2018年4月14日雅思考试考情回忆

2018年04月16日13:06 来源：小站整理: 参与（3）阅读（11006）

摘要：2018年4月14日雅思已经结束，小站雅思频道倾情为大家带来最新的雅思听力，阅读和写作真题回忆。拿好不谢。

2018年4月14日的雅思真题回忆已出，让各位考鸭们久等了。据说本场雅思听力开头两道是旧题，难度不大，但到了后面两个section难度直线飙升，Section 3两位对话快得感觉像是rap？还是要多加倍语速听力训练。

雅思听力Section 1

1-5 completion

Example:nature

1 The best watch time is the end of the months

2 The Poppy Mountain was covered with colourness of orange

3 was located at the South/East the of island

4 This park is a state park (not a national one)

5 Bring your trousers to protect snakes

6-10 table completion

罂粟花山的最佳观赏时间是每个月月底(at the end of months)。那时候，整个罂粟花山覆盖着橙色(colourness of orange);罂粟花山位于岛屿的东部(East of the island)。岛上的公园是州(state)立公园。在岛上，游客需要携带裤子(trousers)防止蛇攻击。听力真题内容概述：

基本的旅游项目包括在博物馆中心(museum centre)观测点俯瞰罂粟花山。观察野生动物的时间是上午(5:30)至下午(1:00)，需要携带照相机(zoom lens)。

雅思听力Section 2

11-15 matching

Choirs are discussing their achievement and characteristics

11 made some special music—C(classical music)

12 organized some social events.—A(new friends through music)

13 won some musical prize—B

14 recorded a CD recently.—C

15 did some charity——A help disable persons

16-20 Choose a correct letter A, B or C

16 why they built the dinging club? Because A

A(have a rest/break after the work) it can help them escape from stress in work

B improve their singing ability

C make a business contract

17 how many present members are in the choir? C

A 9 B 12 C19

18 when did the choir make music

A Before work B at lunch time C after work

19 what are they making a living? Company to encourage

A by selling performance clothes

B by functioning some commercial music

C by paying for professional singing classes

20 what about the Effect of choir club:

A it can improve relationship among employees co-workers

B for business C for a committed

听力真题内容概述：

C制作的是古典音乐，A组织了社会活动，B获得音乐奖项，C刚刚录制了一张CD 参与了慈善活动。歌唱俱乐部的组件衣衣在于帮助人们逃离工作中的压力烦恼(A)。合唱团现有(19)名成员。题目通常在中午时分(at lunch time)制作音乐。合唱团还会出上演音乐以此谋生(B)。合唱俱乐部可以增进成员情感(A)。

雅思听力Section 3

21-26 multiple choices

21 the research report was based on:

Recording equipments in each room

22 Ben 绝度会不太妥是因为

A Without the child’s permission

B 认为家长对孩子Simple conversation

23 Ben 为什么有个什么疑惑

A 是孩子太小不能record B是全世界都这样

C parents’ simplified language is 对孩子成长没有长远影响

24 女的问什么学习法语的方法

B是他认为这样可以练语法grammar C日常用到的口头表达 oral expression

25 难度为什么喜欢learn by role play dialogue 学外语

C because Ben is confident, 不怕跟外国人交流

27-28 M问这两个人用什么方法调查project,

29-30)男生在数据分析data collect 的时候有什么困难。五选二 CE

A missed appointment. B broken facilities C technical errors

D the date cannot be used E interruption

雅思听力Section 4 新题

听力话题有关rural 和城市的比较

History

Blance

Children

Water

Population

Entertainment

Infrastructure

Wages

Electricity

雅思阅读考试回忆

一、4.14雅思阅读考试概述：

本次考试的文章是三篇新题，第一篇是关于英国剧院的发展史的，第二篇讲英国白蜡树的顶梢枯死这种疾病，第三篇是讲人类行为的。本次考试难度较大的配对题考查题量小，但是考生觉得难度大的选择题和list of headings题量占比却较大。部分考生反应第三篇来不及做，所以大家考试时还是要加强时间的把控。

二、4.14雅思阅读具体题目分析

雅思阅读 Passage 1：

题目：History of theaters in Britain

题型：表格填空题6+判断题7

新旧程度：新题

文章大意：主要讲英国剧院的历史发展

参考文章：

History of theaters in Britain

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：

表格填空题：

1. wood

2. roof

3. playhouses

4. fire

5. concrete

6. bioscope

判断题：

7. TRUE

8. FALSE

9. FALSE