When a group of children politely stop a conversation with you, saying，“We have to go to work now.” you're left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is , until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn't settle for spending only hal

f the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 do 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don't make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

1.People would stop feeling uneasy when realising that the children they're talking to  ________.

A. attend a stage school

B. are going to the theatre

C. have got some work to do

D. love singing and dancing 

2.In the writer's opinion, a good stage school should  ________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training 

3.“Professional work” as used in the text means  ________ .

A. ordinary school work

B. money?making performances

C. stage training at school

D. acting, singing or dancing after class 

4.Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer.

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached. 

When a group of children politely stop a conversation with you, saying: “We have to go to work now,” you’re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

　　Stage schools often act as agencies（代理机构）to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

　　A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn’t settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

　Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

　The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don’t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

　People would stop feeling uneasy when realizing that the children they’re talking to________.

　　  A. attend a stage school　　　　  B. are going to the theatre

　　  C. have got some work to do 　　  D. love singing and dancing

　　 In the writer’s opinion, a good stage school should ________.

　　  A. produce star performers

　　  B. help pupils improve their study skills

　　  C. train pupils in language and performing arts

　　  D. provide a general education and stage training.

　“Professional work” as used in the text means ________.

　　  A. ordinary school work　　　　　  B. money-making performances

　　  C. stage training at school 　 　  D. acting, singing or dancing after class

　 Which of the following best describes how the writer feels about stage schools?

　　  A. He thinks highly of what they have to offer.　　　　

　　  B. He favours an early start in the training of performing arts.

　　  C. He feels uncomfortable about children putting on night shows.

　　  D. He doubts the standard of ordinary education they have reached.

When a group of children politely stop a conversation with you, saying:  "We have to go to work now," you' re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the "work" they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name  "stage school"  are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all , what lively children wouldn't settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don' t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

In the writer' s opinion, a good stage school should _________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training.

"Professional work"  as used in the text means _________ .

A. ordinary school work            B. money-making performances

C. stage training at school             D. acting, singing or dancing after class

Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer .

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached.

The Western has been the favorite type for American adventure story since the nineteenth centu??ry. While the American West was being settled, newspapers and "dime novels" could depend on stories of the frontier settlements and tell tales about living in the untamed wilderness to sell. The public back East was eager to read about the West, even if the stories were more fiction than fact.

In 1902, Owen Wister published his novel The Virginian, which was one of the first novels to treat the Western as a serious literary form; the novel still sold well and had inspired several movies and a television series. In 1905, Bertha H. Bower and Zane Grey published their first novels, and the popular Western novels had continued to flourish from that day on, with current novels by Luke Short, Max Brand, and Louis L’ Amour carrying on the tradition.

The first Western movie appeared even earlier than these serious Western novels. Before the turn of the century, an associate of Edison’s had filmed Cripple Creek Barroom Scene, a few seconds of film showing the inside of a saloon, to help publicize the invention of the movie camera. In 1903 the Edison’ company filmed the first "full-length" Western — The Great Train Robbery. The film lasts less than fifteen minutes, but a story is told its entirety. In the movie, bandits (强盗) rob a train and its passengers, killing the engineer, and find themselves tracked down by a posse. Audiences loved the movie. Some theaters were actually opened for the single purpose of showing The Great Train Rob??bery and only later realized that they could do equally well showing other movies. The film was so suc??cessful that other companies, and finally even the Edison company itself, began producing copies and other versions of The Great Train Robbery. Ironically, in" an era when the West was still very real —-Arizona, New Mexico and Oklahoma were all territories rather than states in 1903 — The Great Train Robbery was filmed in New Jersey.  

9. The purpose of this passage is to________.

A. discuss the making of the movie The Great Train Robbery

B. discuss the early Western novels

C. discuss the art of movie making

D. trace the development of the Western as an American adventure story tradition

10. We can conclude from this passage that________.

A. people lost interest in the West after 1903

B. Owen Wister was an ex-cowboy

C. New Jersey was still "untamed wilderness" in 1903

D. films were fairly uncommon at the time The Great Train Robbery was made

11. The passage suggests that________.

A. Edison’s invention of the movie camera happened;by accident

B. movie houses didn’t make much-money in the early days

C. Easterners were fascinated by the " wild West"

D. The Great Train Robbery was poorly received by the public because it lacked a plot

12. As used in this passage, the word “literary” means________.

A. humorous                B. financial             C. appropriate to literature      D. amateur 

When a group of children pelltelr siop a convercaiion wiih vou. saying:"We have io go to work now." you're ieft feelins suprised and ceriainlv uneasv. After all. this is the 1990s and the idea of children working is Juat unthinkable. That is. until you are told that they are all pupils of stage schools. and thai ibe "work" they go off to is to go on the stage in a theatre. Stage schools often acr as agencies (代理机构) to supply children for stage and television work. More worihy of ihe name `siage eckool. nre thase few p!aces where children auend full time. with a iraining for the theatre and a general educaiion.A visit to such school will leave you in no doubt that the children enjoy themselves. After alI. what lively children woudn"t settle {or snendins onlv half the day doing ordinary school work. and acting. singing or dancing their way through the other half of the day?Then of course these are time for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Thase under 13 are limited to 40 days in the year; those over 13 do 80 days.The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don't make it? While all the leading schools say they place great importance on children getting good siudy results. the lacis seem 'o augged ths is not alwaystbe case.

1.Peeple would sipp feeling uneasy wben realisng that ibe ch]Idren tbey're ialking to

A. aiiend a stage school

B. are going to ibe theaire

C. hsv. gor some work io do

D. love singlns and dancins

2.In ihe wrier's opnion. a ged siage school shoud.

A. preduco siar performers

B. help pup;ls imnrove iheir siudy sk]1]s

C. train pupils in Isnguage and periorming arts

D. provide a guneral ofucation and siage irairting

3."Professional work" as used in the next means＿＿＿＿＿．

A．ordinary school work

B．rooneyrnaking performances

C. siage oraining at school

D. aciing. singing or dancing afier class

4. Whck ofthe follewing beat deecrbes how the wrier feels abeui siage echoolso

A. He ibinks hishlv of wbnt they have ic rffer.

B. He favours an early siart in the training of performing aris.

C．He f'els uncomforiable aboui chldren vuiiins on nieh: sbows.

D．He douhis ihe siandard of ordlnary educaiion ihew have reachof.