Passage Fourteen

　　Pageants are usually conceived on a fairly large scale, often under the auspices of some local or civic authority or at any rate in connection with local groups of some kind. This sometimes means that there is an allocation of funds available for the purpose of mounting the production, though unfortunately this will usually be found to be on the meager side and much ingenuity will have to be used to stretch it so that all performers can be adequately clothed.

　　Most pageants have a historical flavour as they usually come about through the celebration of the anniversary of some event of historic importance, or the life or death of some local worthy. Research among archives and books in the public library will probably prove very useful and produce some workable ideas which will give the production an especially local flavour. From the first economy will have to be practiced because there are usually a great number of people to dress. Leading characters can be considered individually in the same way as when designing for a play; but the main body of the performers will need to be planned in groups and the massed effect must be always borne in mind.

　　Many pageants take place in daylight in the open air. This is an entirely different problem from designing costumes which are going to be looked at under artificial lighting; for one thing, scenes viewed in the daylight are subject to many more distractions. No longer is everything around cut out by the surrounding darkness, but instead it is very easy to be aware of disturbing movement in the audience of behind the performers. Very theatrically conceived clothes do not always look their best when seen in a daylight setting of trees, verdant lawns and old ivy-covered walls; the same goes for costumes being worn in front of the mellow colors of stately homes. The location needs to be studied and then a decision can be made as to what kinds of colors and textures will harmonize best with the surroundings and conditions and then to carry this out as far as possible on the funds available.

　　If money is available to dress the performers without recourse to their own help in the provision of items, it is best to arrange for all the cutting and pinning together of the costumes to be done by one or two experienced people than to be given out to the groups and individuals for completion. When there is little or no money at all, the garments need to be reduced to the basic necessities. Cloaks and shawls become invaluable, sheets and large bath towels and bath sheets are admirable for draping. Unwanted curtains and bed spreads can be cut to make tunics, robes and skirts. These are particularly valuable if they are of heavy fabrics such as velvet or chenille.

　　Colors should be massed together so that there are contrasting groups of dark and light, this will be found to help the visual result substantially. Crowds of people gathered together in a jumble of colors will be ground to look quite purposeless and will lack dramatic impact.The use of numbers of identical head-dresses, however simply made, are always effective when working with groups.If these are made of cardboard and painted boldly the cost can be almost negligible.Helmets, hats and plumes will all make quite a show even if the costumes are only blandest or sheets cleverly draped. The same can be said of the use of banners, shields and poles with stiff pennants and garlandsanything which will help to have a unifying effect. Any kind of eye-catching device will always go with a flourish and add excitement to the scenes.

　　1. The main idea of this passage is

　　[A]. Pageants. [B]. Costumes on the stage.

　　[C]. Costumes for pageants. [D]. How to arrange a pageant.

　　2. It can be inferred that the most important factor in costume design is

　　[A]. money. [B]. color. [C]. harmony [D]. texture

　　3. Why will much ingenuity have to be required in costume design?

　　[A]. Because pageants take place in daylight in the open air.

　　[B]. Because different characters require different costumes.

　　[C]. Because the colors and textures must be in harmony with the setting.

　　[D]. Because an allocation of the funds available is usually rather small.

　　4. Why do most pageants have a historical flavour?

　　[A]. Because most pageants take place for celebration.

　　[B]. Many pageants take place for amusement.

　　[C]. A lot of pageants take place for religion.

　　[D]. Because pageants usually take place for competition.

　　Vocabulary

　　1. conceive 設(shè)想，想象

　　to be conceived 設(shè)想好的，構(gòu)思好的

　　2. under the auspices of 在的主辦下

　　3. meager 貧乏的，不足的

　　4. mount 登上，制作，上演

　　5. flavour 風(fēng)味，風(fēng)格，情趣

　　6. archive 檔案(館)

　　7. distraction 使人分心的事

　　8. ivy 常春藤

　　9. mellow 柔和的

　　10. recourse 依賴，求助于

　　11. drape 覆蓋，披上

　　12. invaluable 無價(jià)的，非常貴重的

　　13. tunic (古時(shí))長達(dá)膝蓋的外衣，穿在盔甲上的戰(zhàn)袍

　　14. chenille 繩絨絨(織品)

　　15. jumble 混亂，搞亂

　　16. pennant 細(xì)長三角旗

　　17. garland 花環(huán)，花冠

　　難句譯注

　　1. This sometimes means that there is an allocation of funds available for the purpose of mounting the production, though unfortunately this will usually be found to be on the meager side and much ingenuity will have to be used to stretch it so that all performers can be adequately clothed.

