Storytelling Reading Answers

We have provided a Storytelling reading practice test below. It contains 13 questions which are based on frequently asked question types like Locating Information, Matching Features, Sentence Completion.

Table of contents:

• Solution for Storytelling
• Storytelling IELTS Reading Practice Test
• Passage
• Questions
• Answers with Explanations

Solution for Storytelling

The following table comprises Storytelling reading answers. You may cross-check your answers.

Answer Table 

14. E	18. H	22. A	26. FLAW/ WEAKNESS
15. G	19. B	23. THE POETICS
16. A	20. B	24. TRAGEDY
17. B	21. C	25. LANDMARKS

Storytelling IELTS Reading Practice Test - Exam Review 

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The applicants must attempt all the questions in the Storytelling Reading Answers. IELTS candidates who consistently prepare could achieve a high score. If you wish to perform well in the Reading Module, you must understand how to approach and answer the various question types.

Passage

We have provided a Storytelling reading passage below, read it carefully and answer questions 1-13.

Storytelling

A. It was told, we suppose, to people crouched around a fire: a tale of adventure, most likely-relating some close encounter with death; a remarkable hunt, an escape from mortal danger; a vision, or something else out of the ordinary. Whatever its thread, the weaving of this story was done with a prime purpose. The listeners must be kept listening. They must not fall asleep. So, as the story went on, its audience should be sustained by one question above all. What happens next?

B. The first fireside stories in human history can never be known. They were kept in the heads of those who told them. This method of storage is not necessarily inefficient. From documented oral traditions in Australia, the Balkans and other parts of the world we know that specialised storytellers and poets can recite from memory literally thousands of lines, in verse or prose, verbatim-word for word. But while memory is rightly considered an art in itself, it is clear that a primary purpose of making symbols is to have a system of reminders or mnemonic cues – signs that assist us to recall certain information in the mind’s eye.

C. In some Polynesian communities, a notched memory stick may help to guide a storyteller through successive stages of recitation. But in other parts of the world, the activity of storytelling historically resulted in the development or even the invention of writing systems. One theory about the arrival of literacy in ancient Greece, for example, argues that the epic tales about the Trojan War and the wanderings of Odysseus – traditionally attributed to Homer – were just so enchanting to hear that they had to be preserved. So the Greeks, c.750-700BC, borrowed an alphabet from their neighbors in the eastern Mediterranean, the Phoenicians.

D. The custom of recording stories on parchment and other materials can be traced in many manifestations around the world, from the priestly sheets archives of ancient Egypt to the birch-bark scrolls on which the North American Ojibway Indians set down their creation-myth. It is a well-tried and universal practice: so much so that to this day storytime is probably most often associated with words on paper. The formal practice of narrating a story aloud would seem-so we assume to have given way to newspapers, novels and comic strips. This, however, is not the case. Statistically, it is doubtful that the majority of humans currently rely upon the written word to get access to stories. So what is the alternative source?

E. Each year, over 7 billion people will go to watch the latest offering from Hollywood, Bollywood and beyond. The supreme storyteller of today is cinema. The movies, as distinct from still photography, seem to be an essential modem phenomenon. This is an illusion, for there are, as we shall see, certain ways in which the medium of film is indebted to very old precedents of arranging ‘sequences’ of images. But any account of visual storytelling must be with the recognition that all storytelling beats with a deeply atavistic pulse: that is, a ‘good story’ relies upon formal patterns of plot and characterisation that have been embedded in the practice of storytelling over many generations.

F. Thousands of scripts arrive every week at the offices of the major film studios. But aspiring screenwriters really need to look no further for essential advice than the fourth-century BC Greek Philosopher Aristotle. He left some incomplete lecture notes on the art of telling stories in various literary and dramatic modes, a slim volume known as The Poetics. Though he can never have envisaged the popcorn-fuelled actuality of a multiplex cinema, Aristotle is almost prescient about the key elements required to get the crowds flocking to such a cultural hub. He analysed the process with cool rationalism. When a story enchants us, we lose the sense of where we are; we are drawn into the story so thoroughly that we forget it is a story being told. This is, in Aristotle’s phrase, ‘the suspension of disbelief.

