TASC Reading Practice Quiz 3 — Questions and Answers
Question 1: Read the following passage and answer the question: Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences. Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres. Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History. The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions. In context, which word most closely defines mélange?
- frivolous
- tradition
- assortment (Correct answer)
- opportunity
- brochure
Correct answer: assortment
The passage describes cities as "blends of smaller cultural environments" and mentions "a broad spectrum of dining establishments along with various art institutions." The word "mélange" is used in the context of "any other city’s mélange of dining and art institutions," directly referring to this mix or collection of different elements. Therefore, "assortment" accurately captures the meaning of a varied mixture or collection.
Question 2: Read the following passage and answer the question: Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences. Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres. Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History. The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions. Which of the following would the author believe is the most important city attraction or characteristic?
- The exquisite French restaurant in the European district
- The Museum of Natural History
- Ruins from the Berlin Wall and the local community (Correct answer)
- Wrigley Field
- A democratic government
Correct answer: Ruins from the Berlin Wall and the local community
The author explicitly states that "History" is the "one characteristic that can distinguish a city" and that it "overshadows any other city’s mélange of dining and art institutions." Ruins from the Berlin Wall represent a significant historical landmark, and the "local community" embodies the "rich traditions and a bond between the local people" that the author values. This option directly aligns with the passage's central argument about the supreme importance of unique history and local traditions.
Question 3: Read the following passage and answer the question: Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a Line scary proposition. Maintaining the reality of the character is, 5 in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: 10 namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of 15 fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a 20 host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. What is the best way to describe the purposes of the two passages?
- Passage 1 analyzes a phenomenon; Passage 2 suggests a solution to a problem. (Correct answer)
- Passage 1 traces the consequences of an incident; Passage 2 narrates a process.
- Passage 1 interprets a series of examples; Passage 2 gives a typical case.
- Both passages present well-known examples to challenge a misconception.
- Both passages explain a pattern by questioning previous theories.
Correct answer: Passage 1 analyzes a phenomenon; Passage 2 suggests a solution to a problem.
Passage 1 delves into the nature of stage fright, explaining its inherent contradictions and the specific fears actors experience, thus analyzing the phenomenon. Passage 2, on the other hand, dismisses the term "stage fright" and offers a concrete strategy—substitution, like imagining oneself as a host—to overcome this fear, thereby suggesting a solution to the problem.
Question 4: Read the following passage and answer the question: Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a Line scary proposition. Maintaining the reality of the character is, 5 in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: 10 namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of 15 fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a 20 host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. In the context of Passage 1, the phrase "Maintaining the reality of the character" (line 4) most directly refers to
- believing oneself to be the character
- playing the character in a way that resembles real life
- presenting to the audience only behavior relevant to the characte (Correct answer)
- showing the audience how the character sees a situation
- keeping the character from becoming purely imaginative
Correct answer: presenting to the audience only behavior relevant to the characte
The passage explains that the actor's fear is "about allowing the audience to see something that it is not supposed to see: namely, the performer’s fear, or stage fright." This implies that "maintaining the reality of the character" means preventing the audience from seeing the actor's personal anxieties and instead only showing actions and emotions consistent with the character. Therefore, it's about presenting only character-relevant behavior and concealing the actor's true self.
Question 5: Read the following passage and answer the question: Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a Line scary proposition. Maintaining the reality of the character is, 5 in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: 10 namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of 15 fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a 20 host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. How do the passages view stage fright in relation to human behavior in general?
- Passage 1 attributes stage fright to an individual's personal problems, whereas Passage 2 believes stage fright is caused by social problems.
- Passage 1 sees stage fright as normal and healthy, while Passage 2 sees stage fright as an extreme reaction.
- Passage 1 emphasizes that situations unique to the theater cause stage fright, whereas Passage 2 views stage fright as similar in one way to most othe (Correct answer)
- Both passages view stage fright as a phenomenon that people experience in everyday life.
- Both passages view stage fright as part of a phase actors go through in their lives.
Correct answer: Passage 1 emphasizes that situations unique to the theater cause stage fright, whereas Passage 2 views stage fright as similar in one way to most othe
Passage 1 specifically discusses stage fright within the context of acting and performance, highlighting the unique challenges and fears faced by an "actor" in front of an "audience." In contrast, Passage 2 broadens the discussion by stating that "The key to most fears is substitution," suggesting that the mechanism for overcoming stage fright is applicable to fears in general, not just those specific to performance.
Question 6: Read the following passage and answer the question: Passage 1 Because it is filled with contradictions, performance is also filled with risk. This is the domain of stage fright. The actor is aware that appearing in front of an audience is a Line scary proposition. Maintaining the reality of the character is, 5 in itself, a fragile affair; it demands of the actor a series of complex transformations. The actor has the unique problem of hiding and showing at the same time. The actor’s conscious fear is not about making a mistake, but about allowing the audience to see something that it is not supposed to see: 10 namely, the performer’s fear, or stage fright. Passage 2 The term “stage fright” has largely dropped out of use, because we know now that dwelling on something this malevolent gives it power. If I tell you not to be afraid, you may dwell on your fear. If I say, do not think of 15 fast-food burgers under any circumstances, a line of them will parade through your mind. The key to most fears is substitution. On the simplest level, you replace the ogre with something less menacing to fill your consciousness. If you will imagine yourself to be a 20 host rather than an actor, and think more about the comfort of your listeners than their verdicts, everything will fall into place. Which of the following describes an actor coping with stage fright by following the advice of the author of Passage 2?
- A performer who tries to impress the audience
- A performer who thinks of the audience as friends (Correct answer)
- A performer who follows the same rituals before every performance
- A performer who blocks out thoughts of the audience
- A performer who tries to keep the audience amused
Correct answer: A performer who thinks of the audience as friends
Passage 2 advises replacing the "ogre" (the intimidating audience) with "something less menacing" and suggests imagining oneself as a "host" who thinks "about the comfort of your listeners than their verdicts." Thinking of the audience as friends aligns perfectly with this advice, as it transforms the perceived threat into a supportive, less intimidating group, thereby substituting the fear with a more comforting perspective.
TASC Reading Practice Quiz 3
Read the following passage and answer the question: Cities across the world are essentially blends of smaller cultural environments that lead people to have vastly different experiences.
Each city typically contains a broad spectrum of dining establishments along with various art institutions like museums and theatres.
Yet with all these blends of dining, art and night lives, what is the one characteristic that can distinguish a city? History.
The undeniably unique history of each city provides rich traditions and a bond between the local people that overshadows any other city’s mélange of dining and art institutions.
In context, which word most closely defines mélange?