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【细节理解三步法】
解题原则:对原文多处相关信息，进行转化或整合
解题步骤:
1.读题干，明确题干的关键词（圈画）和答题方向（what,why,how)
2.回文定位和题干关键词相关的近义词（比如说apple-fruit），反义词（比如说：like-hate）或者解释性信息（同意替换）
3.利用正确选项特点，确定答案(近义词替换原文信息，变换原文语态词性或词形，简化或概括原文，正话反说)（说白一点，就是一看就找到线索句，要么就是多个句子信息综合）
【黄金带练】
An essay not submitted in class on the due date will lose a lettergrade for each class period it is late.
在截止日期前未在课堂上提交的论文，每迟交一节课，将失去一个信级。
If it is not turned in by the 4th day after the due date, it will earna zero.
如果在截止日期后的第4天还没有上交，它将获得零分。
Daily assignments not completedduring class will get a zero.
上课期间未完成的日常作业将得零分。
Short writings missed as a result of an excused absence will be accepted.
因请假缺席而错过的短文将被接受。
Q: What will happen if you submit an essay one week after the due date
A. You will receive a zero.
B. You will lose a letter grade.
You will be given a test.
You will have to rewrite it.
第一步:画出题干关键词，翻译题干
:What will happen if you submit an essay one week after the due date
如果你在截止日期后一周提交论文会怎么样？
第二步:到文章中寻找定位句。
An essay not submitted in class on the due date will lose a letter grade for each class period it is late.
在截止日期前未在课堂上提交的论文，每迟交一节课，将失去一个信级。
第三步:锁定正确答案，翻译选项:（直接信息题）
A. You will receive a zero.你会得到零分。
B. You will lose a letter grade.你会被扣掉一个字母的分数。
You will be given a test.你将会有一个测验。
You will have to rewrite it.你得重写一遍文章
【模拟试炼】
TheLion King musical, a beast of a show captivating US audiences since 1997, hasbeen staged all around the world. Central to its success was Julie Taymor, the theatre, film and opera director and designer whose unique vision helped the musical spring into life on stage — proving that theatrical versions of Disneymovies could not only be hugely profitable, but could do so while beingartistically innovative in their own right. But when Disney initially approached her, Taymor hadn't actually seen The Lion King. “I thought, well, why not, let's go look at the movie,” she recalls. “And I was really taken.” The challenge of adapting an epic, wide-screen story excited her: how, she recalls wondering, would you put hundreds of Africangrassland animals on stage The answer was by embracing a distinctly theatrical approach: masks and puppetry (木偶). “I went through every animal: okay, we've got a giraffe. I'll put the puppet neck on top of the head of the dancer,but you' re going to see the dancer's face…” remembers Taymor. Her designs
allowed the audience to see the mechanics of how each character is made. “You can see Simba's emotion on the actor's face, while a mask on top of his head reminds you that this is, in fact, a lion. There is no attempt to hide the human being behind the masks or inside the puppet,” she says, a technique she called the “double event”.“I wanted to do what theatre does best,”
recalls Taymor. “Film hides the strings: we know it's fake, but we' re pretending that it's really there. Whereas in the theatre, we will enjoy seeing a little puppet of a boat, and a big ocean of silk… The audience is not played down to — they' re brought into the game.”
The show was a hit — and a new kind of musical was born.
What was key to the success of The Lion King musical
Disney's promotion plan.
Taymor's creative genius.
Disney's movie technique.
Taymor's public reputation.
What challenge did Taymor face in adapting The Lion King
How to decorate the stage.
How to train various animals.
How to present the characters.
How to mirror the original movie.
What can we learn about the “double event”
It provided performers with confidence.
B. It reduced the danger of animal presence.
C. It helped to distinguish humans from animals.
D. It combined animal imagery with actor emotions.
27.What does Taymor appreciate most about theatre
A. Its high-tech stage design.
B. Its ever-changing story line.
C. Its open and engaging nature.
D. Its loyal and appreciative audience
【文本解析】
TheLion King musical, a beast of a show captivating US audiences since 1997, has been staged all around the world.
音乐剧《狮子王》自1997年以来一直在世界各地上演，吸引着美国观众。
Central to its success was Julie Taymor, the theatre, film and opera director and designer whose unique vision helped the musical spring into life on stage — proving that theatrical versions of Disneymovies could not only be hugely profitable, but could do so while beingartistically innovative in their own right.