　　[結(jié)構(gòu)簡析] 復(fù)合結(jié)構(gòu)。That是主句的賓語從句，從句后再有從句。

　　[參考譯文] 這種情況，有時(shí)就表示有一個(gè)可用于演出目的資金配額。遺憾的是配額一般都少而不足，就得動(dòng)用非常之才能細(xì)細(xì)的使用金額，使所有的演員都能穿上合適的戲裝。

　　2. Most pageants have a historical flavour as they usually come about through the celebration of the anniversary of some event of historic importance, or the life or death of some local worthy.

　　[結(jié)構(gòu)簡析] 主從句

　　[參考譯文] 大多數(shù)露天演出都帶有歷史情調(diào)，因?yàn)檫@些戲一般是通過慶祝某個(gè)重大的歷史事件，或慶祝當(dāng)?shù)啬硞€(gè)值得紀(jì)念的人誕辰或逝世周年而產(chǎn)生的。

　　3. This is an entirely different problem from designing costumes which are going to be looked at under artificial lighting; for one thing, scenes viewed in the daylight are subject to many more distractions. No longer is everything around cut out by the surrounding darkness, but instead it is very easy to be aware of disturbing movement in the audience of behind the performers.

　　[結(jié)構(gòu)簡析] 復(fù)合結(jié)構(gòu)：主句this is后有定語從句，which修飾costumes。從句中又套從句。

　　[參考譯文] 這和人為燈光下看的設(shè)計(jì)服裝完全不一樣。首先，白天看到幕景易于受許多因素影響，不再能用一片漆黑的環(huán)境把周圍的一切隔開，而是相反，演員后和觀眾中有點(diǎn)紛亂的動(dòng)作，很容易看到。

　　4. Very theatrically conceived clothes do not always look their best when seen in a daylight setting of trees, verdant lawns and old ivy-covered walls; the same goes for costumes being worn in front of the mellow colors of stately homes.

　　[結(jié)構(gòu)簡析] 并列句，中用分號(hào)隔開。第一句中有when seen 連詞+過去分詞，實(shí)質(zhì)起從句作用。第二句是主從句。

　　[參考譯文] 設(shè)計(jì)出的非常具有戲劇性效果的服裝，在光天化日，有樹木，有綠茵茵的草地，又有爬滿常春藤的古老圍墻的背景下，經(jīng)常看起來是不起眼：在堂皇的住宅四周一片和色調(diào)前，所穿的服裝效果同樣不太好。

　　5. If money is available to dress the performers without recourse to their own help in the provision of items, it is best to arrange for all the cutting and pinning together of the costumes to be done by one or two experienced people than to be given out to the groups and individuals for completion.

　　[結(jié)構(gòu)簡析] 條件句，主句為邏輯主句，注意中間兩個(gè)被動(dòng)不定式。To be done by, than to be given out, 這里的than起連詞作用。

　　[參考譯文] 如果有錢可以為演員著裝而不用求助自己供應(yīng)種種物件，那么最好把所有的戲裝的裁減和縫制交給一，兩個(gè)有經(jīng)驗(yàn)人去干，而不是讓群體演員和單個(gè)演員去完成。

　　寫作方法與文章大意

　　文章論述露天演出的服裝問題，由于露天演出不同于室內(nèi)，劇院內(nèi)演出，要從各個(gè)方面考慮服裝問題，才能獲得應(yīng)有的舞臺(tái)效果。作者從資金多少，地方色彩，露天，白天，顏色搭配等方面來論述服裝。寫法多種，有因果，對(duì)比，舉例等。

　　答案祥解

　　1. C. 露天演出的服裝。第一段末尾已經(jīng)點(diǎn)明，一般認(rèn)為露天演出規(guī)模宏大，常常是由某個(gè)地方或當(dāng)局(民政局主辦贊助)，或總是和某個(gè)地方集團(tuán)有關(guān)。這意味著有用于演出目的資金配額，遺憾的是配額一般很少，必須動(dòng)用非常的才能，細(xì)細(xì)的使用資金，所有演員才能窗上恰當(dāng)?shù)姆b。其他各段各有重點(diǎn)，但都是服務(wù)于劇裝這一中心。

