IELTSwithJurabek

PASSAGE 2

Read the text and answer questions 14-26

Pantomime

14 A A pantomime performance is a unique blend of eccentricity and absurdity, a wild mixture of songs, jokes, outrageous costumes and slapstick physical humour. For many British children, their first family trip to see a pantomime in the Christmas holiday season is their introduction to the magic of the theatre. But what has become a quintessentially British form of entertainment is more than just simple fun. As an art form, pantomime presents a tale of good and evil, where hope finally triumphs after danger and virtual despair.

15 B The story of pantomime begins with the commedia dell'arte tradition in 16th-century Italy. These improvised shows took place in streets and marketplaces in Italy and eventually throughout Europe. Distinctive masks enabled audiences to recognise the people in these stories immediately; they also allowed actors to be rude or disrespectful without fear of being recognised. The key roles in the cast were invariably rich old men, usually portrayed as cowardly and disreputable; young lovers whose parents refuse to let them marry; and ingenious and quick-witted servants. Many commedia plots show the latter, whose lives are a constant struggle to find food and money, outwitting the old men or overthrowing their masters. This theme of the victory of the underdog is still an essential feature of pantomime today.

16 C By the mid-18th century, many thousands of people were going to theatres across Britain every night. Among the most popular performances were harlequinades, a new kind of entertainment which interwove Ovid's first-century Latin poem Metamorphoses with aspects of the Italian commedia. Created by actor John Rich, these early pantomimes cleverly mixed spectacle, music, ballet and myth, and were tremendously enjoyable to watch. Amazing transformations happened at the touch of a magic wand, with mechanical serpents and flying vehicles. They also showed that even early pantomime was fascinated by the crossing of boundaries: the ambiguity of men dressed as women, and the fun of animal characters played by human beings.

17 D Despite their popularity, Rich's spectacular performances attracted huge controversy. Critics bitterly attacked pantomimes, complaining that they would bring about the downfall of Shakespeare and the death of serious theatre. David Garrick, the great 18th-century actor-manager, was quick to join these criticisms, while also realising the commercial opportunities of this new art form. But how could Garrick take advantage of the craze and still maintain his position as the defender of 'legitimate' theatre? His tactic was to set about changing pantomime's cultural identity, partly by confining shows to his theatre's Christmas season. Pantomimes became associated with the frivolity of the holiday season rather than being denounced as a threat. In doing so, Garrick created a convention which has survived to this day.

18 E At the end of the 18th century, popular theatre saw the arrival of the white-faced Clown, in the form of actor Joseph Grimaldi. By the early 19th century, Britain was at war with France; there was intense civil unrest and violent confrontations between the government and the people. Grimaldi's hilarious antics embodied the freedom and liberty of British culture by contrast with the country's supposedly dull, humourless enemies. His anarchic activities included chasing and imprisoning policemen and stealing gigantic quantities of sausages. But the Clown was never caught or sent to jail. Audiences were thrilled by his mischief and his endless eating precisely because he created on stage the fantasy of a different world: a world without hunger, a world of comic revenge against a highly repressive government. Grimaldi became one of the great satirists of his age, a character who offered ludicrous commentaries on everything from the ruling classes to fashion, technology and new forms of transport.

19 F By the late 19th century, photography had arrived, the telegraph had been invented and the first motor cars were starting to appear on British streets. Meanwhile, the spotlight on the comic stage shifted away from the Clown and towards an unexpected star, the pantomime 'Dame': a tired housewife - always played by a man - struggling to cope in an unfriendly world. Dan Leno was the celebrated performer who created and played this talkative and eccentric working-class woman, a mother facing the difficulties of poverty, which he and his audiences knew all too well. In the Dame, Leno developed a persona whose theatrical power comes from the locking together of compassion and laughter. At the same time, artists such as Leno began to infuse pantomime with the plots and dilemmas of working people's culture.

20 G Pantomimes are as popular today as they have ever been. Our delight in this form comes from a complex mixture of emotions and relationships. Pantomime offers us the anarchic excitements of a topsy-turvy world only to give us the assurance of harmony restored. The engaging character of the Dame exemplifies pantomime's self-proclaimed absurdity. Her comical conversations with the audience cut across the boundaries between performers and spectators, drawing us into her chaotic world. While she presides over the anarchy which Grimaldi once visited on policemen, the Dame also embodies the collective ties which bind us together as families, as neighbours, and as members of society.