朱莉·泰莫（Julie Taymor）是该剧成功的核心人物，她是戏剧、电影和歌剧的导演和设计师，她独特的眼光帮助音乐剧在舞台上焕发了活力——证明了迪士尼电影的剧场版不仅可以获得巨大的利润，而且可以在自身的艺术创新中获得巨大的利润。
But when Disney initially approached her, Taymor hadn't actually seen The Lion King. “I thought, well, why not, let's go look at the movie,” she recalls. “And I was really taken.”
但当迪士尼最初接洽她时，泰莫还没有看过《狮子王》。“我想，好吧，为什么不呢，我们去看电影吧，”她回忆道。“我真的被迷住了。”
The challenge of adapting an epic, wide-screen story excited her: how, she recalls wondering, would you put hundreds of African grassland animals on stage
改编一个史诗般的宽银幕故事的挑战让她兴奋不已：她回忆说，当时她在想，如何把数百只非洲草原动物搬上舞台？
The answer was by embracing a distinctly theatrical approach: masks and puppetry (木偶). “I went through every animal: okay, we've got a giraffe. I'll put the puppet neck on top of the head of the dancer,but you' re going to see the dancer's face…” remembers Taymor.
答案是采用一种独特的戏剧手法：面具和木偶戏。“我把每一种动物都找了一遍：好吧，我们找到了一只长颈鹿。我会把木偶的脖子放在舞者的头上，但你会看到舞者的脸……”泰莫回忆道。
Her designs allowed the audience to see the mechanics of how each character is made.
她的设计让观众看到了每个角色的制作机制。
“You can see Simba's emotion on the actor's face, while a mask on top of his head reminds you that this is, in fact, a lion.
“你可以从演员的脸上看到辛巴的情绪，而他头上的面具提醒你这实际上是一头狮子。
There is no attempt to hide the human being behind the masks or inside the puppet,” she says, a technique she called the “double event”.“I wanted to do what theatre does best,”recalls Taymor.
没有人试图把人藏在面具后面或木偶里面，”她说，这种技术被她称为“双重事件”。“我想做剧院最擅长的事情，”泰莫回忆道。
“Film hides the strings: we know it's fake, but we' re pretending that it's really there.
“电影隐藏了情节：我们知道它是假的，但我们假装它真的存在。
Whereas in the theatre, we will enjoy seeing a little puppet of a boat, and a big ocean of silk… The audience is not played down to — they' re brought into the game.”
而在剧院里，我们会喜欢看到一只小船的小木偶和一大片丝绸……观众并没有被贬低，他们被带入了游戏。”
The show was a hit — and a new kind of musical was born.
这场演出大获成功，一种新的音乐剧就此诞生。
【题型分析—直接信息题】
24.What was key to the success of The Lion King musical
音乐剧《狮子王》成功的关键是什么
A.Disney's promotion plan. 迪士尼的促销计划。
B.Taymor's creative genius.泰莫的创意天才。
C.Disney's movie technique. 迪士尼的电影技巧。
D.Taymor's public reputation.泰莫的公众声誉。
TheLion King musical, a beast of a show captivating US audiences since 1997, has been staged all around the world.
音乐剧《狮子王》自1997年以来一直在世界各地上演，吸引着美国观众。
Central to its success was Julie Taymor, the theatre, film and opera director and designer whose unique vision helped the musical spring into life on stage — proving that theatrical versions of Disneymovies could not only be hugely profitable, but could do so while beingartistically innovative in their own right.
朱莉·泰莫（Julie Taymor）是该剧成功的核心人物，她是戏剧、电影和歌剧的导演和设计师，她独特的眼光帮助音乐剧在舞台上焕发了活力——证明了迪士尼电影的剧场版不仅可以获得巨大的利润，而且可以在自身的艺术创新中获得巨大的利润。
【真题还原—2024年江苏一模】
What did the author notice when the school was over
放学后作者注意到了什么
It was hard to find a parking space.很难找到一个停车位。
Children were picked up in groups.孩子们被分成几组接走。
Her daughter was absent from class.她女儿没来上课。
She arrived much earlier than others.她比别人到得早得多。
I was surprised to find the congestion (拥塞) outside Layla’s primary school was unusually absent—I’d driven right into a parking space, and I was on time, for once. The school bell rang, and in a moment a stream of children made their way through the gate. But something was different—the kids were piling into vehicles in threes and fours.
