1) Paragraph 1 of Passage 1 provides each of the following EXCEPT

A. a critical interpretation of A Streetcar Named Desire

B. an explanation of why modern audiences connect with A Streetcar Named Desire
C. a brief plot synopsis of A Streetcar Named Desire
D. background information on the times that produced A Streetcar Named Desire
E. the author’s main argument concerning A Streetcar Named Desire

2) It can be inferred from Passage 1 that A Streetcar Named Desire

A. was Tennessee Williams’ first play

B. is better on stage than in print
C. did not have socialist leanings
D. was not melodramatic
E. would not have been successful without Marlon Brando

3) According to Passage 1, the character of Blanche DuBois

A. is intentionally overdramatic and theatrical

B. has never been to the city of New Orleans before
C. is recently married to Stanley Kowalski
D. is brutally honest and frank during the play
E. is firmly rooted in realism and sanity

4) Passage 2 argues that Marlon Brando’s portrayal of Stanley Kowalski

I. earned the actor great fame

II. is more nuanced than the part that is written
III. is more nuanced than the part that is written

A. I only
B. II only
C. I and II only
D. II and III only
E. I, II, and III

5) Both Passage 1 and Passage 2 argue that

A. the New York theater scene was blown away by A Streetcar Named Desire
B. Tennessee Williams wrote A Streetcar Named Desire to end melodrama
C. A Streetcar Named Desire has more than one true meaning
D. A Streetcar Named Desire only has power when performed on the stage
E. the character of Stanley Kowalski is simply a brute monster
6) The author of Passage 2 focuses on Marlon Brando’s portrayal of Stanley Kowalski as
being particularly memorable and powerful, whereas the author of Passage 1 focuses on
Tennessee Williams’ skilled writing. In your opinion, what makes for better drama: a
high-quality script or unparalleled acting? Can a drama be successful with one but not the
other? Why?

A high-quality script is a good influencer on these issues, and more so when it comes to
acting a script written with drama, since it has lines and coherence, and a good argument to
have a somewhat exaggerated acting, and a good acting must also to be present, but if it is
only acting improvising, the running of the work must be present so that it does not unset or
change the fundamentals of the work.
And a drama if it can be successful, independent whether or not it is unique, and if it is not, it
does not mean that it is not good or that it will not go well.

7) In paragraph 2 of Passage 1, the author suggests that drama in the 1930s was heavily
influenced by socialist playwrights and the politics of the era. In what ways do modern plays,
shows, and films reflect modern politics, if at all? Do you see any current trends in today’s
media?

In what I see, the best known and most popular political system is capitalism, and in the films
or works of the decade they try to show it as the best system to direct a country, thanks to
this the result is reflected in the society.
And one of the trends right now is the debate between the most famous systems, which is
capitalism and socialism.