Obviously, much has been written about the wonders of the Internet, which has made our lives more convenient. However, people, particularly many older people around the world have at least one common concern: How to get younger people, addicted to their electronic devices, interested in classic literature through advanced and updated technologies. Take the Monkey King, or Sun Wukong, as an example. The main character in the 16th-century classic novel, Journey to the West, is a symbol of bravery and adventure that impressed millions of readers before the appearance of online attractions.
Havoc in Heaven, a new Peking Opera film, attracted the wider public to the beauty of the traditional Chinese performance art, featuring one of the best-known chapters from Journey to the West. This film, expected to create a new way to promote Peking Opera, includes nearly all the key ingredients (成分) of Peking Opera. It covers all the basic techniques, and makeup for dozens of facial representations of different figures’ characteristics.
It’s actually a big challenge to combine Peking Opera and film, each of which has its own characteristic. One challenge that Cheng and his production team faced is how to balance the new approach with keeping the basic performance skills in Peking Opera.
Some background images on stage remain, and a live band was on the set to provide sound for the film, rather than employing the prerecorded music. “If we change traditions to satisfy people’s taste and preference for a regular film, it will no longer be a Peking Opera piece of art,” Cheng said.
On the other hand, some creativity was needed because Cheng and his team did not just want to record a stage performance. Computer technology is also applied to achieve some visual effects and to present impossible scenes.
Peking Opera films played a powerful role in the 1960s and 70s, but they gave way to more various entertainment. In recent years, there has been a recovery in the popularity of Peking Opera films. However, the overuse of special effects in many film adaptations of Peking Opera plays has weakened the original charm of the stage performances.
8. What is the purpose of the first paragraph?
A.To blame young people addicted to electronic devices. |
B.To introduce a new Peking Opera film. |
C.To express older people’s worry about the young generation’s life. |
D.To inspire readers’ interest in traditional Chinese performance art. |
9. What did Director Cheng do while producing the film?
A.He made changes to basic performance skills. |
B.He made use of symbols and motions equally. |
C.He combined tradition and innovation together. |
D.He brought onto the stage details of real life. |
10. What innovation did Cheng’s team make?
A.They opposed a rigid and inflexible recording of the performance. |
B.They enriched visual effects with modern technology. |
C.They allowed actors to repeat actions before the camera. |
D.They adopted real explosion scenes during the shooting. |
11. What can we conclude from the last paragraph?
A.Imagination is a unique charm of Peking Opera films. |
B.Technology makes up for the loss of stage imagination. |
C.There is some possibility for a film to replace Peking Opera. |
D.The original charm of Peking Opera cannot be given up for films. |