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[国内外] 2018年8月18日大陆考区雅思A类笔试真题+答案+回忆汇总

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发表于 2018-8-13 10:55:21 | 显示全部楼层 |阅读模式
2018年8月18日陆考区雅思A类笔试真题+答案+回忆汇总请看最下面,
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2018年8月18日陆考区雅思A类笔试真题+答案+回忆汇总
回忆1:
大作文考的是学校是否同意放弃书的使用,而是使用电影,电视,等数字工具 小作文考的地图题
回忆2:
小作文地图题,大作文是关于教学方式,是继续用书教学还是用新型方式比如电脑游戏电视和电影
回忆3:
阅读第一篇T T NG T 填空记不清了 有个melodrama gas educated electric lights non-western 第二篇没啥印象  有个什么larger的那个空是o开头的单词怎么拼忘了 第三个空sky 第三篇也记不清了 选择题有两个D好像 判断第二个NG 第三个N第四个Y
回忆4:
小作文是地图,一个Riverside Park在2010年和现在的对比,大致就之前只有一些停车场,马路、厕所,人行道,东边是一条铁轨,北边是河,西南方类似于森林一样。到了现在,就多出了一个hotel,一个Cafe,还有一些游乐设施,还新建了一个停车场
大作文讲教育方式电子设备与传统纸质书的对比
回忆5:
小作文地图riverside park in2010 and now 大作文schools should stop teaching with books ,children find boring,use flims,video games and tv and computers instead.what extent you agree ?
回忆6:
听力
S1 去一个音乐节咨询的一些问题
参考答案:
June
12
Donalson
ticket
headaches
light
nurse
sunscreen

S3
QQ图片20180818143221.png

S4 古老的食物
31. The amount of food people tend to consume
32. Diet was influenced by geographical and social factors
33. prepared and ate food
34. undigested food left in stomach
35.food sticking topots
36. chemical signature
37. knife used for cooking
38. can’t find-prevalent food was hard to find
39. Extreme climate
40. teeth that showed some values
回忆7:
阅读:
第一篇:英国戏剧发展
History of theaters in Britain   
文章大意:主要讲英国剧院的历史发展  
  British theatre has a rich history, from playwrights like William Shakespeare to actors like Laurence Olivier. Today audiences still love to go to the theatre to be entertained and challenged, hearing ideas that may not be expressed anywhere else.
  But it wasn't always like that. Initially theatre was used by the church and royalty to spread their ideas. Gradually it became a vehicle to make everyone's voice heard. So how did this come about?
  During the upheaval of the medieval period the church used religious stories as a way of controlling and distracting the country.
  Theatre essentially grew out of this religious storytelling. Entertaining the public became necessary especially after the trauma of the Black Death. Plays took the form of mystery cycles and miracle plays. Mystery cycles dramatised stories from the Bible, while miracle plays told stories about the lives of saints. Parishes created these plays in order to communicate moral lessons to society. Through these organised performances, the concept of theatre began to take root in Britain.After centuries of religious inspiration for theatre, Henry VIII banned all religious performances to prevent plays from spreading Catholicism. He had set up his own church – the Church of England – and demanded his people follow this faith instead. Post Reformation plays instead aimed to entertain influential people and foreign VIPs. Theatre flourished in the 16th Century and The Theatre, one of the first purpose- built playhouses, opened its doors in London in 1576.
  After the English Civil War, theatres experienced more restrictions. King Charles II saw theatre as a way to establish control over the country. While in exile he saw how Louis XIV managed and controlled French theatre and Charles copied his approach by issuing royal patents to just two theatres. This restricted dramatic opportunity as only these two could perform serious drama and the remaining theatres had to perform comedy or melodrama instead. Patented theatre became known as legitimate theatre and non-patented theatre as illegitimate theatre. But progress was seen when Margaret Hughes became the first woman on stage in 1660.
  Despite the restrictions of the royal patents, theatre began to satirise the government. In response politicians tightened theatrical censorship. Tipped over the edge by plays attempting to ridicule him, Robert Walpole, the first ever Prime Minister, introduced the 1737 Licensing Act. It gave the Lord Chamberlain – a senior government adviser - the power to stop plays being performed. With dramatic creativity effectively stifled, writers turned to novels or illegitimate theatre for creative freedom. Despite an amendment in 1843, the act remained in place and in use until 1968.
  Ten years later, David Garrick’s theatrical innovations marked the point when actors, writers and other theatre makers began to take control. David Garrick was an actor and manager who introduced sweeping changes. Actors were subjected to new and intensive rehearsal techniques and audiences were discouraged from sitting on the stage, as the rich used to do. He was also a champion of Shakespeare and his debut performance on the London stage as Richard III made him an overnight star. Garrick was responsible for radical stylistic advances in acting. He brought more emotion and realism to the exaggerated expressions of the time.
  In the Victorian era theatre's popularity meant the patent system no longer worked. So it was ended in 1843 allowing more opportunities in drama. TW Robertson was one playwright to benefit from this. He presented the audience with realistic sets, everyday stories and natural dialogue. His representations of domestic realism became known as ‘cup and saucer dramas’: one of his greatest successes was Caste, a play about rank and social classes. The end of the patent system allowed theatre to develop artistically. It set the stage for playwrights such as Oscar Wilde who like Robertson tended to focus on the lives of the privileged.
  Interest in the arts grew in post-war Britain and audiences were keen to see stories that they identified with. ‘Kitchen sink’ dramas provided them. Almost a century on from Robertson’s naturalist plays, this new style of play, showed working class life in a level of detail that was still unusual. Men Should Weep by Ena Lamont Stewart premiered in 1947 and told a bleak tale of poverty in 1930s Glasgow. Also in the 1950s writers like John Osborne and Shelagh Delaney were acclaimed for the social realism of their work. The success of Lamont Stewart and Delaney helped pave the way for other women to make their voices heard on the stage.
  During the 20th Century, more changes happened off stage when the role of the director became the key creative force. The notion of a directors’ theatre began in Europe and spread to Britain. Sir Peter Hall is one of Britain’s most celebrated directors. In 1955 he directed the first English language production of Samuel Beckett's Waiting for Godot, which cemented his reputation. His vision also created the blueprint for the Royal Shakespeare Company, a defining moment in British theatre history. Despite his creative innovations he was still restricted by the censorship laws.
  By the swinging 60s, not only was the power of theatre in the hands of theatre makers, but it had begun to challenge authority.
  Until it ended in 1968 theatres avoided the constraints of government censorship by trading as private clubs. The freedom this gave them allowed much more challenging and radical subject matter to be tackled. Plays such as Sartre’s Huis Clos – which was set in Hell and featured a homosexual character – were staged. One of the leading theatres of this movement was Edinburgh’s Traverse theatre.
  As the 21st Century dawned, theatre continued to evolve as a vehicle for challenging the establishment and pushing boundaries. Black Watch, which premiered at the 2006 Edinburgh Festival Fringe, told the story of the Iraq War through the eyes of soldiers from the Black Watch regiment. The play did exactly what the government feared in 1737 and challenged those in power by holding British politicians accountable for the suffering of the soldiers. It was theatre at its controversial and arresting best – a far cry from the restrictive and controlling theatre of the past.
  While playwrights have more freedom than ever before, some issues around race and religion have proved problematic for theatres to navigate. Religious outrage forced the closure of Behzti at the Birmingham Repertory Theatre in 2004. The play sparked riots due to the staging of a rape and murder in a Sikh temple. And in 2015 a National Youth Theatre play called Homegrown, about Islamic radicalisation in a London school, was cancelled days before opening. But despite the difficulties, British theatre continues to reflect modern life, telling stories and challenging taboos.
 
