Passage 19 AK的超现实主义戏剧
★★★
先看题：
1. Which of the following best states the central idea of the passage? 主旨内容题，多段文章考察段间关系。这两段是转折关系，因为第二段开头中的departure from …所以主旨来自于第二段。
2. According to the passage, Kennedy is concerned with depicting the 信息矩阵
3. Which of the following statements, if true, would most strengthen the author’s assertion that Kennedy’s work marks a serious departure from the tradition described in the first paragraph? 加强的第三种方法，补充新证据
①African American drama has, until recently, been rooted in the mimetic tradition of modern American naturalism. ②The most distinctive attribute of this tradition is the mechanistic, materialistic conception of humanity. ③Naturalism sees each individual as inextricably bound to the environment and depicts each person as someone controlled by, instead of controlling, concrete reality. ④As long as African American drama maintained naturalism as its dominant mode, it could only express the “plight of African American people.” ⑤Its heroes might declare the madness of reality, but reality inevitably triumphed over them.
①The surrealistic plays of Adrienne Kennedy mark one of the first departures from naturalism by an African American dramatist. ②The overall goal of her work has been to depict the world of the soul and the spirit, not to mirror concrete reality. ③Within this framework, Kennedy has been able to portray African American minds and souls liberated from their connections to the external environment.
1. Which of the following best states the central idea of the passage? 主旨内容题，多段文章考察段间关系。这两段是转折关系，因为第二段开头中的departure from …所以主旨来自于第二段。
D
A. African American drama has been primarily influenced by naturalisms emphasis on the materialistic. 无关/相反
B. African American drama has traditionally acknowledged the relationship between the individual and the environment. 无关
C. African American drama, traditionally naturalistic, has been little influenced by dramatist Kennedy’s spiritual and psychological approach to drama. 没有influence的证据
D. The work of Kennedy suggests a shift away from a commitment to strict naturalism in African American drama.
E. The work of Kennedy best exemplifies the current interest of African American artists in the spiritual and psychological worlds. 没有current interest和best的证据（没有证据之极值比较）
commitment: an engagement or obligation that restricts freedom of action. 恪守，注重
2. According to the passage, Kennedy is concerned with depicting the 信息矩阵
A
A. Internal rather than the external life of her characters
B. Madness of reality rather than the effects of reality 相反
C. Effects of materialism on African American minds and souls 相反
D. Relationship between naturalism and the human spirit 相反
E. Effects that her characters have on the environment 没有证据/相反
3. Which of the following statements, if true, would most strengthen the author’s assertion that Kennedy’s work marks a serious departure from the tradition described in the first paragraph? 加强的第三种方法，补充新证据
C
A. Kennedy places the action in a real-life setting that is nevertheless unfamiliar to the average viewer or reader.
B. Kennedy movingly portrays the lives and struggles of prominent African Americans in the United States. 相反，对应plight
C. Kennedy uses characters found only in ancient African legends and mythology 符合
D. Kennedy provides insights into American mimetic tradition and dramatic convention 相反
E. Kennedy depicts the events in a style reminiscent of a television documentary 相反（纪实）
reminiscent: 与...相像的
背景拓展：
Adrienne Kennedy
Adrienne Kennedy (born September 13, 1931) is an American playwright. She is best known for Funnyhouse of a Negro, which premiered in 1964 and won an Obie Award. She won a lifetime Obie as well. In 2018 she inducted into the Theater Hall of Fame.
http://www.docin.com/p-1682258490.html
Kennedy has been contributing to American theater since the early 1960s, influencing generations of playwrights with her haunting, fragmentary lyrical dramas. Exploring the violence racism brings to people's lives, Kennedy's plays express poetic alienation, transcending the particulars of character and plot through ritualistic repetition and radical structural experimentation. Much of her work explores issues of race, kinship, and violence in American society, and many of her plays are "autobiographically inspired."
Kennedy is noted for the use of surrealism in her plays, which are often plotless and symbolic, drawing on mythical, historical, and imaginary figures to depict and explore the African-American experience.
In 1969, The New York Times critic Clive Barnes wrote, "While almost every black playwright in the country is fundamentally concerned with realism—LeRoi Jones and Ed Bullins at times have something different going but even their symbolism is straightforward stuff—Miss Kennedy is weaving some kind of dramatic fabric of poetry." In 1995, critic Michael Feingold of the Village Voice wrote, "with [Samuel] Beckett gone, Adrienne Kennedy is probably the boldest artist now writing for the theater."
