Sue is phoning Mr. Black but his secretary tells her that he is on vacation. Ann: May I leave a message for Mr. Black, p...

LQ

Lê Quỳnh Anh

6 tháng 1 2018

Sue is phoning Mr. Black but his secretary tells her that he is on vacation.Ann. May I leave a message for Mr. Black, please?Secretary. ___________. A. He is taking a message now B. Yes, I'll make sure he gets it C. I'm afraid he is not here D. No, you can't tell...

Đọc tiếp

#Mẫu giáo

1

DH

Dương Hoàn Anh

6 tháng 1 2018

Chọn B

A. Bây giờ anh ta đang có tin nhắn.

B. Có, tôi sẽ đảm bảo anh ấy nhận được nó.

C. Anh ta không có ở đây.

D. Không, bạn không thể nói chuyện với anh ấy.

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LQ

Lê Quỳnh Anh

25 tháng 8 2018

Mark the letter A, B, C, or D on your answer sheet to indicate the most suitable response to complete each of the following exchanges. Sue is phoning Mr. Black but his secretary tells her that he is on vacation. Ann. May I leave a message for Mr. Black, please? Secretary. ___________. A. He is taking a message now. B. Yes, I'll make sure he gets it. C. I'm afraid he is not here. D. No, you can't tell...

Đọc tiếp

#Mẫu giáo

1

DH

Dương Hoàn Anh

25 tháng 8 2018

Chọn B

Tạm dịch:

Sue đang gọi điện cho ông Black nhưng thư ký của ông nói với bà rằng ông đang đi nghỉ.

Ann. Tôi có thể để lại lời nhắn cho ông Đen được không?

Thư ký. ___________.

A. Anh ấy đang nhận một tin nhắn.

B. Có, tôi sẽ đảm bảo anh ấy sẽ nhận được.

C. Tôi sợ anh ấy không có ở đây.

D. Không, bạn không thể nói với anh ấy. =

> Đáp án B

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LQ

Lê Quỳnh Anh

4 tháng 7 2019

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

According to paragraph 1 the writer is surprised to see that although Holiday on Ice is popular ____________.

A. people often prefer other types of show

B. most people consider it as a holiday

C. few people know someone who has seen it

D. people prefer to see a film, the ballet, or the circus

#Mẫu giáo

1

DH

Dương Hoàn Anh

4 tháng 7 2019

Đáp án C.

Key word: paragraph 1, writer, surprised, Holiday on Ice, popular.

Clue: “…They're not here to see a film, or the ballet, or even the circus. .. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world”: ... Bọn họ không ở đây đế xem phim, múa ba lê hay xem xiếc. ... Với việc hầu hết mọi người có vẻ như không thể quen biết ai đã từng ở đây, số liệu của chương trình vô cùng ấn tượng: gần 300 triệu người đã xem Kỳ nghỉ trên băng từ khi nó bắt đầu vào năm 1943; đây là một trong những chương trình giải trí trực tiếp nổi tiếng nhất thế giới.

A. people often prefer other types of show: mọi người thường thích xem những loại chương trình khác.

B. most people consider it as a holiday: hầu hết mọi người xem nó như một kỳ nghỉ.

C. few people know someone who has seen it: ít người quen ai đó đã xem chương trình này.

D. people prefer to see a film, the ballet, or the circus: mọi người thích xem phim, múa ba lê hoặc xiếc.

Đáp án đúng theo Clue là C.

MEMORIZE

Consider sb/ sth as: coi ai/ cái gì như là

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Lê Quỳnh Anh

16 tháng 5 2019

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

It is mentioned in paragraph 3 that __________.

A. the show has been staged in many places

B. many companies are involved in the production

C. the show needs financial support

D. it is difficult to find suitable equipment

#Mẫu giáo

1

DH

Dương Hoàn Anh

16 tháng 5 2019

Đáp án B.

Key word: mentioned, paragraph 3.

Clue: “the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects”: đèn được mua từ một công ty ở Texas, những người cài đặt hệ thống âm thanh làm việc ở California, nhưng những công ty đến từ Montreal cung cấp hiệu ứng khỏi.

Ta thấy từ manh mối rằng có rất nhiều công ty khác nhau góp phần vào việc tổ chức chương trình. Đáp án chính xác là B. many companies are involved in the production.

Các đáp án còn lại là sai:

A. the show has been staged in many places: chương trình đã được tổ chức ở nhiều nơi

C. the show needs financial support: chương trình cần hỗ trợ tài chỉnh

D. it is difficult to find suitable equipment: rất khó tìm được thiết bị phù hợp

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LQ

Lê Quỳnh Anh

15 tháng 12 2019

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

It is suggested in paragraph 5 that skating in shows ___________.

A. enables skaters to visit a variety of places

B. is as competitive as other forms of skating

C. allows skaters to try out a range of ideas

D. is particularly well paid

#Mẫu giáo

1

DH

Dương Hoàn Anh

15 tháng 12 2019

Đáp án C.

Key word: suggested, paragraph 5, skating in shows.

Clue: “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't”.

Dựa vào clue, đáp án chính xác là C. allows skaters to try out a range of ideas: trượt băng trong các chương trình biểu diễn) cho phép người trượt thử một loạt các ý tưởng.

