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Questions assess vocabulary meaning, narrative inference, and relationships among filming challenges, performance guidance, and the narrator’s development as an 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do the directions require test-takers to do in the Reading Test?","Question",{"text":63,"@type":64},"Read each passage (or pair of passages) and choose the best answer based on what is stated or implied, using any accompanying graphics such as tables.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"Which text is the provided passage adapted from?",{"text":68,"@type":64},"The passage is adapted from Nina Revoyr, The Age of Dreaming.",{"name":70,"@type":61,"acceptedAnswer":71},"How does the narrator describe early silent film production conditions?",{"text":72,"@type":64},"The narrative explains that early interiors were shot on outdoor sets with minimal controlled lighting, creating urgency to finish before afternoon shadows deepened, and that heatwaves or rain could require special cooling measures or stop filming 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of your answer sheet to answer the questions in this section.  \nDIRECTIONS  \nEach passage or pair of passages below is followed by a number of questions.After readingeach passage or pair,choose the best answer to each question based on what is stated orimplied in the passage or passages and in any accompanying graphics(such as a table orgraph).  \nQuestions 1-10 are based on the followingpassage.  \nThis passage is adapted from Nina Revoyr,The Age ofDreaming.◎2008 by Nina Revoyr.The narrator describesacting in silent films in the early 1900s.Moran owns theproduction company that employs the narrator.  \nIt is amusing,in retrospect,to think howprimitive our efforts were in those early years.Formy first two films,all of the interiors were shot onLine outdoor sets,with canvases draped over them to5 soften the sun.All copies of Jamestown Junction havelong been lost,but if the film had survived,and if youcould see it,you would notice that during the officescene the papers on my desk are disturbed by amysterious breeze.And in the very next scene,you10 would see a shadow moving in the corner,caused bythe canvas flapping in the wind.These were theconditions in which we shot at that time,and becausewe worked without the benefit of artificial light,therewas always a rush to complete the day's filming15 before the shadows grew too deep in the afternoon.In late May,when we endured an unexpected heatwave,Moran had giant ice blocks delivered to thesets,and powerful fans placed behind them to blowthe cool air in the direction or the players.If it rained,20 filming would halt altogether,and we wouldscramble to move all the furniture and props underthe complex's few permanent roofs.But despite thesechallenges,everyone remained in good spirits.We were working,yes,but it felt like play,and it was25 hard to comprehend the tremendous good fortunethat had suddenly befallen me.  \nThrough the making of both films,Hanako gaveme constant guidance,which I eagerly accepted.And Iimmediately discerned the difference between30 myself,an untrained amateur,and a seasonedprofessional who knew everything about the art ofacting.Indeed,she was perhaps the largest influenceon my development as an actor.  \n\"There is no audience to see you,\"she said one35 day in Japanese,as I gestured expansively to conveymy anguish at the death of one of my fellow soldiers.\"You don't need to project like you would in thetheater,as if you're trying to be seen by the person inthe last row.Pretend the camera is the one man40 you're playing to.\"  \nOn another occasion when I was perhaps toounderstated,Hanako approached me after Morancalled “cut.\"“You're painting a picture with yourbody,\"she said.\"Think of pantomime.You must45 express physically what you can't with your voice.And use your face,your eyes.You have such eyes.They alone speak volumes.\"  \nMoran nodded in agreement,although hecouldn't have understood,and I adjusted my actions50 accordingly.I was surprised by the extent to whichhe let Hanako direct things—not only my ownperformance,but also the placement of props,eventhe movements of the other actors.Yet all of hersuggestions improved the films.And between her55 advice and Moran's direction,I was slowly learningwhat to do.The transition from theater,whichdepends on dialogue,was more difficult than I hadimagined—indeed,many stage actors,even thosewho didn't disdain the new medium or moving  \n1  \n60 pictures,did not make the change successfully.Hanako Minatoya was one of the few who wasequally accomplished in both realms.I was learningunder her tutelage every day.  \nOn certain days,when we weren't in scenes,65 Hanako and I would leave the sets and walk into thehills.They were vibrant with color,with flowerswherever one looked—blue brodiaea and lupin,Mariposa lilacs,the wispy orange California poppies.The beauty of that landscape,when the air was cool,  \n70 the sun gli","cbCaihDAiIbjSXo2","https://ap.wps.com/l/cbCaihDAiIbjSXo2","pdf",2906896,34,"English","# Reading Test\n## Directions and timing\n## Passage-based questions","[{\"question\":\"What do the directions require test-takers to do in the Reading Test?\",\"answer\":\"Read each passage (or pair of passages) and choose the best answer based on what is stated or implied, using any accompanying graphics such as tables.\"},{\"question\":\"Which text is the provided passage adapted from?\",\"answer\":\"The passage is adapted from Nina Revoyr, The Age of Dreaming.\"},{\"question\":\"How does the narrator describe early silent film production conditions?\",\"answer\":\"The narrative explains that early interiors were shot on outdoor sets with minimal controlled lighting, creating urgency to finish before afternoon shadows deepened, and that heatwaves or rain could require special cooling measures or stop filming entirely.\"}]","March 2021 SAT Reading/Writing and Language Tests - Reading Test | PDF",86]