Doğuş Üniversitesi Proficiency Sınavı Hazırlık 2
Doğuş Üniversitesi Proficiency Sınavı Hazırlık Programı
1 – Doğuş Üniversitesi Proficiency Sınavı Hazırlık ( Doğuş Üniversitesi Proficiency Sınavı Hazırlık için Bireysel – Özel Ders )
2 – Doğuş Üniversitesi Proficiency Sınavı Hazırlık ( Doğuş Üniversitesi Proficiency Sınavı Hazırlık için 4 kişilik Gruplarla Ders )
1. I received the present from this lady.
She’s the ___________________________________ the present.
- He broke his arm, so he has to stay at home.
If he hadn’t broken his arm, _____________________ at home.
- “You must wear that blouse”, he said.
He __________________________________________ that blouse.
USE OF ENGLISH TEST 4
Read the text below. Use the word given in capitals at the end of some lines to form a word which fits in the space on the same line. Write your answers in the table below. There is an example at the beginning (0). No credit will be given to words with spelling mistakes.
|Britain’s armchair television (0)__critics___ no longer have to suffer TV (1)_______ they don’t like thanks to the world’s first interactive comedy show, Cosmic Comedy Interactive.Devised by Videotron, the TV show follows the traditional mix of stand-up and satiric wit, with an extraordinary (2)_______ bonus. Instead of sitting through the worst performers, the (3)_______ at home can choose to ‘zap’ with their remote control any of the would-be stars and bring on a new one. Videotron’s set-top box (4)_______ you to switch between any one of four channels creating the (5)_______ of
(6)_______. Videotron says that interactive versions of Eurosport’s Winter Olympics (7)_______ and interactive programmes in general attract far bigger audiences than ‘linear’ shows. It claims that the number of (8)_______ of cable (9)_______ after trying the new interactive product is (10)_______ reduced.
LISTENING 1 – LECTURE (TRUE/FALSE/NO INFORMATION)
You will hear a lecture on “Being an Actor or Actress” two times. As you listen to it for the first time, you may take notes in the space provided. While you are listening to the lecture for the second time, put a cross (x) next to the statements according to whether they are T (true), F (false), or NI (no information is given). Now you have two minutes to look at the statements.
Have you ever wondered about getting a role in a television programme, or a film? Forget it, some people will tell you, arguing that it’s much too difficult. However, you can make it, if you go about things in the right way.
First, let’s look at why there are so many theatre actors who have not been successful in films or on TV, and why we see the same people on our screens over and over again. Of course, films and TV programmes are very expensive to make. A typical four-hour costume drama could cost around £4 million at least. Now, imagine yourself as a producer: you get halfway through and some actors go missing or let you down in some way. You have already spent £2 million and you have to start again. It is largely because of this that the tendency is to employ actors who have proved reliable in the past.
It has to be said that TV and theatre acting are totally different. Actors in the theatre have to make grand gestures and project their voices, so that those sitting right at the back can hear and understand. On TV, on the other hand, we see everything up close. We notice the smallest changes in facial expressions. Movement is often limited; as otherwise, the actor would disappear off the edge of the screen.
Let us assume that you want to take part in a major TV drama series, not as a star yet, but as an “extra”, principally for fun and pocket money. Most dramas and all films use extras: the people who are in the background in restaurants, hospital waiting areas, at weddings, or in a street scene. You will also have seen “supporting actors”, for example, nurses in a hospital ward, a taxi driver, or whatever. In any one film there may be hundreds of extras and supporting actors.
Although you can run after acting contracts on your own, life for extras, supporting actors and producers is made far simpler by specialist casting agencies. These range from little local agencies that keep a list of available people and wait for someone to knock on their door to fully professional agencies with complex databases, listing each client’s skills and preferences. The best agencies keep in constant touch with producers and are therefore very knowledgeable about current and forthcoming opportunities. Once they find you work, an agency will take between fifteen and twenty percent of your earnings on that assignment.