好聲音效果很長時(shí)間了; 3. 電影播放現(xiàn)場會(huì)有配音演員現(xiàn)場發(fā)聲;題干問的是默片劇院會(huì)使用怎樣的聲音。 選項(xiàng)A的意思是現(xiàn)場音樂演奏，選項(xiàng)B的意思是劇院里創(chuàng)造出來的音效，選項(xiàng)C的意思是錄制好的聲音，選項(xiàng)D的意思是電影里的現(xiàn)場旁白，選項(xiàng)E的意思是電影之前的音樂演出。選項(xiàng)ABD符合原文。其余兩個(gè)則不符合。

　　正確答案：A

　　題目解析：本題定位到原文：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. 此處原文的大意是：這一點(diǎn)很好地例證了當(dāng)時(shí)絕多數(shù)情況下只顧掙錢的影片制作人，對自己的觀眾沒信心，擔(dān)心不這么做，觀眾就看不懂電影了。題干問的是教授對于早期電影制作人的態(tài)度。 選項(xiàng)A的意思是他對他們在電影上的影響持批判的態(tài)度，選項(xiàng)B的意思是他覺得他們沒有影響電影，選項(xiàng)C的意思是他覺得他們能理解觀眾需要的東西，選項(xiàng)D的意思是他認(rèn)為他們可能會(huì)有進(jìn)步。只有選項(xiàng)A合適，其余三個(gè)選項(xiàng)均不符合原文。

　　正確答案：B

　　題目解析：本題定位到原文：So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. 此處原文的大意是：因此，20年代的電影基本上都是直接從舞臺(tái)(也就是劇院)里成功的戲劇直接轉(zhuǎn)換過來的。 題干問的是二十世紀(jì)二十年代有聲電影的特征是什么。選項(xiàng)A的意思是角色之間的對話最少，選項(xiàng)B的意思是很多電影是緊緊基于戲劇的，選項(xiàng)C的意思是音樂被添加到了大多數(shù)電影里，選項(xiàng)D的意思是聲音被單獨(dú)錄制然后后期加進(jìn)電影里。選項(xiàng)B合適原文，其余三個(gè)選項(xiàng)均不合適。

　　正確答案：C

　　題目解析：本題定位到原文：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. 此處原文的大意是：除非我們看到無線電或者管弦樂隊(duì)，音樂就是“非同步聲”。如果攝像機(jī)拍到的是聽眾，而不是演講者，那就是“非同步聲”。如果我們聽到的不在屏幕上的背景音，那就是“非同步聲”。題干問的是同步聲的例子是哪一個(gè)。 選項(xiàng)A的意思是角色聽到火車聲但看不到火車，選項(xiàng)B的意思是過去的對話在角色腦海中重現(xiàn)，選項(xiàng)C的意思是角色彈吉他唱歌，選項(xiàng)D的意思是片尾曲。只有選項(xiàng)C符合原文，其余三個(gè)選項(xiàng)不符合。

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