PASSAGE 3

Read the text and answer questions 27-40

The tuatara - past and future

A The New Zealand species of lizard, the tuatara, is firmly embedded in the national psyche: an icon for today which dates from the age of dinosaurs; an ancient reptile commemorated on the back of the five cent coin. New Zealanders feel an affinity with the tuatara, and accept that active conservation management is required to ensure it will be among the legacies left to future generations.

B When European explorers reached New Zealand in 1769 they found two large islands, which together they called the 'mainland', and many tiny offshore islands around the coast. The naturalists who came with the explorers disregarded the tuatara, though it is improbable none were seen. Only several decades later did a tuatara specimen reach the British Museum, where it was eventually classified as just another type of lizard.

C One of the first scientists who realised that aspects of tuatara anatomy were odd - unchanged for tens of thousands of years - was Albert Gunther in 1876. Gunther believed the tuatara was one of the most valuable objects in zoological anatomical collections, and also noted, in passing, the reptile was likely to become extinct. From today's perspective, it is striking that Gunther expressed no concern about the probable demise of the tuatara. He and his contemporaries were products of their age, strongly influenced by Charles Darwin's theory, which had only recently been published. Their views were something like this: 'Extinction is a natural process. It is sad that species disappear, but that is part of nature.'

D There is a second important aspect of Gunther's work. He recorded, correctly, that some of the mammals introduced by Europeans were predators of the tuatara, particularly rats. But what he did not realise was that New Zealand has two species of rat, both introduced, both with an appetite for tuatara: the ship's rat came with European explorers and settlers; but the kiore rat had already been in the country for hundreds of years, brought by Polynesians from the Pacific Islands. Gunther failed to recognise the distinction, believing all rats to be a relatively recent introduction.

E Little further research was conducted until Ian Crook of the NZ Wildlife Service published his findings in 1973, which can be summarised as follows. Tuatara thrive on offshore islands with no rats. Tuatara never survived on islands with ship's rats. On a few islands, small and declining populations of tuatara occur with the kiore. This should not be seen, however, as evidence that tuatara and kiore can coexist. Rather, Crook proposed, kiore probably only arrived recently on such islands, and thus the small populations represent extinctions in progress.

F Throughout the 1990s, Richard Holdaway and his colleagues at Victoria University in Wellington documented the surprising discovery that kiores probably arrived about 1800 years ago, although the human population of New Zealand is thought to be no older than 800 years. How is this possible? Presumably, Holdaway argued, the kiore were brought by Polynesian explorers who visited the country but did not settle. Thereafter, the rats were agents of ecological warfare, exterminating perhaps 1000-3000 species. Thus, tuatara and many other species were already rare or extinct when permanent human inhabitants - the Maori - arrived around 1300. This hypothesis is still being debated, but the evidence continues to accumulate in its favour.

G Conservation practice has changed dramatically since Crook's findings were published in 1973. Eradication of rats from any given environment was believed to be virtually impossible until about 1980, but since then it has become routine. Enormous conservation benefits are accruing as newly rat-free offshore islands are providing sanctuaries for the country's rarest species. In 1995, for example, Nicola Nelson of the Department of Conservation established 68 tuatara on Titi Island. Since then, four more populations of tuatara have been established elsewhere under similar conditions. Today, numbers of tuatara are still a fraction of what they once were, but for the first time in 1800 years the decline has been reversed.

H While the recovery of rare species is itself a good thing, the truly significant outcome of this research is that it liberates the imagination. If we can remove predatory introduced mammals from islands, why not from the mainland too? Perhaps the questions we ask should demonstrate even more visionary ambition. Can non-mammalian pests also be removed from the mainland? Our rivers, for example, are full of surrogate rats, in the form of introduced species of fish called trout. Some day more people will understand that trout have replaced a whole native fauna in our waterways, just as rats replaced tuatara on the mainland. Will such knowledge lead to the creation of mainland 'aquatic islands' where we can once again establish those species of indigenous fish that used to live in our rivers? Similarly, can bellbirds and tuis replace birds like starlings and mynahs?

I The answers to such questions are uncertain, and opposing sides will doubtless be fiercely debated. But the role of scientific knowledge in illuminating the past will be crucial. Just as we now no longer tolerate extinction, in the future we may no longer accept a mainland devoid of the biological wonders of our past such as tuatara. Conservation is thus not primarily about the past but about imagining and then creating the future we wish for our children and ourselves. For 80 million years until humans arrived, tuatara occurred throughout New Zealand - might they do so again?