Các đáp án còn lại không đúng:

A. enables skaters to visit a variety of places: cho phép người trượt băng đến thăm nhiều nơi khác nhau.

B. is as competitive as other forms of skating: cũng có tính cạnh tranh như các hình thức trượt băng khác.

D. is particularly well paid: đặc biệt được trả lương cao.

MEMORIZE

- skate (v): trượt băng

- skating (n): môn trượt băng

- skater: người trượt băng

- roller-skate: patanh

- skateboard: ván trượt

- skate rink: sân băng

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LQ

Lê Quỳnh Anh

23 tháng 3 2017

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

For Robin Cousins, the aim of the rehearsal is ____________.

A. to adjust the spotlights

B. to keep in time with the music

C. to be acquainted with the stage

D. to position the skaters on the ice

#Mẫu giáo

1

DH

Dương Hoàn Anh

23 tháng 3 2017

Đáp án D.

Key word: Robin Cousins, aim, rehearsal.

Clue: “... the cast start to go through their routines under Cousins' direction. Cousins says, “The aim is to make sure they're all still getting to exactly the right place on the ice at the right time”: dàn diễn viên bắt đầu diễn tập lại dưới sự chỉ đạo của Cousins. Theo Cousins, mục đích của việc làm này là để đảm bảo rằng mọi người đều đang ở đúng ví trí trên bằng vào đúng thời điểm.

Dựa vào clue, ta thấy đáp án chính xác là D. to position the skaters on the ice: để định vị những người trượt băng.

Các đáp án còn lại là sai:

A. to adjust the spotlights: để điều chỉnh đèn sân khấu

B. to keep in time with the music: để giữ đúng thời gian với âm nhạc

C. to be acquainted with the stage: để làm quen với sân khấu

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LQ

Lê Quỳnh Anh

6 tháng 5 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Which of the following is the writer's conclusion of Holiday on Ice?

A. It is more enjoyable than Holiday on Ice.

B. It is hard to know who really enjoys it.

C. It is difficult to dislike it.

D. It requires more skills than Olympic ice-skating.

#Mẫu giáo

1

DH

Dương Hoàn Anh

6 tháng 5 2018

Đáp án C.

Keywords: writer's conclusion, Holiday on Ice

Yêu cầu của câu hỏi là xác định kết luận của tác giả.

Clue: “To be honest, for those of US whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.”: thật tình mà nói, đối với những người đã có kinh nghiệm xem trượt băng từ những vận động viên Olympic hàng đầu, một vài động tác (của Holiday on Ice) có vẻ nghiệp dư. Nhưng rút cục thì ở đây có ai phán xét không? Công bằng mà nói, không có gì là hoàn hảo cả và bạn cũng sẽ phải cố gắng rất nhiều để không thích chương trình này.

Tác giả thuyết phục người đọc rằng chương trình trượt băng của ông thật khó để mọi người không thích được mặc dù nó không được như những cuộc thi chuyên nghiệp.

Đáp án chính xác là C. It is difficult to dislike it.

Các phương án còn lại không đúng:

A. Olympic ice-skating is more enjoyable than Holiday on Ice: Trượt băng Olympic là thú vị hơn so với Holiday on Ice.

B. It is hard to know who really enjoys Holiday on Ice: Thật khó để biết ai thật sự thích Holiday on Ice.

D. Holiday on Ice requires more skills than Olympic ice-skating: Holiday on Ice đòi hỏi nhiều kỹ năng hơn trượt băng Olympic.

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LQ

Lê Quỳnh Anh

19 tháng 2 2019

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questionsAt 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the...

Đọc tiếp

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions

At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'

It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

Cousins believes that he can meet the challenge of producing shows for different audiences

A. by adapting movements to suit local tastes

B. by presenting familiar material in an unexpected way

C. by selecting music that local audiences will respond to

D. by varying the routines each night

#Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 2 2019

Đáp án B

Dòng 5 6 7 – đoạn 4: “My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'”

Tạm dịch : “Lí thuyết của tôi là bạn lấy những thứ cái mà mọi người muốn xem và bạn cung cấp cho họ, nhưng không phải theo cách mà họ muốn xem nó. Bạn nên cố gắng thay đổi cách thể hiện nó. Và bạn phải tìm âm nhạc cái mà thách thức được các nghệ sĩ trượt, vì họ phải làm điều đó mỗi tối”

Đáp án B – được trình diễn các chất liệu quen thuộc theo cách bất ngờ => đáp án B đung nhất

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LQ

Lê Quỳnh Anh

25 tháng 4 2018

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8. At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever...

Đọc tiếp

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 1 to 8.

At 7pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don't seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.

But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.

As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.

The next day, as the music blares out from the sound system, the cast start to go through their routines under Cousins' direction. Cousins says, The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge,' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.

It may be a job which he took to pay the rent, but you can't doubt his enthusiasm. “The only place you'll see certain skating moves is an ice show,” he says, “because you're not allowed to do them in competition. It's not in the rules. So the ice show world has things to offer which the competitive world just doesn't.” Cousin knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. “I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought”, "I really can't cope. I'm not enjoying it". The solution, he realised, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.

To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.

The phrase “the hard way” in paragraph 5 most likely means ___________.

A. by working very hard

B. by having expectations of others

C. through doing things again and again

D. through difficult personal experience

#Mẫu giáo

1

DH

Dương Hoàn Anh

25 tháng 4 2018

Đáp án D.

Key word: the hard way, paragraph 5.

Câu này đòi hỏi kiến thức về từ vựng, không thể đoán theo ngữ cảnh.

learn the hard way: học từ kỉnh nghiệm cay đắng của bản thân.

Chọn đáp án D. through difficult personal experience.

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