　　A. 露天演出。 B. 舞臺(tái)劇裝(包括劇場)。 D. 如何安排露天演出;涉及面或大或小，不適合。

　　2. C. 和諧。服裝設(shè)計(jì)中最重要的因素是和諧。這一點(diǎn)在幾段中都提到，第二段最后一句演員的主題必須以群體設(shè)計(jì)，頭腦中必須經(jīng)常記住群體效果。第三段最后一句必須研究演出的地理位置，決出什么樣的顏色和織物，能和環(huán)境，條件，達(dá)到最完美和諧。第五段專講顏色搭配，應(yīng)當(dāng)從總體考慮顏色，這樣才有亮和暗的群體對(duì)比，幫助產(chǎn)生實(shí)感的視覺效果，一群穿著雜七雜八顏色服裝的演員聚集在一起看起來亂哄哄。缺乏戲劇效果。這也是和諧之要求。

　　A. 錢。錢要考慮。出前兩段外，第三段最后一句，講完和諧后，也提到盡可能以能到手的資金加以實(shí)現(xiàn)這決定。第四段中在錢很少或是沒有錢的情況下，服裝得降到基本需要，下面就講利用被單，浴巾，窗簾做服裝，所以錢在服裝設(shè)計(jì)中很重要，但不能列為最重要因素，有錢沒有錢都得以服裝協(xié)調(diào)為主。 B. 顏色。

　　D. 織品。同樣都的服從和諧這一前提。

　　3. D. 因?yàn)槟艿玫劫Y金的配額都很少。第一段最后一句話，見第一題譯注。

　　A. 因?yàn)樵诠馓旎障卵莩觥?B. 因?yàn)椴煌輪T要求不同服裝。 C. 顏色和織物必須和布景諧調(diào)。這些只是考慮的因素。見上面譯文。

　　4. A. 因?yàn)榇蠖鄶?shù)露天演出都是為紀(jì)念慶祝。第二段第一句露天演出一般都是某個(gè)具有歷史意義事件，或者當(dāng)?shù)啬硞€(gè)值得紀(jì)念的人物的誕辰和逝世周年，所以大多數(shù)露天演出都具有歷史紀(jì)念色彩。

　　B. 許多露天演出是為了娛樂。 C. 許多露天演出是為了宗教。 D. 因?yàn)槁短煅莩鲆话闶菂⑴c競賽。三項(xiàng)都不對(duì)。

　　Passage Fourteen

　　Pageants are usually conceived on a fairly large scale, often under the auspices of some local or civic authority or at any rate in connection with local groups of some kind. This sometimes means that there is an allocation of funds available for the purpose of mounting the production, though unfortunately this will usually be found to be on the meager side and much ingenuity will have to be used to stretch it so that all performers can be adequately clothed.

　　Most pageants have a historical flavour as they usually come about through the celebration of the anniversary of some event of historic importance, or the life or death of some local worthy. Research among archives and books in the public library will probably prove very useful and produce some workable ideas which will give the production an especially local flavour. From the first economy will have to be practiced because there are usually a great number of people to dress. Leading characters can be considered individually in the same way as when designing for a play; but the main body of the performers will need to be planned in groups and the massed effect must be always borne in mind.

　　Many pageants take place in daylight in the open air. This is an entirely different problem from designing costumes which are going to be looked at under artificial lighting; for one thing, scenes viewed in the daylight are subject to many more distractions. No longer is everything around cut out by the surrounding darkness, but instead it is very easy to be aware of disturbing movement in the audience of behind the performers. Very theatrically conceived clothes do not always look their best when seen in a daylight setting of trees, verdant lawns and old ivy-covered walls; the same goes for costumes being worn in front of the mellow colors of stately homes. The location needs to be studied and then a decision can be made as to what kinds of colors and textures will harmonize best with the surroundings and conditions and then to carry this out as far as possible on the funds available.

　　If money is available to dress the performers without recourse to their own help in the provision of items, it is best to arrange for all the cutting and pinning together of the costumes to be done by one or two experienced people than to be given out to the groups and individuals for completion. When there is little or no money at all, the garments need to be reduced to the basic necessities. Cloaks and shawls become invaluable, sheets and large bath towels and bath sheets are admirable for draping. Unwanted curtains and bed spreads can be cut to make tunics, robes and skirts. These are particularly valuable if they are of heavy fabrics such as velvet or chenille.

