新标准Unit 3听力原文

Unit 3

Inside view

Conversation 1

Janet: So where are we now?

Andy: This is the West End. It’s famous for cinemas and theatres. I used to work in a

theatre near here.

Janet: Really? What did you do?

Andy: I moved the scenery between acts in the play. If I’m not mistaken, I worked on

Pygmalion

by George Bernard Shaw

Janet: If I remember correctly. That was made into a musical film, wasn’t it?

My Fair

Lady

? I remember seeing it on TV

.

Andy:

Oh,

oh,

i

t’s

Joe.

Hey!...

Yes,

we’re

on

our

way

.

I

don’t

think

we’

re

that

late…

Chill out,

Joe, we’ll be there. Anyway, come on, we’d better get a move

on.

Janet: How far is it from here?

Andy: It’s not far. Maybe five minutes’ walk. Joe gets cross if I’m late.

Joe:

Hello Janet, hello Andy. Late as usual!

Andy: Actually, by my watch, I’m bang on time.

Joe:

Well let’s get on with it. This is Toby Jenkins, the theatre critic.

Toby: Nice to meet you, are you ready to start?

Andy: Hang on a minute! Janet, can you check the sound level? Can you hear me ok,

Janet

？

Janet?

Janet: Hi Andy, I can’t hear you. What’s up?

Andy: Can you hear me now?

Janet: Ouch! Yes, that’s much louder.

Joe:

Let’s stop wasting time please. Just get on with the interview, will you?

Conversation2

Andy: And we’ve got Toby Jenkins here with us today, who has just been to s

ee the

latest show at The Hippodrome,

La Clique

. So,

La Clique

is slightly different

from the usual shows we see here in the West End these days. Can you tell me

something about it, Toby?

Toby: Yes, It’s a kind of cabaret, with a series of variety acts set in a kind of circus,

but it’s very contemporary, extrem

ely well produced and huge fun.

Andy: Tell me more about the acts.

Toby: Well, there are stunts performed on a high wire,

and puppets. There’s a sword

swallower and juggler, and a rubber man who manages to pass his whole body

through a tennis racquet.

Andy: It sounds very unusual.

Toby: Yes, for the West End today, but not so unusual for 30 or more years ago.

Andy: So, It’s f

amily entertainment then?

Toby: Ah, no. I’m afraid it’s pretty adult, but very funny and stylish.

Andy: Did you get that ok, Janet?

Joe:

Let me have a listen…

Janet: Oh no, did I do some thing wrong?

Joe:

Well, It’s just that I can’t hear anything. Let’s

try again…

Andy: Did you remember to keep an eye on the sound levels? That meter, there!

Janet: Oh no, I clean forgot.

Andy: It’

s OK

. We’ll just do another take.

Joe:

Come on you two. Hurry up!

Janet: I’m so sorry. It slipped my mind.

Joe:

You’ll

forget

your

own

head

one

day.

Sorry

about

this,

Toby.

From

the

top,

please!

Andy: And we’ve got Toby Jenkins here with us today…

Outside View

V

oice-over:

The

Mona

Lisa

,

the

most

famous

painting

in

the

world,

was

truly

revolutionary

even

in

its

time.

While

he

was

painting

the

Mona

Lisa

,

Leonardo da Vinci broke all the rules, even his own. In spite of the fact

that

Leonardo

and

other

artists

believed

that

women

should

only

be

portrayed

with

eyes

gazing

slightly

down.

Leonardo

painted

the

Mona

Lisa looking directly at

the viewer. The positon of her body is another

innovation. While her face looks straight ahead, her body is slight turned,

a pose that creates a sense of movement

and tension.

In another break

from

tradition,

the

Mona

Lisa

is

not

wearing

any

jewellery

or

adornments.

Finally,

backgrounds

in

portraits

usually

indicated

a

real

place but the landscape in Leonardo’s portrait seems almost imaginary.

Anne:

One of the things I like to do is, um, think about her face and why, what

is she trying, why, what is she trying to say with her face, and I used to

think that her face told more than one story. For instance, if I covered up

one side of her face, it seemed like she might be a little sad or reserved,

almost secretive.

Scott:

Her

eyes

are,

they’re

kind

of

looking

at

us

or

around

us,

through

us

perhaps.

I

think

with

that

painting

she

is

the

viewer

and

we

are

the

subject in a way. And she has this look that she knows something that we

don’t know.

Anne:

And then when I covered up that side and looked at the other side, she

seemed happier, um, more satisfied. And together, it created sort of the

mystery about her that, um, made interpreting her face very enigmatic.

Scott:

There’s speculation that the

Mona Lisa

is a self-portrait of Leonardo and

I,

I

believe

that

it

is,

there,

there,

the

features

do

line

up

between

the

Mona Lisa

and sketches of Leonardo.

V

oice-over: Scott McMahon and Anne Pfaff are both portrait artists. They believe that

portraits can tell a story and make people think, just as the

Mona Lisa

has done for so many years.

Anne:

When

I

was

young,

um,

I

was

always

interested

in,

um,

reading

books

about people and, and the dynamics, different kinds of relationships they

had and so when I became a painter it was natural for me to be interested

in painting people and looking for similar kinds of stories to tell about