题目内容

【题目】 Are you in a hurry?

—_______. I was supposed to be home an hour ago.

A. Not at all B. Impossible

C. You bet D. Don’t mention it

【答案】C

【解析】

试题分析: 考查情景交际;句意:你很忙吗?当然,我一小时之前已经回家了。You bet 的确,当然,根据语境可知选C项。

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【题目】Directions: Fill in each blank with a proper word chosen from the box. Each word can be used only once. Note that there is one word more than you need.

A Peking Opera Legend That Redefined Female Roles

When it comes to Peking Opera, a few key things come to mind for most Chinese: its quintessential connection to the history and traditions of China; the richness of its dazzling costumes with their 1 colors and patterns; and the bold work of its facial make-up. Some may even be able to hum a few lines or talk about their favorite artists, but for the vast majority of people, traditional Chinese opera remains a classic art form that is far 2 from everyday life.

However, only a century ago, Peking Opera was no less 3 to the regular populace than is today’s pop music. The performers were admired by a large number of fans who were willing to spend a fortune on a ticket to their performances. Throughout the history of Peking Opera, there have 4 many renowned masters of the form. But MeiLanfang (1894 - 1961) was arguable the most outstanding figure of this craft, who was famous for his portrayal of the female lead roles (dan)

5 as one of the “four famed dan,” Mei was so much more than even this. He brought forth a number of new ideas to several aspects of Peking Opera: make-up (he was the first to war lipstick), music (his productions first 6 the erhu in shows), choreography(编舞艺术)(his iconic sword dance in Farewell My Concubine《霸王别姬》) and, most importantly characterization.

At a time when actual women were banned from performing, Mei 7 the dan to starring roles. He combined elements of the qingyi (elegant lady), huadan (young woman) and daomadan (female warrior) into a new huashan character that excelled in singing, dancing and martial arts. The techniques he introduced led to the development of the “Mei School”, which was considered one of the three major dramatic performing art systems in the world at the time.

“My father broke the 8 between almost all the different types of female role,” Mei Baojiu, the youngest child of Mei Lanfang who followed his father into dan acting, was quoted as saying.

Thanks to Mei’s 9 innovations, even those who know little about traditional Chinese opera can easily see the beauty of the art form the moment performers take the stage. “His make-up, the overlay of carmines(胭脂红) and darker tones, is the most beautiful I have ever seen in a theater,” wrote U.S. playwright Stark Young after watching Mei Lanfang’s performance in New York in 1930.

But the true beauty of Peking Opera is not solely about visual aesthetics. “For veteran artists, even their performances without make-up can be just as 10 as full-on stage performances,” Mei wrote in his 1958 memoir, Forty Years of Life on the stage. Just as Peking Opera has become an icon of Chinese culture, Mei has come to be acknowledge on the grand stage of the world as its quintessential performer.

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