Project On Theatre Programmes - IELTS Listening Answers & Explanations
From Cambridge IELTS 20 Academic Listening Test 3 · Part 3 · Questions 21–30
Audio
Questions
Questions 21–26 Multiple Choice (One Answer)
Choose the correct letter, A, B or C
Questions 27–30 Matching
What comment is made about the programme for each of the following shows?
Choose FOUR answers from the box and write the correct letter, A–F, next to Questions
Comments about the programme
A. Its origin is somewhat controversial
B. It is historically significant for a country
C. It was effective at attracting audiences
D. It is included in a recent project
E. It contains insights into the show
F. It resembles an artwork
Answers & Explanations Summary
| # | Answer | Evidence | Explanation |
|---|---|---|---|
| Q21 | B | No one else on the course is doing the same as us | Excerpt/Transcript Explanation: The transcript shows that Finn felt happy because there were no other students working on their topic. Answer Explanation: The answer means that Finn was happy to find out that no other students were doing the same project as him and Maya. Reason For Correctness: The correct answer is 'B' because Finn said, 'No one else on the course is doing the same as us.' This indicates he was pleased that their topic was unique. |
| Q22 | A | Contrary to what many people think, theatres don't hire people to do the programmes. In fact, companies buy the rights to publish programmes on the theatre's behalf | Excerpt/Transcript Explanation: The transcript says that many people believe theatres pay to make programmes. However, it says theatres do not hire people for this work. Companies actually buy the rights and work for the theatre. Answer Explanation: The answer means that some people think theatres pay companies to make the programmes, but that's not true. Reason For Correctness: The correct answer is A because Maya explains that contrary to what many people think, theatres do not hire people to do the programmes. Instead, companies buy the rights to publish them on behalf of the theatre, meaning theatres do not actually pay for the production of the programmes. |
| Q23 | C | if the programme named a famous actor, that's who the public expected to perform. And if that didn't happen, people accused the theatre of breaking their agreement with the audience | Excerpt/Transcript Explanation: The transcript explains that if a famous actor was listed in a programme, people thought that actor would be part of the show. If the actor was not there, people got very angry and said the theatre broke its promise to them. Answer Explanation: The answer means that Finn was surprised that programmes were viewed as agreements between the theatre and the audience. Reason For Correctness: The correct answer is C because Finn learned that if a famous actor was mentioned in the programme, the audience expected that actor to perform. If the actor did not show up, the audience felt the theatre broke their promise and wanted their money back. This shows that the programme was like a contract between the theatre and the audience. |
| Q24 | A | I also think it’s important to mention that lots of ordinary people at that time were illiterate, so theatre programmes were of limited value in advertising plays. When a company of actors arrived in a town, they’d parade around the streets in their costumes, beating drums and announcing their upcoming performances. | Excerpt/Transcript Explanation: The transcript talks about a time when many people could not read or write, so theatre programmes did not help much in telling people about plays. The companies of actors would go into towns wearing their costumes, playing drums, and telling people about the plays they would perform. Answer Explanation: The answer means that Maya believes they should explain how companies of actors would bring attention to their plays. Reason For Correctness: The correct answer is A because, in the past, many people could not read, so companies of actors needed to promote or advertise their plays in a different way. They would dress up and go to the streets to attract people's attention and announce their shows since printed programmes were not helpful to those who couldn't read. |
| Q25 | C | But personally I think 18th century programmes were superior because they told the theatregoers so many things, including about the actors | Excerpt/Transcript Explanation: The transcript says that Finn believes that programmes from the eighteenth century were better because they provided a lot of information about the actors, which means they were very helpful for the audience. Answer Explanation: The answer is C, which means that Finn and Maya think that theatre programmes from the eighteenth century gave more information than those from the nineteenth century. Reason For Correctness: The correct answer is C, 'were more informative.' This is because in the conversation, Finn mentions that eighteenth-century programmes told the audience a lot of things about the actors, the writer, the plot, and sometimes the history of the play. Maya also agrees with this idea, showing that they value the amount of information in those older programmes compared to the less informative ones from the nineteenth century. |
| Q26 | B | What I don't really get is that after the war they didn't go back to being more than one sheet or change in any way for over 25 years | Excerpt/Transcript Explanation: The transcript shows that Maya is confused about why theatre programmes did not improve or become more complicated after the war. She thinks it is strange that they stayed simple for such a long time. Answer Explanation: The answer means that Maya is confused about why British theatre programmes did not change or improve for a long time after World War II. Reason For Correctness: The correct answer is B because in the conversation, Maya mentions that after World War II, British theatre programmes became very simple and didn't change for over 25 years. She finds it strange that they didn't go back to being more detailed after the war, even though there were only paper shortages for a few years. This shows that she doesn't fully understand why there was no development in British theatre programmes during that time. |
| Q27 | F | But the programme looks very decorative | Excerpt/Transcript Explanation: The transcript says that the programme looks very beautiful and fancy. Answer Explanation: The answer means that the programme for Ruy Blas looks very beautiful, like a piece of art. Reason For Correctness: The correct answer is F because Maya describes the programme for Ruy Blas as 'very decorative' and good 'enough to put in a frame on the wall,' which shows that it looks like artwork. |
