TEAS Reading Practice Test 4

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Question 1 of 6

1. 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?
- a. frivolous
- b. tradition
- c. assortment
- d. opportunity
- e. brochure
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Question 2 of 6

2. 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?
- a. The exquisite French restaurant in the European district
- b. The Museum of Natural History
- c. Ruins from the Berlin Wall and the local community
- d. Wrigley Field
- e. A democratic government
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Question 3 of 6

3. 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?

a. Passage 1 analyzes a phenomenon; Passage 2 suggests a solution to a problem.
b. Passage 1 traces the consequences of an incident; Passage 2 narrates a process.
c. Passage 1 interprets a series of examples; Passage 2 gives a typical case.
d. Both passages present well-known examples to challenge a misconception.
e. Both passages explain a pattern by questioning previous theories.

Correct

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Question 4 of 6

4. 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

a. believing oneself to be the character
b. playing the character in a way that resembles real life
c. presenting to the audience only behavior relevant to the character
d. showing the audience how the character sees a situation
e. keeping the character from becoming purely imaginative

Correct

Incorrect

Question 5 of 6

5. 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?

a. Passage 1 attributes stage fright to an individual's personal problems, whereas Passage 2 believes stage fright is caused by social problems.
b. Passage 1 sees stage fright as normal and healthy, while Passage 2 sees stage fright as an extreme reaction.
c. 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 other fears.
d. Both passages view stage fright as a phenomenon that people experience in everyday life.
e. Both passages view stage fright as part of a phase actors go through in their lives.

Correct

Incorrect

Question 6 of 6

6. 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. A performer who tries to impress the audience
b. A performer who thinks of the audience as friends
c. A performer who follows the same rituals before every performance
d. A performer who blocks out thoughts of the audience
e. A performer who tries to keep the audience amused

Correct

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TEAS Reading Practice Test 4

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