我惊讶地发现，蕾拉小学外面的拥堵情况罕见地少见——我正好把车开进了一个停车位，这次我准时到了。学校的铃响了，不一会儿，一群孩子从大门进来了。但有些不同——孩子们三三两四地挤进了车里。
【题型分析—间接信息题】
25.What challenge did Taymor face in adapting The Lion King
泰莫在改编《狮子王》时遇到了什么样的挑战
A.How to decorate the stage. 如何布置舞台
B.How to train various animals.如何训练各种动物。
C.How to present the characters. 如何呈现人物。
D.How to mirror the original movie.如何模仿原版电影。
The challenge of adapting an epic, wide-screen story excited her: how, she recalls wondering, would you put hundreds of African grassland animals on stage
改编一个史诗般的宽银幕故事的挑战让她兴奋不已：她回忆说，当时她在想，如何把数百只非洲草原动物搬上舞台？
【真题还原—2024年江苏一模】
What stopped the author criticizing her daughter
是什么阻止了作者批评她的女儿？
The reflection of her daily routine.她日常生活的反映。
The realization of her carelessness.意识到她的粗心大意。
The knowledge of her kid’s character.了解她孩子的性格。
The awareness of her kid’s depression.意识到她孩子的抑郁症。
Now I was digging around in Layla’s messy schoolbag at home. Eventually, I found several letters, all addressing the same topic—parking outside the school gates. Apparently with some parents parking illegally, the police were about to get involved. “Why didn’t you give me these letters ” I demanded. Layla shrugged. “I forgot.” I was about to launch into a severe lecture when it occurred to me that I had always forgotten—I had forgotten to give Layla her money for cookery that morning and forgotten to hang out the kids’ washed clothes.
现在我在家里翻找蕾拉那脏兮兮的书包。最后，我找到了几封信，都是同一个话题——在学校大门外停车。显然有些家长违规停车，警察就要介入了。“你为什么不把这些信给我？”我要求。蕾拉耸了耸肩。“我忘了。”我正准备严厉地训斥一顿，突然想到我总是忘记了——那天早上我忘了给蕾拉做饭的钱，也忘了把孩子们洗好的衣服晾在外面。
【题型分析-直接分析】
26.What can we learn about the “double event”
关于“双事件”，我们能了解到什么？
A.It provided performers with confidence. 它给表演者带来了信心。
B. It reduced the danger of animal presence.它减少了动物出没的危险。
C. It helped to distinguish humans from animals. 它有助于区分人和动物。
D. It combined animal imagery with actor emotions. 它有助于结合人和动物。
“You can see Simba's emotion on the actor's face, while a mask on top of his head reminds you that this is, in fact, a lion.
“你可以从演员的脸上看到辛巴的情绪，而他头上的面具提醒你这实际上是一头狮子。
There is no attempt to hide the human being behind the masks or inside the puppet,” she says, a technique she called the “double event”.“I wanted to do what theatre does best,”recalls Taymor.
没有人试图把人藏在面具后面或木偶里面，”她说，这种技术被她称为“双重事件”。“我想做剧院最擅长的事情，”泰莫回忆道。
【真题还原—2024年天津二模】
Where did the author live when she was a child
作者小时候住在哪里？
In a village.村庄
In a big city.大城市
In a hotel.宾馆
In a palace.皇宫
One of my earliest memories was walking up to the smell of camp smoke and my mother’s hot chocolate. My parents were poor, and we lived in the countryside in Portland. Dad had two jobs and Mom was disabled, but that didn’t stop them from heading into the Cascade Mountains several times a year.
我最早的记忆之一是走到营地的烟雾和我母亲的热巧克力的气味。我的父母很穷，我们住在波特兰的乡下。爸爸有两份工作，妈妈有残疾，但这并没有阻止他们每年去喀斯喀特山脉几次。
What does Taymor appreciate most about theatre
泰莫最欣赏戏剧的哪一点
A. Its high-tech stage design. 它的高科技舞台设计。
B. Its ever-changing story line.它不断变化的故事情节。
C. Its open and engaging nature. 它的开放和吸引人的性质
D. Its loyal and appreciative audience它的忠实和欣赏的观众
Whereas in the theatre, we will enjoy seeing a little puppet of a boat, and a big ocean of silk… The audience is not played down to — they' re brought into the game.”
而在剧院里，我们会喜欢看到一只小船的小木偶和一大片丝绸……观众并没有被贬低，他们被带入了游戏。”

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