参考答案:  
1. wood   2. roof   3. playhouses   4. fire   5. concrete   6. bioscope   
7. TRUE   8. FALSE   9. FALSE   10. FALSE   11. TRUE   
12. NOT GIVEN   13. TRUE  
第二篇:外星探索相关
第三篇:人类能量来源
回忆8:
写作:
小作文:地图题 一个河畔公园在2010年和现在的对比
大作文:Some people think that schools should stop teaching students by using books, because students find them boring and that children can learn from films, TV, video games and computer instead. To what extent do you agree?
回忆9:
Section 1 音乐节的相关问题
题型:填空
1-10 填空
1. by phone: 01727851563 电话号码
2. booking fee: 2.50 per ticket 价格
3. from an agent 中介
4. evening news shop: by the market 市场
5. use side entrance 侧面入口
6. after 4.30 p.m. on the day of the concert 时间
7. restaurant with a garden 花园
8. cafe in basement 地下室
9. cinema: special season for horror movies in May 恐怖电影
10. summer parties with opportunities to meet staff and artists like superstars 聚会

Section 2 如何办理钓鱼许可证
题型:匹配题
11-14 匹配题
11. if you want to fish there, you need to tell them F. your passport number (护照号)and have a fishing license from your home country.
12. if you do not have one, you need D. proof of passing a fishing exam (通过考试的证明)
13. you can go to the local bank for the fishing costs, regulations and ask for B. details of different types of fishing license (不同类型的钓鱼证件). Then they will issue you a fishing license.
14. Then you will find C. details of accommodation one takes on the island (住宿的信息) when you go fishing
15-20 匹配题
15. pine trees beach: G on a calm day 平静的日子
16. oyster coast: H when it rains 下雨天
17. riper Bella: B at night 晚上
18. Marton reservoir: C in autumn 秋天
19. southern coast: F in winter 冬天
20. reservoir: E in March and April 三月和四月

Section 3 新西兰古老工艺品的研究
题型:选择+匹配
21-25 选择题
21. Why does the shape of Hei-tiki look unusual?
B. difficulty in carving stones 雕刻石头的困难
22. Very few Hei-tiki are found in the archaeological site because
C. the villagers look after them carefully 村民非常仔细地照看
23. What was Hei-tiki regarded by Moris people as
B. a communicating way to their ancestors 与祖先交流的方式
24. What are the distinctions between two types of Hei-tiki?
C. the position of hands to leg 手和脚的位置
25. What are the characteristics of a new type of Hei-tiki?
A. it has a metal setting 有金属部分
26-30 匹配题
26. sand: E. form the shape 组成形状
27. stitch and string: A. used for cave details 用于洞穴的细节
28. bark: C. to make the end 组成结束部分
29. wax: B polish stone eyes 打磨石像的眼睛
30. stone: G bond it together 组合在一起

Section 4 古代的食物
题型:填空
31-40 填空
31. Diet was influenced by geographical and social(社会的)factors.
32. undigested food left in the stomach(胃部)
33. food sticking to pots(陶罐)
34. prepared(事先准备好的)and eaten food
35. the knife(刀子) used for cooking
36. the amount of food people lent to consume(消耗)
37. chemical signature(印记)
38. teeth(牙齿) that showed some values
39. prevalent(盛行的)food was hard to find
40. extreme climate(气候)

回忆10:
回忆11:
回忆12:


为更好地促进做好Edward艾华师最新预测,请烤鸭们积极回忆在本文下面评论栏目里面,请尽量详细,并标明城市考点,A/G类,听力,阅读,大小作文,谢谢!特请亚太其他国家,欧洲,北美,南美,非洲等其他考区的烤鸭们也积极回忆吧


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