G. We know the feeling. If ever we have stayed in our seats, stunned with grief, as the credits roll by, or for days after seeing that vivid evocation of horror have been nervous about taking a shower at home, then we have suspended disbelief. We have been caught, or captivated, in the storyteller’s web. Did it all really happen? We really thought so for a while. Aristotle must have witnessed often enough this suspension of disbelief. He taught at Athens, the city where theatre developed as a primary form of civic ritual and recreation. Two theatrical types of storytelling, tragedy and comedy, caused Athenian audiences to lose themselves in sadness and laughter respectively. Tragedy, for Aristotle, was particularly potent in its capacity to enlist and then purge the emotions of those watching the story unfold on the stage, so he tried to identify those factors in the storyteller’s art that brought about such engagement. He had, as an obvious sample for analysis, not only the fifth-century BC masterpieces of Classical Greek tragedy written by Aeschylus, Sophocles and Euripides. Beyond them stood Homer, whose stories even then had canonical status: The Iliad and The Odyssey were already considered literary landmarks-stories by which all other stories should be measured. So what was the secret of Homer’s narrative art?

H. It was not hard to find. Homer created credible heroes. His heroes belonged to the past, they were mighty and magnificent, yet they were not, in the end, fantasy figures. He made his heroes sulk, bicker, cheat and cry. They were, in short, characters – protagonists of a story that an audience would care about, would want to follow, would want to know what happens next. As Aristotle saw, the hero who shows a human side-some flaw or weakness to which mortals are prone-is intrinsically dramatic.d by logging.

Questions

Questions 14-18

The Reading Passage has eight paragraphs A-H
Which paragraph contains the following information?
Write the correct letter A-H, in boxes 14-18 on your answer sheet.

14. A misunderstanding of a modern way for telling stories
15. The typical forms mentioned for telling stories
16. The fundamental aim of storytelling
17. A description of reciting stories without any assistance
18. How to make story characters attractive

Questions 19-22

Classify the following information as referring to

A. adopted the writing system from another country
B. used organic materials to record stories
C. used tools to help to tell stories

19: Egyptians
20: Ojibway
21: Polynesians
22: Greek

Questions 23-26

Complete the sentences below with ONE WORD ONLY from the passage.
Write your answer in boxes 23-26 on your answer sheet.

23. Aristotle wrote a book on the art of storytelling called
24. Aristotle believed the most powerful type of story to move listeners is
25. Aristotle viewed Homer's works as
26. Aristotle believed attractive heroes should have some

Answers for Storytelling with Explanations

The Storytelling answers with Explanations are given below. It will assist you in understanding the format of the reading test and will allow you to correct your errors.

14. Answer: E
Explanation: Cinema has been viewed as a contemporary means of telling tales, and still photography has emerged as a contemporary phenomena crucial to the same. However, this perception is false because contemporary films are mostly dependent on or reliant on the arrangement of picture sequences. People misinterpret film as a contemporary form of storytelling as a result.

15. Answer: G
Explanation: Aristotle specified two sorts of narrative styles for tragedies and comedies, which are the two types of stories that are often told.

16. Answer: A
Explanation: The listeners' ability to stay awake and continue listening has been regarded the key goal of storytelling.

17. Answer: B
Explanation: The main goal of narrative has been taken into account, along with keeping the audience awake and interested.

18. Answer: H
Explanation: Homer wrote tales with heroes who readers would generally want to learn more about and care about, making them appealing.

19. Answer: B
Explanation: Ancient paper like material was used by the Egyptians to write down their tales and preserve them as archives.

20. Answer: B
Explanation: The Ojibway Indians of North America utilized birch bark as a means of creating myths about their origins by employing them as biological record pieces.

21. Answer: C
Explanation: In Polynesian tribes, a notched memory stick was used as a storytelling tool to direct the storyteller as they recited the tale in stages.

22. Answer: A
Explanation: The Phoenicians, who lived next to them and were from the eastern Mediterranean areas, gave the Greeks the alphabet to use in their writing.

23. Answer: THE POETICS
Explanation: Aristotle wrote a work called The Poetics that includes lecture notes about the craft of narrative.

24. Answer: TRAGEDY 
Explanation: According to Aristotle, tragedy serves as a form of narrative that draws in viewers and helps them let go of their emotions while they witness the action on stage.

25. Answer: LANDMARKS
Explanation: Aristotle believed that Homer's stories had a unique style of expressing a plot that could be used to gauge all other stories.

26. Answer: FLAW/ WEAKNESS
Explanation: Aristotle thought that the protagonist's shortcomings or weaknesses made the story more compelling.

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