When a group of children politely stop a conversation with you, saying: “We have to go to work now,” you’re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

　　Stage schools often act as agencies（代理机构）to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

　　A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn’t settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

　Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

　The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don’t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

　People would stop feeling uneasy when realizing that the children they’re talking to________.

　　  A. attend a stage school　　　　  B. are going to the theatre

　　  C. have got some work to do 　　  D. love singing and dancing

　　 In the writer’s opinion, a good stage school should ________.

　　  A. produce star performers

　　  B. help pupils improve their study skills

　　  C. train pupils in language and performing arts

　　  D. provide a general education and stage training.

　“Professional work” as used in the text means ________.

　　  A. ordinary school work　　　　　  B. money-making performances

　　  C. stage training at school 　 　  D. acting, singing or dancing after class

　 Which of the following best describes how the writer feels about stage schools?

　　  A. He thinks highly of what they have to offer.　　　　

　　  B. He favours an early start in the training of performing arts.

　　  C. He feels uncomfortable about children putting on night shows.

　　  D. He doubts the standard of ordinary education they have reached.

When a group of children politely stop a conversation with you, saying，“We have to go to work now.” you're left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is , until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn't settle for spending only hal

f the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 do 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don't make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

1.People would stop feeling uneasy when realising that the children they're talking to  ________.

A. attend a stage school

B. are going to the theatre

C. have got some work to do

D. love singing and dancing 

2.In the writer's opinion, a good stage school should  ________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training 

3.“Professional work” as used in the text means  ________ .

A. ordinary school work

B. money?making performances

C. stage training at school

D. acting, singing or dancing after class 

4.Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer.

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached. 

When an emergency situation occurs, observers are more likely to take action if there are few or no other witnesses．This phenomenon is referred to as the bystander effect．

       The bystander effect is also called the Genovese effect, which was named after Catherine Kitty Genovese, a．young woman who was murdered on March 13, 1964．Early in the morning, 28-year-old Genovese was returning home from work．As she approached her apartment entrance, she was attacked and stabbed（刺）by a man later identified as Winston Moseley．Despite Genovese]s repeated cries for help , none of the dozen or so people in the nearby apartment building who heard her cries called the police for help ．The attach first began at 3:20 , but it was not until 3:50 that someone first contacted the police．

       There are two major factors that contribute to the bystander effect．First, the presence of other people creates a diffusion（分散）of responsibility．Because there are other observers, individuals do not feel as much pressure to take action, since the responsibility to take action is thought to be shared among all of those present．

       The second reason is the need to behave in correct and socially acceptable ways．When other observers fail to react, individuals often take this as a signal that a response is not needed or not appropriate．Other researchers have found that onlookers are less likely to take action if the situation, is ambiguous^ R^E^?）．In the case of Kitty Genovese, many of the 38 witnessing reported that they believed that they were witnessing a " lovers' quarrel" , and did not realize that the young woman was actually being murdered．

The passage seems to suggest that Genovese might not have been murdered if there had been_____．

       A．no observer                 B．fewer observers 

       C．more observers ．   D．younger observers

Genovese was murdered                    .

       A．while she was going out        B．in her apartment

       C．halfway home           D．in front of her apartment ?

The underlined word "this" in the last paragraph probably refers to ____．

       A．not doing anything to help      B．behaving in correct ways

       C．taking action           D．murdering

We can learn from the passage that Genovese's neighbors didn't lend a hand partly because they ____．

       A．were afraid of being attacked by the murderer

       B．thought someone else might come to her rescue．

       C．didn't get along well with her

       D．were sure it was murdering

When a group of children politely stop a conversation with you, saying:  "We have to go to work now," you' re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the "work" they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name  "stage school"  are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all , what lively children wouldn't settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don' t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

In the writer' s opinion, a good stage school should _________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training.

"Professional work"  as used in the text means _________ .

A. ordinary school work            B. money-making performances

C. stage training at school             D. acting, singing or dancing after class

Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer .

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached.

D

I grew up in a small town. I was only ten years old when my dad gave me the responsibility of feeding the chickens and cleaning up the stable (马厩). He believed it was important for me to have those jobs to learn responsibility. Then, when I was 22, I found a job in Natchbill at a country music club called the Natchbill Palace. I washed dishes and cooked from 4:00 pm to 9:00 pm and then went on stage and sang until 2:00 in the morning. It wasn’t long before I became known as a singing cook. I had been rejected so many times by record companies that it was hard not to be discouraged.

One night, a woman executive (董事) from a company named Warner Brothers Records came to hear me sing. When the show was over, we sat down and talked and after she left, I said to myself it was one more rejection. A few weeks later, my manager received a phone call — Warner Brothers wanted to sign me to a record deal. Soon after, I had my first record in June 1986. It sold over 2 million copies. My best efforts had gone into every job I’ve ever held. It was the sense of responsibility that made me feel like a man.

68. Why was the writer once known as a singing cook?

A. He was a cook at a country music club.

B. He sang for guests while he worked as a cook.

C. He often sang while cooking.

D. He liked singing better than cooking.

69. Who first recognized the writer’s talents and helped make him successful?

A. His brother.      B. His manager.     C. His father.            D. A businesswoman.

70. It can be inferred from the passage that the ______.

A. writer’s success is partly due to his father     B. writer’s family was very poor

C. writer succeeded easily                   D. writer’s first record was a total failure