Ⅰ.阅读理解
Many older people around the world have at least one common concern: How to get younger people, hooked on their electronic devices, interested in classic literature. Take the Monkey King, or Sun Wukong, as an example. The main character in the 16th-century classic novel, Journey to the West, is a romantic figure of bravery and adventure that charmed millions of readers before the appearance of online attractions.
Havoc in Heaven, a new Peking Opera film, attracted the wider public to the glamor of the traditional Chinese performance art, featuring one of the best-known chapters from Journey to the West. This film, expected to create a new channel to promote Peking Opera, includes nearly all the key ingredients of Peking Opera. It covers all the basic techniques, more than 10 classic tunes, and makeup for dozens of facial representations of different figures' characteristics.
It's actually a big challenge to combine Peking Opera and film, each of which has its own rhythm, according to Cheng Lu, director of the film, who is adopting a fresh approach to present the traditional art form. One challenge that Cheng and his production team faced is how to balance the new approach with maintaining the fundamentals of the art. The basic principles and performance skills in Peking Opera cannot be changed.
Some background images on stage, such as a painted waterfall, remain, and a live band was on the set to provide sound for the film, rather than employing the prerecorded music. “If we change traditions to cater to people's taste and preference for a regular film, it will no longer be a Peking Opera piece of art，” Cheng said.
On the other hand, some creativity was needed because Cheng and his team did not just want to document a stage performance. Computer technology is also applied to achieve some visual effects and to present impossible scenes.
Peking Opera films played a powerful role in the 1960s and 70s, but they gave way to more diverse entertainment. In recent years, there has been a recovery in the popularity of Peking Opera films. However, the overuse of special effects in many film adaptations of Peking Opera plays has weakened the original charm of the stage performances. The imagination (enabled by the stage) can never be sacrificed for a film's expression.
语篇解读：导演程箓拍摄的京剧电影《大闹天宫》旨在通过电影的方式来推广京剧。但是，电影和舞台戏剧有很大的区别，程箓导演和他的团队创造性地应用了一些电脑技术，但保留了传统戏剧的精髓，毕竟京剧的精髓不能丢。
1．What is the purpose of the first paragraph?
A．To blame young people addicted to electronic devices.
B．To introduce a new Peking Opera film.
C．To express older people's concern about the young generation.
D．To arouse readers' interest in traditional Chinese performance art.
解析：选B 写作意图题。本段以年长的人期望年轻人对经典文学感兴趣来引出《西游记》中的孙悟空，进而在第二段引出本文的话题——京剧电影《大闹天宫》。
2．What did Director Cheng do while producing the film?
A．He made changes to basic performance skills.
B．He made use of symbols and motions equally.
C．He insisted on a band playing music on the scene.
D．He brought onto the stage exact details of real life.
解析：选C 细节理解题。根据第四段中的“a live band ...the prerecorded music”可知， 程箓导演在拍摄影片时让乐队现场演奏。
3．What innovation did Cheng's team make?
A．They opposed a rigid recording of the performance.
B．They enriched visual effects with modern technology.
C．They allowed actors to repeat actions before the camera.
D．They adopted real explosion scenes during the shooting.
解析：选B 细节理解题。根据倒数第二段中的“some creativity was needed”和本段最后一句可知，程箓导演和他的团队创造性地应用了电脑技术来实现一些视觉效果并呈现一些舞台戏剧无法实现的场景。
4．What can we conclude from the last paragraph?
A．Imagination is a unique charm of Peking Opera films.
B．Technology makes up for the loss of stage imagination.
C．There is some possibility for a film to replace Peking Opera.
D．The original charm of Peking Opera cannot be sacrificed for films.
解析：选D 推理判断题。根据最后一段中的“However, the overuse ...a film's expression”可推断出，不能为了电影而牺牲京剧本身的魅力。
