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单选题 评价音乐剧"内容维度"的核心是关注作品的哪一方面?( )
学科：音乐剧赏析
时间：2026-01-08 15:03:30
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题目1单选题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:1. In the past, a Broadway musical was NOT actually written until ______A. a producer wanted to make a showB. a creative team got an ideaC. a producer gave a serious commitmentD. there was a signed contract
题目2单选题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The first musical which is staged for more than a year in world history is _____A. Show BoatB. The Black CrookC. South PacificD. The King and I
题目3单选题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The musical Oklahoma! was produced cooperatively by _____A. Richard Rodgers and Lorenz HartB. Richard Rodgers and Oscar Hammerstein IIC. Theatre Guild and Richard RodgersD. Jerome Kern and Oscar Hammerstein II
题目4单选题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The musical Show Boat is adapted from _____A. Edna Ferber's epic novelB. two short stories by James MichenerC. a semi-fictional novel by Gertrude LawrenceD. an unsuccessful play Green Grow the Lilacs
题目5单选题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The musical which is the second one to win the Pulitzer Prize is ______A. OklahomaB. Florenz Ziegfeld's FolliesC. South PacificD. Show Boat
题目6填空题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The musicals The King and I and A Chorus Line were initiated by ______.(一个单词)题目7填空题
Getting the Idea for Making a Musical1. The initial idea for a musical can come from all sorts of sources. Inthe past, Broadway musicals began in one of two ways: Either a producer got an idea for a show and hired a creative team, or a creative team got an idea and talked a producer into backing it. Either way, nothing was actually written until there was a serious commitment from a producer. Cole Porter said that the best source of creative inspiration for a new show was a signed contract.2. Some classic musicals got their start when a producer found a story idea and guided the project to Broadway.3. The inspiration for Broadway's first musical hit came out of sheer (完全的) desperation. The manager of a 3,000 seat theatre needed something to fill his stage for the fall. He threw together a stranded (束手无策的) ballet troupe, a clunky (笨拙的) melodrama (情节剧) and a stack of forgettable songs. Strange as that mix may seem, it clicked (轰动一时). At a time when most hits ran a month or two,The Black Crook (1866) became the first production in world history torun for more than a year. It toured for decades and eventually returned to Broadway fifteen times.4. All of Florenz Ziegfeld's Follies(轻松歌舞剧) (1907-1932) began as his ownpersonal inspirations. He would ask a small army of writers to submit songs and skits(小喜剧), far many more than he could possibly use. He wentto masters like Irving Berlin, as well as low-paid hacks he kept on his fulltime staff. Ziegfeld chose the best of the lot (全部) and opened The Follies out of town. He invariably (总是) started with more material than he needed, with opening nights running four hours or more. Audience reaction determined what was kept and what was cut.5. In the early 1940s, the prestigious (有声望的) Theater Guild had a run of badluck and found itself deep in debt. They asked Richard Rodgers andLorenz Hart to adapt the unsuccessful play Green Grow the Lilacs into a musical. Rodgers was interested, but Hart felt that no one would be interested in a musical about a farm girl deciding who would take her to a country dance. Rodgers teamed up with ( 与...合作) Oscar Hammerstein II, and Oklahoma! (1943) opened a new era in musical theater.6. Other musicals got their start in the imaginations of writers, composers or directors:7. Jerome Kern and his frequent collaborator Oscar Hammerstein II realized that Edna Ferber's epic novel Show Boat could be turned into a musical, one with unusual dramatic potential. They discussed the idea with Ziegfeld, who had serious reservations (保留意见) but was not about to turndown the chance to produce a show by these proven hit makers. ShowBoat became the biggest hit of Ziegfeld's career.8. Director and playwright Joshua Logan approached Rodgers and Hammerstein with the idea of turning two short stories by James Michener into a musical. By this time, Rodgers and Hammerstein were so successful that they acted as their own producers. Logan co-authoredthe libretto and directed-and South Pacific (1949) became the second musical to win the Pulitzer Prize.9. In a few cases, performers initiated (着手) a project. Gertrude Lawrence convinced Rodgers and Hammerstein to turn the semi-fictional novel (andhit 1946 film) Anna and the King of Siam into The King and I (1951). In the mid-1970s, two dancers approached choreographer Michael Bennettwith the idea of creating a musical based on the experiences of dancers. Bennett had toyed with the idea of a musical about dancers for several years. Freshly inspired, he organized a series of private workshops where dancers shared their memories-which became the basis for A Chorus Line (1975)小题:The musical A Chorus Line is based on the experiences of _______.(一个单词)题目8单选题
评价音乐剧"内容维度"的核心是关注作品的哪一方面?( )A. 音乐旋律的创新性和协调性B. 文化符号的丰富度C. 演员表演的感染力和舞台魅力D. 剧情、角色与主题的逻辑完整性
题目9单选题
下列哪项最能体现音乐剧"情感维度"的传递有效性?( )A. 文化元素数量多B. 舞美设计色彩鲜艳C. 剧情设定夸张离奇D. 演员通过语气、肢体配合音乐传递精准情绪
题目10单选题
音乐剧"艺术维度"中"元素协同"的核心要求是?( )A. 音乐、舞蹈、舞美和歌词等元素各自独立出彩B. 所有元素统一服务于剧情或角色表达C. 歌词与台词追求华丽辞藻D. 优先使用复杂的舞台特效
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