　　Colors should be massed together so that there are contrasting groups of dark and light, this will be found to help the visual result substantially. Crowds of people gathered together in a jumble of colors will be ground to look quite purposeless and will lack dramatic impact.The use of numbers of identical head-dresses, however simply made, are always effective when working with groups.If these are made of cardboard and painted boldly the cost can be almost negligible.Helmets, hats and plumes will all make quite a show even if the costumes are only blandest or sheets cleverly draped. The same can be said of the use of banners, shields and poles with stiff pennants and garlandsanything which will help to have a unifying effect. Any kind of eye-catching device will always go with a flourish and add excitement to the scenes.

　　1. The main idea of this passage is

　　[A]. Pageants. [B]. Costumes on the stage.

　　[C]. Costumes for pageants. [D]. How to arrange a pageant.

　　2. It can be inferred that the most important factor in costume design is

　　[A]. money. [B]. color. [C]. harmony [D]. texture

　　3. Why will much ingenuity have to be required in costume design?

　　[A]. Because pageants take place in daylight in the open air.

　　[B]. Because different characters require different costumes.

　　[C]. Because the colors and textures must be in harmony with the setting.

　　[D]. Because an allocation of the funds available is usually rather small.

　　4. Why do most pageants have a historical flavour?

　　[A]. Because most pageants take place for celebration.

　　[B]. Many pageants take place for amusement.

　　[C]. A lot of pageants take place for religion.

　　[D]. Because pageants usually take place for competition.

　　Vocabulary

　　1. conceive 設(shè)想，想象

　　to be conceived 設(shè)想好的，構(gòu)思好的

　　2. under the auspices of 在的主辦下

　　3. meager 貧乏的，不足的

　　4. mount 登上，制作，上演

　　5. flavour 風(fēng)味，風(fēng)格，情趣

　　6. archive 檔案(館)

　　7. distraction 使人分心的事

　　8. ivy 常春藤

　　9. mellow 柔和的

　　10. recourse 依賴，求助于

　　11. drape 覆蓋，披上

　　12. invaluable 無價(jià)的，非常貴重的

　　13. tunic (古時(shí))長達(dá)膝蓋的外衣，穿在盔甲上的戰(zhàn)袍

　　14. chenille 繩絨絨(織品)

　　15. jumble 混亂，搞亂

　　16. pennant 細(xì)長三角旗

　　17. garland 花環(huán)，花冠

　　難句譯注

　　1. This sometimes means that there is an allocation of funds available for the purpose of mounting the production, though unfortunately this will usually be found to be on the meager side and much ingenuity will have to be used to stretch it so that all performers can be adequately clothed.

　　[結(jié)構(gòu)簡析] 復(fù)合結(jié)構(gòu)。That是主句的賓語從句，從句后再有從句。

　　[參考譯文] 這種情況，有時(shí)就表示有一個(gè)可用于演出目的資金配額。遺憾的是配額一般都少而不足，就得動(dòng)用非常之才能細(xì)細(xì)的使用金額，使所有的演員都能穿上合適的戲裝。

　　2. Most pageants have a historical flavour as they usually come about through the celebration of the anniversary of some event of historic importance, or the life or death of some local worthy.

　　[結(jié)構(gòu)簡析] 主從句

　　[參考譯文] 大多數(shù)露天演出都帶有歷史情調(diào)，因?yàn)檫@些戲一般是通過慶祝某個(gè)重大的歷史事件，或慶祝當(dāng)?shù)啬硞€(gè)值得紀(jì)念的人誕辰或逝世周年而產(chǎn)生的。

　　3. This is an entirely different problem from designing costumes which are going to be looked at under artificial lighting; for one thing, scenes viewed in the daylight are subject to many more distractions. No longer is everything around cut out by the surrounding darkness, but instead it is very easy to be aware of disturbing movement in the audience of behind the performers.

　　[結(jié)構(gòu)簡析] 復(fù)合結(jié)構(gòu)：主句this is后有定語從句，which修飾costumes。從句中又套從句。

　　[參考譯文] 這和人為燈光下看的設(shè)計(jì)服裝完全不一樣。首先，白天看到幕景易于受許多因素影響，不再能用一片漆黑的環(huán)境把周圍的一切隔開，而是相反，演員后和觀眾中有點(diǎn)紛亂的動(dòng)作，很容易看到。

　　4. Very theatrically conceived clothes do not always look their best when seen in a daylight setting of trees, verdant lawns and old ivy-covered walls; the same goes for costumes being worn in front of the mellow colors of stately homes.

