21. The “rehearsal room” approach requires pupils to ____
- A. rewrite the lines from Shakespeare.
- B. watch RSC actors’ performances.
- C. play the roles in Shakespeare.
- D. study drama under RSC artists.
答案：C
答案句：The target group were given a 30-minute drama-based activity to accompany the passage. … They also “appear to be more comfortable writing in role...while [control] pupils imagine how they themselves would react to being shipwrecked, [target] children put themselves in the shoes of a literary character and express that character’s emotion”.
参考译文：目标组被给予一项30分钟的基于戏剧的活动来配合这段文章。 … 他们还“在角色写作中显得更加自如……而[对照组]学生想象自己遭遇海难时的反应，[目标组]孩子则设身处地地扮演文学角色并表达该角色的情感”。
定位线索：题干“rehearsal room” approach→答案句“drama-based activity”和“put themselves in the shoes of a literary character”；文中“put themselves in the shoes of a literary character”对应选项C“play the roles in Shakespeare”。
解析：题干问“排练室”方法要求学生做什么。答案句指出目标组接受“drama-based activity”，并描述他们“put themselves in the shoes of a literary character”，即扮演文学角色，这与选项C“play the roles in Shakespeare”直接对应。选项A“改写台词”无中生有，文中未提及；选项B“观看RSC演员表演”偷换概念，文中是学生自己参与活动而非观看；选项D“在RSC艺术家指导下学习戏剧”范围扩大，文中未提及RSC艺术家直接指导。
22. The study divided the pupils into two groups to find whether ____
- A. the change in instruction enhances learning outcomes.
- B. expanding vocabulary helps develop reading fluency.
- C. emotion affects understanding of sophisticated works.
- D. the classroom activity stimulates interest in the arts.
答案：A
答案句：The randomised control trial involved hundreds of year 5 pupils — aged nine and ten — at 45 state primary schools that had not been “previously exposed to RSC pedagogy.” They were split into target and control groups and asked to write, for example, a message in a bottle as Ferdinand following the shipwreck in The Tempest.
参考译文：这项随机对照试验涉及45所公立小学的数百名五年级学生（年龄9-10岁），这些学校“之前未接触过RSC教学法”。他们被分为目标组和对照组，并被要求写作，例如，在《暴风雨》沉船后以费迪南德的身份写一封瓶中信。
定位线索：题干“divided the pupils into two groups”对应答案句中“split into target and control groups”；文中“randomised control trial”和“not previously exposed”暗示比较不同教学方式，对应选项A“instruction changes”。
解析：题干问分组的目的。答案句说明这是随机对照试验，且学校之前未接触RSC教学法，暗示比较传统教学与戏剧教学的效果，即选项A“教学方式的改变提升学习效果”。选项B“词汇扩展”是结果而非目的，C“情感影响理解”和D“激发兴趣”均未提及。
23. Control pupils’ reliance on “desert island clichés” shows their ____
- A. weakness in description.
- B. omission of small details.
- C. casual style of writing.
- D. preference for big words.
答案：A
答案句：The peer-reviewed results showed that the target group of pupils drew on a wider vocabulary, used words “classed as more sophisticated or rarer”, and wrote at greater length. … while control pupils relied on “desert island clichés” such as palm trees, target pupils were “more expansive [giving] a broader picture of the sky, the sea and the atmospheric conditions”.
参考译文：同行评审结果显示，目标组学生使用了更广泛的词汇，使用了“更复杂或更罕见”的词汇，并且写作篇幅更长。… 对照组学生依赖“荒岛陈词滥调”如棕榈树，而目标组学生“更开阔，描绘了天空、海洋和大气状况的更广阔画面”。
定位线索：题干“control pupils’ reliance on ‘desert island clichés’”对应答案句中“control pupils relied on ‘desert island clichés’”；文中“clichés”和“palm trees”暗示描述贫乏，对应选项A“weakness in description”。
解析：题干问对照组依赖“荒岛陈词滥调”表明什么。答案句对比对照组使用陈词滥调（如棕榈树）与目标组描绘更广阔画面，说明对照组描述能力弱，即选项A“描述方面的弱点”。选项B“遗漏细节”未提及，C“随意风格”和D“偏好大词”均与原文相反。
24. What can promote children’s emotional literacy according to O’Hanlon?
- A. Writing in an imaginative manner.
- B. Identifying with literary characters.
- C. Drawing inspiration from nature.
- D. Concentrating on real-life situations.
答案：B
答案句：O’Hanlon said she had been most surprised by the “emotional literacy that was evident in the [target] children’s writing” and that they were “more resilient in their writing, more hopeful”. … “The emotional understanding was very evident and it is probably related to the [rehearsal room process] where you are used to trying to imagine your way through. They were comfortable in describing different emotional states and part of what you do in drama is put yourself in different shoes.”
参考译文：奥汉隆说，她最惊讶的是“目标儿童写作中明显的情感素养”，以及他们“在写作中更有韧性，更有希望”。… “情感理解非常明显，这可能与[排练室过程]有关，你习惯尝试想象自己的方式。他们能自如地描述不同的情感状态，而你在戏剧中所做的部分就是设身处地。”
定位线索：题干“promote children’s emotional literacy”对应答案句中“emotional literacy”和“emotional understanding”；文中“put yourself in different shoes”对应选项B“Identifying with literary characters”。
解析：题干问根据奥汉隆，什么能促进儿童情感素养。答案句指出情感理解与“设身处地”相关，即选项B“认同文学角色”。选项A“想象性写作”是结果而非原因，C“从自然获取灵感”和D“关注现实情境”均未提及。
25. It can be inferred from the last paragraph that ____
- A. the new teaching method may work best with Shakespeare.
- B. the language of Shakespeare may be formidable for pupils.
- C. other old dramatists may be included in primary education.
- D. pupils may be reluctant to work on other old dramatists.
答案：A
答案句：O’Hanlon said more research would be needed but suggested that Shakespeare’s use of 20,000 words, compared with the everyday 2,000 words, gave a “massive expansion of language into children’s lives”, which was combined with children “using their whole bodies to bring words to life”.
参考译文：奥汉隆说需要更多研究，但暗示莎士比亚使用2万个词汇，而日常只有2000个，这“将语言大规模扩展进儿童的生活”，并结合儿童“用整个身体让文字活起来”。
定位线索：题干“last paragraph”对应答案句取自最后一段；文中“Shakespeare’s use of 20,000 words”和“massive expansion”暗示莎士比亚的特殊性，对应选项A“new teaching method may work best with Shakespeare”。
解析：题干问从最后一段能推断什么。答案句强调莎士比亚词汇量巨大且结合身体活动，暗示这种方法可能特别适合莎士比亚，即选项A“新教学方法可能对莎士比亚最有效”。选项B“语言令人生畏”未提及，C“其他剧作家”和D“学生不愿学习”均无依据。