The Origins of Theatre

A) In seeking to describe the origins of theatre, one must rely primarily on speculation, since there is little concrete evidence on which to draw. The most widely accepted theory, championed by anthropologists in the late nineteenth and early twentieth century, envisions theatre as emerging out of myth and ritual. The process perceived by these anthropologists may be summarized briefly. During the early stages of its development, a society becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. Perceiving an apparent connection between certain actions performed by the group and the result it desires, the group repeats, refines and formalizes those actions into fixed ceremonies, or rituals.

B) Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a person becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group’s oral tradition and may even come to be acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theatre as an autonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.

C) Although origin in ritual has long been the most popular, it is by no means the only theory about how the theatre came into being. Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures. Thus, the recalling of an event (a hunt, a battle, or other feats) is elaborated through the narrator’s pantomime and impersonation and eventually through each role being assumed by a different person.

D) A closely related theory sees theatre as evolving out of dances that are primarily pantomimic, rhythmical or gymnastic, or from imitations of animal noises and sounds. Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.

E) In addition to exploring the possible antecedents of theatre, scholars have also theorized about the motives that led people to develop theatre. Why did theatre develop, and why was it valued after it ceased to fulfill the function of ritual? Most answers fall back on the theories about the human mind and basic human needs. One, set forth by Aristotle in the fourth century BC, sees humans as naturally imitative — as taking pleasure in imitating persons, things, and actions and in seeing such imitations. Another, advanced in the twentieth century, suggests that humans have a gift for fantasy, through which they seek to reshape reality into more satisfying forms than those encountered in daily life. Thus, fantasy or fiction (of which drama is one form) permits people to objectify their anxieties and fears, confront them, and fulfill their hopes in fiction if not fact. The theatre, then, is one tool whereby people define and understand their world or escape from unpleasant realities.

F) But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theatre. Therefore, additional explanations are needed. One necessary condition seems to be a somewhat detached view of human problems. For example, one sign of this condition is the appearance of the comic vision, since comedy requires sufficient detachment to view some deviations from social norms as ridiculous rather than as serious threats to the welfare of the entire group. Another condition that contributes to the development of autonomous theatre is the emergence of the aesthetic sense. For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them, nevertheless, they retained as parts of their oral tradition the myths that had grown up around the rites and admired them for their artistic qualities rather than for their religious usefulness.

G) Theatre is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of design and stagecraft are used to enhance the physicality, presence and immediacy of the experience. The specific place of the performance is also named by the word “theatre” as derived from the Ancient Greek word “théatron”, “a place for viewing”, itself from “theáomai”, “to see”, “to watch”, “to observe”.

H) Modern Western theatre derives in large measure from ancient Greek drama, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre scholar Patrice Pavis defines theatricality, theatrical language, stage writing, and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts, literature, and the arts in general.

I) Theatre today includes performances of plays and musicals. Although it can be defined broadly to include opera and ballet, those art forms are outside the scope of this article. Western theatre developed and expanded considerably under the Romans. The Roman historian Livy wrote that the Romans first experienced theatre in the 4th century BCE, with a performance by Etruscan actors. The theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, and acrobatics, to the staging of Plautus’s broadly appealing situation comedies, to the high-style, verbally elaborate tragedies of Seneca.

请输入大写字母。

   1    Because we can not find a lot of concrete evidence, one mus trely mainly on thinking, in order to find the origins of theater.

   2   Since there has been a long period from the beginning of theatre, which today includes performances of plays and musicals.

   3    In the old time, there were a lot of rituals from which the myths may then grow up and develop.

   4    Technical terminology, classification into genres, and themes, stock characters, and plot elements are the bases on which the modern western theatre is built.

   5    Since there are different groups of idea, the origin in ritual is by no means the only theory about how the theatre came into being.

   6   According to the Ancient Greek, the word “theatre” means a place for viewing, a place to watch the program.

   7    Motivation for elaborating the activities is admiration for the performer’s skill, virtuosity, and grace.

   8    The theatre includes not only the human imitative instinct but also a penchant for fantasy to become self-sufficient.

   9    According to Aristotle, all human beings share the same imitative instinct, which is taking pleasure in imitating persons.

   10    Some rites are abandoned by people in the early society because the members don’t think the rites have a close relationship with their expectation.

36. A）同义替换题。由题干中的concrete evidence，find the origins of Theatre，定位到A段第一句In seeking to describe the origins of Theatre, one must rely primarily on speculation, since there is little concrete evidence on which to draw. 都表达了“必须主要依靠思考，才能找到戏剧的起源”的含义，其中primarily和mainly，speculation和thinking，seek和find都属于同义替换。

37. I）原文匹配题。由题干中的performances of plays and musicals，定位到I段的第一句Theatre today includes performances of plays and musicals. 都表达了“现代的戏剧包括戏剧和音乐剧的表演”的含义，其中定语从句中的which指代的就是theatre。

38. B）原文匹配题。由题干中的rituals，myths，grow up，定位到B段的第一句Stories (myths) may then grow up around a ritual. 都表达了“神话从这些仪式中成长和发展”的含义。

39. H）原文匹配题。由题干中的technical terminology，classification into genres，themes，stock characters，plot elements，modern western theatre，定位到H段第一句Modern Western theatre derives in large measure from ancient Greek drama, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. 都解释了现代西方戏剧的基础元素。

40. C）原文匹配题。由题干中的origin in ritual，by no means the only theory about how the Theatre came into being，定位到C段第一句Although origin in ritual has long been the most popular, it is by no means the only theory about how the Theatre came into being. 都表达了“关于戏剧是如何产生的，仪式的起源绝不是唯一的理论”的含义。

41. G）原文匹配题。由题干中的the Ancient Greek，the word “theatre”，a place for viewing，定位到G段最后一句The specific place of the performance is also named by the word‘theatre’as derived from the Ancient Greek word ‘théatron’, ‘a place for viewing’. 都表达了“‘theatre’这个词的演变”，这里需要对大写字母进行定位，同时，要区分theatre的两种含义。

42. D）原文匹配题。由题干中的admiration，the performer’s skill, virtuosity, and grace，motivation for elaborating the activities，定位到D段最后一句Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances. 都表达了“精心设计这些活动的动机，是对表演者的技巧、精湛技艺和优雅的赞赏”的含义，这里需要把短语放在一起当做检索词。

43. F）句式转换题。由题干中的the human imitative instinct，a penchant for fantasy，定位到F段第一句But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous Theatre. 都表达了“单独的模仿本能或是幻想偏好都无法发展成真正独立的戏剧”的含义，其中neither...nor句型转换成了not only...but also句型，且self-sufficient和itself leads to an autonomous属于同义替换。

44. E）原文匹配题。由题干中的Aristotle，taking pleasure in imitating persons，定位到E段第四句One, set forth by Aristotle in the fourth century BC, sees humans as naturally imitative—as taking pleasure in imitating persons. 都表达了“亚里士多德认为人类有一种模仿的天性，可以从模仿中感受乐趣”的含义。

45. F）同义替换题。由题干中的early society，定位到F段最后一句For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them. 都表达了“有些早期部落因为觉得仪式和所期望的福祉没有必然的联系而逐渐放弃了之前的仪式”，其中have a close relationship with their expectation和essential to their well-being属于同义替换。