　　[結(jié)構(gòu)簡析] 并列句，中用分號(hào)隔開。第一句中有when seen 連詞+過去分詞，實(shí)質(zhì)起從句作用。第二句是主從句。

　　[參考譯文] 設(shè)計(jì)出的非常具有戲劇性效果的服裝，在光天化日，有樹木，有綠茵茵的草地，又有爬滿常春藤的古老圍墻的背景下，經(jīng)常看起來是不起眼：在堂皇的住宅四周一片和色調(diào)前，所穿的服裝效果同樣不太好。

　　5. If money is available to dress the performers without recourse to their own help in the provision of items, it is best to arrange for all the cutting and pinning together of the costumes to be done by one or two experienced people than to be given out to the groups and individuals for completion.

　　[結(jié)構(gòu)簡析] 條件句，主句為邏輯主句，注意中間兩個(gè)被動(dòng)不定式。To be done by, than to be given out, 這里的than起連詞作用。

　　[參考譯文] 如果有錢可以為演員著裝而不用求助自己供應(yīng)種種物件，那么最好把所有的戲裝的裁減和縫制交給一，兩個(gè)有經(jīng)驗(yàn)人去干，而不是讓群體演員和單個(gè)演員去完成。

　　寫作方法與文章大意

　　文章論述露天演出的服裝問題，由于露天演出不同于室內(nèi)，劇院內(nèi)演出，要從各個(gè)方面考慮服裝問題，才能獲得應(yīng)有的舞臺(tái)效果。作者從資金多少，地方色彩，露天，白天，顏色搭配等方面來論述服裝。寫法多種，有因果，對(duì)比，舉例等。

　　答案祥解

　　1. C. 露天演出的服裝。第一段末尾已經(jīng)點(diǎn)明，一般認(rèn)為露天演出規(guī)模宏大，常常是由某個(gè)地方或當(dāng)局(民政局主辦贊助)，或總是和某個(gè)地方集團(tuán)有關(guān)。這意味著有用于演出目的資金配額，遺憾的是配額一般很少，必須動(dòng)用非常的才能，細(xì)細(xì)的使用資金，所有演員才能窗上恰當(dāng)?shù)姆b。其他各段各有重點(diǎn)，但都是服務(wù)于劇裝這一中心。

　　A. 露天演出。 B. 舞臺(tái)劇裝(包括劇場)。 D. 如何安排露天演出;涉及面或大或小，不適合。

　　2. C. 和諧。服裝設(shè)計(jì)中最重要的因素是和諧。這一點(diǎn)在幾段中都提到，第二段最后一句演員的主題必須以群體設(shè)計(jì)，頭腦中必須經(jīng)常記住群體效果。第三段最后一句必須研究演出的地理位置，決出什么樣的顏色和織物，能和環(huán)境，條件，達(dá)到最完美和諧。第五段專講顏色搭配，應(yīng)當(dāng)從總體考慮顏色，這樣才有亮和暗的群體對(duì)比，幫助產(chǎn)生實(shí)感的視覺效果，一群穿著雜七雜八顏色服裝的演員聚集在一起看起來亂哄哄。缺乏戲劇效果。這也是和諧之要求。

　　A. 錢。錢要考慮。出前兩段外，第三段最后一句，講完和諧后，也提到盡可能以能到手的資金加以實(shí)現(xiàn)這決定。第四段中在錢很少或是沒有錢的情況下，服裝得降到基本需要，下面就講利用被單，浴巾，窗簾做服裝，所以錢在服裝設(shè)計(jì)中很重要，但不能列為最重要因素，有錢沒有錢都得以服裝協(xié)調(diào)為主。 B. 顏色。

　　D. 織品。同樣都的服從和諧這一前提。

　　3. D. 因?yàn)槟艿玫劫Y金的配額都很少。第一段最后一句話，見第一題譯注。

　　A. 因?yàn)樵诠馓旎障卵莩觥?B. 因?yàn)椴煌輪T要求不同服裝。 C. 顏色和織物必須和布景諧調(diào)。這些只是考慮的因素。見上面譯文。

　　4. A. 因?yàn)榇蠖鄶?shù)露天演出都是為紀(jì)念慶祝。第二段第一句露天演出一般都是某個(gè)具有歷史意義事件，或者當(dāng)?shù)啬硞€(gè)值得紀(jì)念的人物的誕辰和逝世周年，所以大多數(shù)露天演出都具有歷史紀(jì)念色彩。

　　B. 許多露天演出是為了娛樂。 C. 許多露天演出是為了宗教。 D. 因?yàn)槁短煅莩鲆话闶菂⑴c競賽。三項(xiàng)都不對(duì)。