| Q28 | E | I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company, so we can learn how the production was created and the thoughts and feelings of the cast | Excerpt/Transcript Explanation: The transcript says that Finn believes the programme is good because it has writings from people who worked on the show. These writings tell us about how the show was made and how the actors felt, which helps us understand the show better. Answer Explanation: The answer means that the programme for 'Man of La Mancha' has interesting information about the show. Reason For Correctness: The correct answer is 'E' because Finn mentions that the programme contains articles written by members of the theatre company. This provides insights into how the production was made and the feelings of the actors, which is valuable information for understanding the show. |
| Q29 | B | I've got a copy of a programme that's now in a museum. It's for The Tragedy of Jane Shore and it's said to be the earliest surviving document to have been printed on Australia's first printing press | Excerpt/Transcript Explanation: The transcript says that Maya has a programme in a museum for The Tragedy of Jane Shore. It is very important because it is the first thing ever printed using Australia's first printing press. Answer Explanation: The answer means that the programme for The Tragedy of Jane Shore is important in history for a country, specifically Australia. Reason For Correctness: The correct answer is B because Maya mentions that the programme for The Tragedy of Jane Shore is said to be the earliest surviving document printed on Australia's first printing press. This shows its historical importance to Australia. |
| Q30 | D | Another programme to talk about is for The Sailors Festival. It comes from the British Library's digitised collection of programmes that was started a few years ago | Excerpt/Transcript Explanation: The transcript says that the programme for The Sailors' Festival is part of a new digital collection by the British Library. This means it is included in a recent project. Answer Explanation: The answer means that the programme for The Sailors' Festival is part of a new project. Reason For Correctness: The correct answer is D because Maya mentions that the programme for The Sailors' Festival comes from the British Library's digital collection, which is a recent project that includes many theatre programmes. |
Transcript
MAYA So, Finn, I’ve done as much as I can for our project on theatre programmes. How’s your research coming along?
FINN OK, Maya. I didn’t know theatre programmes are called playbills in the USA till I started looking into the topic. Even though I struggled to find many useful websites, I’m glad we picked this subject. No one else on the course is doing the same as us, although it is one of the research areas of the module convener.
MAYA That might actually put some people off.
FINN I suppose so. Anyway I hadn’t realised there are actually companies specialising in creating theatre programmes
MAYA Yes they are quite common nowadays. Contrary to what many people think, theatres don’t hire people to do the programmes. In fact, companies buy the rights to publish programmes on the theatre’s behalf and then make their money selling advertising space within the programme booklet.
FINN It must be easier for theatres to do it that way.
MAYA Yes.
FINN I remember reading something about programmes in early British theatre. It said that the cast was always very important.
MAYA Yeah, audiences were very familiar with leading actors and big names would draw huge crowds.
FINN But I hadn’t realised that if the programme named a famous actor, that’s who the public expected to perform. And if that didn’t happen, people accused the theatre of breaking their agreement with the audience. They would demand refunds and if they didn’t get them, there were riots.
MAYA Outrageous! That’d never happen now.
FINN No, people are too polite, even when they’re disappointed if the star of the show misses a performance.
MAYA We should definitely include that information about early audiences in our project. I also think it’s important to mention that lots of ordinary people at that time were illiterate, so theatre programmes were of limited value in advertising plays. When a company of actors arrived in a town, they’d parade around the streets in their costumes, beating drums and announcing their upcoming performances.
FINN Interesting. I couldn’t imagine that happening now either.
MAYA There’s also an interesting comparison to make between 18th and 19th century programmes.
FINN Wasn’t it in the 19th century that theatre programmes started to resemble programs today
MAYA Yes and unlike programs from the 18th century they always used colour
FINN And there was a greater variety of designs. But personally I think 18th century programmes were superior because they told the theatregoers so many things, including about the actors.
MAYA And about the writer, the plot and sometimes the history of the play.
FINN That’s right. What should we say about theatre programmes in the 20th century?
MAYA I reckon the most important thing is the dramatic change they underwent during World War II.
FINN When the government imposed restrictions on the use of paper.
MAYA Yeah, but that was only in the UK. In the USA, programmes, or rather playbills, continued to be published in the same format.
FINN While here in the UK, programmes became merely a single sheet of paper folded to create four pages for text.
MAYA What I don’t really get is that after the war they didn’t go back to being more than one sheet or change in any way for over 25 years. I know there were paper shortages after the war, but only for five or ten years.
FINN Strange.
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MAYA I got some pictures of programmes we could include on the slides for our presentation.
FINN I found a couple too Maya. Let go through and see what we think
MAYA Um oh this is an old one for a play called Ruey Blass
FINN Never heard of that. But the programme looks very decorative.
MAYA Good enough to put in a frame on the wall. The images are just beautiful. Finn, what did you find?
FINN I’ve got some pages from a programme for Man of La Mancha. I thought this was a good programme to show, not because of the pictures, but because it contains articles written by members of the theatre company, so we can learn how the production was created and the thoughts and feelings of the cast.
MAYA Good. I’ve got a copy of a programme that’s now in a museum. It’s for The Tragedy of Jane Shore and it’s said to be the earliest surviving document to have been printed on Australia’s first printing press
FINN Fantastic!
MAYA Another programme to talk about is for The Sailors Festival. It comes from the British Library’s digitised collection of programmes that was started a few years ago. It already comprises over 200,000 programmes which is amazing!
FINN Huh. Wish I’d known about it while I was doing my research.