TF阅读真题第790篇Theatrical Staging

Theatrical Staging

Staging, the most obvious function of a play’s director essentially involves positioning the actors on the stage or set and moving them about in a theatrically effective manner. The basic architecture of staging is called “blocking,”which refers to the timing and placement of a character’s entrances, exits, rises, stage crosses, and other major movements of all sorts. The blocking pattern that results from the interaction of characters in motion provides the framework of an overall staging; it is also the physical foundation of an actor’s performance-many actors have difficulty memorizing their lines until they know the blocking that will be associated with them.

The director may block a play either by preplanning the movements(“preblocking”)on paper or by allowing the actors to improvise movement (or create it on their own without preparation) on a rehearsal set and then settling on a blocking pattern sometime before the first performance before an audience. Often a combination of these methods is employed, with a director favoring one method or the other depending on the specific demands of the play, the rehearsal schedule, rapport with the acting company, or the extent of the director’s own preparation. Complex or stylized plays and settings and short rehearsal periods usually dictate a great deal of preblocking; simple domestic plays and experienced acting ensembles are often accorded more room for improvisation. Each method can produce highly commendable results in the right hands and at the right time. Both, however, can present serious problems if misapplied or ineptly handled.

For the most part, the blocking of a play is hidden in the play’s action; it tends to be effective insofar as it is not noticed and insofar as it simply brings other values into play and focuses the audience’s attention on significant aspects of the drama. By physically enhancing the dramatic action and lending variety to the play’s visual presentation, a good blocking pattern can play a large role in creating theatrical life and excitement. But beyond this, there are moments when inspired blocking choices can create astonishing theatrical effects-effects that are not hidden at all but are so surprising and shocking that they compel intense consideration of specific dramatic moments and their implications. Such a dramatic effect was achieved, for example, by director Peter Brook in his celebrated 1962 production of King Lear, when Paul Scofield, as Lear, suddenly rose to his feet and, with one violent sweep of his arm, overturned the huge oak dining table at which he had been seated, sending pewter mugs crashing to the floor as he raged at his daughter Goneril’s treachery. This stunning action led to a reevaluation of the characters of both Lear and Goneril and of the relationship between this tempestuous and sporadically vulgar father and his socially ambitious daughter.

Some plays require specialized blocking for certain scenes-for duels, for example, or dances. Such scenes demand more than basic blocking and are frequently directed by specialists, such as dueling masters or choreographers, working with the director. These specialized situations are not at all rare in the theater- almost every Western play that was written before the nineteenth century includes a duel or a dance or both-and the ability to stage an effective fight scene or choreographic interlude(or at least to supervise the staging of one)is certainly a requisite for any director who aspires to work beyond the strictly realistic theater.

Business” is a theater term that refers to the small-scale movements a character performs within the larger pattern of entrances and crosses and exits. Mixing a drink, answering a telephone, adjusting a tie, shaking hands, fiddling with a pencil winking an eye, and drumming on a tabletop are all “bits of business”that can lend a character credibility, depth, and fascination. Much of the stage business in a performance is originated by the actor-usually spontaneously over the course of rehearsal-although it may be stimulated by a directorial suggestion or request. The director ultimately must select from among the rehearsal inventions and determine what business will become a part of the finished performance; when this determination is made, bits of business become part of the blocking plan.

According to paragraph 2， in which TWO of the following circumstances are directors most likely to do a lot of preblocking? To receive credit, you must select TWO answer choices.

AThe acting company is known to have good rapport with audiences.

BThe actors have a limited amount of time for rehearsal

CThe performance is very stylized and complex

DThe acting ensembles are highly experienced.

According to paragraph 2， which TWO of the following are methods of blocking a play before the first performance? To receive credit, you must select TWO answer choices.

ABefore the rehearsals start, the director writes down what movements he or she wants the actors to make.

BThe director decides what the blocking will be by watching how the actors move as they rehearse their scenes.

CThe director provides a blocking pattern for some actors, while making no specific decision about how other actors move.

DThe director creates different blocking schemes for each rehearsal and then combines them.

The word “enhancing”in the passage is closest in meaning to

Aexpressing

Badding to

Cshowing

Dputting together

Based on the information in paragraph 3， which of the following would suggest that there is a flaw in a play’s blocking pattern?

AThe blocking pattern remains mostly unnoticed by the audience throughout the play.

BThe blocking pattern physically enhances the dramatic action of the play in an unusual way.

CThe blocking pattern repeatedly attracts viewers’ attention to small details throughout the play.

DThe blocking pattern is particularly effective in focusing the audience’s attention on important aspects of the play.

In paragraph 3， why does the author describe the overturning of a table in King Lear?

ATo show how blocking choices can force viewers to consider the implications of events in the play

BTo provide an example of hiding the blocking of a play in the play’s action

CTo emphasize how unusual the relationship is between Lear and his daughter

DTo support the claim that Lear is a tempestuous and vulgar father

Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

ASpecialized situations are not at all rare in the theater, especially in strictly realistic plays written before the nineteenth century.

BAny director who aspires to work beyond the strictly realistic theater has to direct a play written before the nineteenth century.

CEven strictly realistic Western plays written before the nineteenth century almost always included a duel or a dance or both

DSpecialized situations like duels and dances are common in plays, and most directors need to be able to stage or supervise them.

According to paragraph 4， how are scenes like duels and dances usually blocked?

AThe director uses very simple blocking for the scenes

BThe actors are required to be trained beforehand by specialists such as dueling masters or choreographers

CThe director is often helped by experts who direct the scenes.

DThe director hires actors who are specialists in the particular type of scene.

According to paragraph 5， all of the following statements about “business”in the theater are true EXCEPT:

AIt can include movements like entrances, crosses, and exits.

BIt helps characters appear believable, deep, or interesting.

CMost of it is unplanned by the director but largely developed by actors during rehearsals.

DSome of it eventually becomes part of the play’s blocking.

[■]Business” is a theater term that refers to the small-scale movements a character performs within the larger pattern of entrances and crosses and exits. [■]Mixing a drink, answering a telephone, adjusting a tie, shaking hands, fiddling with a pencil winking an eye, and drumming on a tabletop are all “bits of business”that can lend a character credibility, depth, and fascination.[■] Much of the stage business in a performance is originated by the actor-usually spontaneously over the course of rehearsal-although it may be stimulated by a directorial suggestion or request. [■]The director ultimately must select from among the rehearsal inventions and determine what business will become a part of the finished performance; when this determination is made, bits of business become part of the blocking plan.

Look at the four squaresthat indicate where the following sentence could be added to the passage

Many movements that are experimented with in rehearsal are never used during the final show.

Where would the sentence best fit？Click on a square sentence to the passage.

Effective play staging is important for the quality of the performance.

ABlocking includes the timing and exact locations of characters movements like entrances, exits, and stage crosses, and it can be preplanned or improvised during rehearsal

BBlocking is usually unnoticed by the audience but can sometimes be used for dramatic effect, and some scenes require specialized blocking.

CA blocking plan may not be finalized so that it can be changed during production if the director feels that the audience is not responding well.

DMore complex or stylized plays may use a blocking pattern with regularly repeated movements to focus the audience’s attention and to help actors remember their lines

ESmall movements during a play, such as pouring a drink or shaking hands, are chosen from actions improvised by the actors during rehearsals

FDirectors of realistic plays pay particularly close attention to actors small-scale movements when determining what to include in the play’s blocking plan.

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