题目内容
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A．The opposition character
B．The mirror character
C．The romance character
D．The minor character
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更多“Which character is the character that the most clearly aligned with and supportive of the protagonis…”相关的问题
Which of the following is true of a speaker of poor character？
A．Speech training may make him effective.
B．His actions will reflect what he says.
C．He will fail at any time and place.
D．He may avoid topics or won't tell the truth.
A．The three of them were all language majors
B．Steve and Jim were more alike in character
C．The author didn't enjoy talking with Steve
D．Their living condition was rather poor
A、Anaphora
B、Epistrophe
C、Symploce
D、Anadiplosis
Which of the following is the character of people sleeping on stomach？
A．Never express real feelings.
B．Don't like meeting people.
C．Enjoy having a good time.
D．Usually careful.
The author claims that ______.
A．he wouldn"t tolerate the vices that people have in common
B．he doesn"t feel particular contempt for being untruthful
C．one may be tempted into untruthfulness when one comes to think of it
D．untruthfulness is a serious fault of character which he condemns strongly
A．When he studies for a test, he doesn't begin until the night before or the morning of the test.
B．Cleaning the room even takes precedence over homework, not to mention sleep.
C．They sit in the place farthest from the teacher, and they usually group together.
D．They will leave college with little education and few social skills.
Hi Jack,
If character animation is what you're into, I highly suggest you not overlook traditional drawing as a means of developing that art.
I watched the animations on your site, and I can see some promising stuff there, but overall, I don't get a sense of life. Your keys seem very linear, especially in your 3-minute piece with the wizard; there are lots of frozen poses, and unmotivated pauses in the movement. The computer is full of tools to overcome those issues—one of which is the curve editor. I don't know what software you use, but any animation software these days will have a Function Curve editor, which is basically a graph of all your animation that you can edit. This is where you take your key frames and tell the computer how to draw the inbetweens. I do a lot of my overlapping action with just these curves, moving existing key frames around. On another note—that Photoshop composite with the skier is excellent!
—Marco
Which of the following does the author NOT suggest m Jack？
A．Learning some traditional drawing.
B．Using the Function Curve Editor.
C．Referring to three-minute animations.
D．Recommending the Photoshop composite.
在字符{A, C, G, T}组成的DNA序列中，A和T、C和G是互补对。判断一个DNA序列中是否存在互补回文串（例如，ATCATGAT的补串是TAGTACTA，与原串形成互补回文串）。下面DNA序列中存在互补回文串的是：（多选） In the DNA sequences consisting of character {A, C, G, T}, A and T, C and G are complementary pairs. Judging whether there is a complementary palindrome sequence in a DNA sequence (e.g., ATCATGAT’s complement strings is TAGTACTA, it is complementary palindrome sequence with the original sequence). Which of the following DNA sequences have complementary palindrome string？ （There are more than one answers.）
A、CTGATCAG
B、AATTAATT
C、TGCAACGT
D、CATGGTAC
E、GTACGTAC
F、AGCTAGCT
Which is not the character in Shakespeare's comedy.
A Shylock
B Hermia
C Othello
Acting minus the drama
Harriet Walter has written a fascinating book about her profession.
Benedicte Page reports.
It is not often that all experienced actor with a high public profile will sit down to answer in depth the ordinary theatregoer's questions: how do you put together a character which isn't your own？; what is it like to perform. the same play night after night'？; or simply, why do you do it？ Harriet Walter was prnmpted to write Other People's Shoes: Thoughts on Acting by a sense that many people's interest in theatre extended beyond the scope of entertainment chit-chat. "1 was asked very intelligent, probing questions by people who weren't in the profession, from taxi drivers to dinner-party hosts to people in shopping queues. It made me realise that people have an interest in what we do which goes beyond show- business gossip," she says.
Other People's' Shoes avoids insider gossip and, mostly, autobiography: "If events in my life had had a huge direct influence, l would have put them in, but they didn't," Harriet says, though she does explain how her parents' divorce was a factor in her careen But the focus of the book is to share—remarkably openly the inside experience of the stage and the rehearsal room, aiming to replace the lalse sense of mystery with a more realistic understanding and respect for the profession.
"There's a certain double edge to the publicity an actor can get in the newspapers: it gives you attention but, by giving it to you, simultaneously criticises you," Harriet says. "People ask you to talk about yourself and then say, 'Oh, actors are so self-centred.' And the 'sound- bite' variety of journalism, which touches on many things but never allows you to go into them in depth, leaves you with a sort of short hand which reinforces prejudices and myths."
Harriet's career' began in the 1970s and has included theatre performances with the Royal Shakespeare Company and television and film roles. She writes wittily about the embarrassments of the rehearsal room, as actors try out their half-formed ideas. And she is at pains to demystify the theatre: thc question "How do you do the same play every night？" is answered by a simple comparison with the familiar car journey you take every day, which presents a slightly different challenge each time. "I was trying to get everyone to understand it isn't line 42 this extraordinary mystery and you're not visitcd by some spiritual inspiration every night."
Harriet's own acting style. is to build up a character piccu by piece. She says that this process is not widely understood: "There's no intelligent vocabulary out there for discussing thc craft of building characters. Reviews of an actor's performance which appear in the newspapers are generally based on whethcr the reviewer likes the actors or not. It's not about whether they are being skilful or not, or how intelligent their choices are."
There remains something mysterious about slipping into "other people's shocs': "It's something like falling in love," Harriet says. "When you're in love with someone, you go in and out of separateness and togetherness. It's similar with acting and you can slip in and out of a character. Once a character has been built, it remains with you, at the end of a phone line, as it were, waiting for your call."
Harriet includes her early work in Other People's Shoes— "I wanted to separate myself from those who say, 'What an idiot I was, what a load of nonsense we all talked in those days!'; it wasn't all rubbish, and it has affected how I approach my work and my audienccs.' And she retains from those days her belief in the vital rol
A．was tired of answering people's questions about acting.
B．knew people liked to read about show business gossip.
C．wanted to entertain people through her writing.
D．wanted to satisfy people's curiosity about acting in the theatre.
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