Examkrackers 101 Passages in MCAT Verbal Reasoning

482 Pages·2002·22.95 MB·English

by  David Orsay

EXAMKRACKERS
101 Passages
•In
MeAT
Verbal Reasoning

Osote
Publishing

Acknowledgements

This book would not have been possible without the gathering
and editing of the majority of the passages by Alex Vinnitsky.
Thank you, Alex.
I also wish to thank Karen Weinshelbaum
and Jordan Zaretsky for their comments and help in the
proofmg and editing of this book.
Finally, I would like to
thank my wife Ellis for her constant loving support and
encouragement.

Forward by Jonathan Orsay
Author of"Examkrackers MCAT Verbal Reasoning and Math"

I have long felt that the availability of accurate practice materials for the verbal reasoning section ofthe
MCAT has been limited to the few passages published by the AAMC. It is my opinion, that the commercial
prep companies have been unable to capture the nuances ofthis section in their prep materials. Although
some gains can be made using less sophisticated MCAT verbal passages, it is mastery of the nuances that
allow students to score in the double digits on the real MCAT verbal section. As we all know, 10 is the
magic number for the MCAT verbal section that seems to capture the attention of the medical school
admissions committees.

Typical inaccuracies found in commercially available verbal materials include too many words per passage,
too few words per passage, question stems that are too short, question stems that don't match the language
typically found on a real MCAT, and too many correct answers that can be verified directly from the
passage by pure logic. It is surprising that such simple aspects ofa real MCAT such as passage and
question stem length could be overlooked by those writing commercial books, but, unfortunately, this is the
case. One explanation might be that companies intentionally lengthen passages in order to make them more
difficult. A longer test is a disadvantage for the test taker because it disrupts the sense oftiming essential
for a double digit score on the real MCAT.

Matching the language ofthe MCAT is a more difficult proposition than just matching the length, but an
important one nonetheless. Real MCAT questions are often confounded with peculiar language that makes
them difficult to read. Reading question after question written in the MCAT language makes the real
MCAT questions easier to understand. At least in my opinion, before this book was published, prep
companies have been unable to duplicate this language.

Perhaps the most disappointing aspect ofany commercial practice materials in MCAT verbal reasoning is
the way that the answers can be derived through pure logical deduction based upon specific details found in
the passages. On a real MCAT, answers to the more difficult questions are often verifiable only through the
reader's sense ofthe feeling, tone, or main idea ofthe passage. Such questions are difficult to write well,
and correct answers are difficult to defend satisfactorily, but that is tlle nature ofthe MCAT verbal section.
Furthermore, those ofus with scientific inclination tend to be more comfortable with the detailed type
questions. No matter how difficult an exam with only detailed questions may seem, those practicing with
such exams are in for a shock on the real MCAT.

I asked my brother, David Orsay, to write this book, because I knew his background, personality, and talents
were perfect for such a job. David has a mastery of verbal skills possessed by very few, yet he possesses a
trained eye for detail that is required to produce an accurate replication of any exam. He is obsessive in his
desire for perfection in every task that he performs. Even as an underachiever in high school, I watched him
walk into the SAT with no preparation or even interest and score in the high 90 percentiles on the verbal
section. He took the Department ofJustice Federal Law Enforcement Exam for U.S. Marshals and scored
what we were told was the only perfect score in the history ofthat examination. There have been others that
have scored 100%, but only because they were given extra points for previous job history. To'my
knowledge, David was the first and only person to answer every single question on that exam correctly. His
military training in not one, but two ofthe most elite special forces units in the U.s. armed services has
trained him to be disciplined, precise, and demanding in his tasks beyond what most ofus would consider

mortal. When David accepts a task, it is executed and accomplished with a rare and comforting certainty
and an excruciating effectiveness.

In less than a year working exclusively on MCAT verbal, Dave has become a true expert in how to produce
a replica of an MCAT verbal exam. I was anxious to take the first practice exam myself and see ifDavid
had succeeded where the prep companies had failed. I was impressed and quite excited by what I found.
The mechanics such as passage length and question length were, of course, accurate. The language was
exactly right, but David has done more than that with this book. I believe that in "Examkrackers 101
Passages in MCAT Verbal Reasoning", David has done what no one else has been able to do. He has
captured the essence ofthe MCAT verbal. These exams aren't just difficult; they are difficult in that
peculiar MCAT way. The questions leave you with that uncomfortable feeling in your gut where you just
aren't certain about every answer.

After taking the first verbal exam in this book, I felt exactly the way I felt after taking the real exam. I
wasn't certain I had done well. My actual score on the real MCAT and my score on the first exam in this
book were nearly identical. I scored a perfect score on the real MCAT and missed only two questions on
the first exam in this book. I find the exams in this book to be an accurate reflection ofthe exams on a real
MCAT. I highly recommend "Examkrackers 101 Passages in MCAT Verbal Reasoning" to use as practice
for the real MCAT.

Good Luck.

Jonathan Orsay

Directions:

1. Familiarize yourself with the look, feel, and format of the fust two Verbal Passages and questions.
These appear just prior to Verbal Test I. You are given 85 minutes for a full-length Verbal Reasoning
test. Take the two sample test passages first, allotting yourself about eighteen minutes. Grade your
test and check the explanations for both correct and incorrect answers at the back ofthe book.
2.
When you are ready to take your first full-length Verbal Test ensure that you will not be bothered for
at least an hour and a half. During the test, don't answer the telephone, don't sharpen your pencils,
don't sit and stare out the window, and don't get up to go to the bathroom. Treat these practice tests
like the real thing.
3.
It is not very realistic, nor is it helpful, to write your answers and figuring on a piece of notebook
paper. It is always a good idea to mark up the multiple choice questions on the test itselfas you go
through them. If'A' can't be correct, then mark it off and go to 'B'. If 'B' is possible, circle it, and
go to 'C', etc. That way you are at least eliminating and narrowing choices that are not possible or are
less likely. Using process of elimination is a very helpful technique on the MCAT. However, though
marking up the questions on the test is a good idea, be sure to also record you answers on the answer
sheet provided in the back of the book! Using the answer sheet takes additional time that you should
be accounting for in your practice.
And moreover, you need to be certain that you are transferring
your answers accurately.
4.
When you are done with your practice test, take a short break. You've earned it.
5. Now grade your test.
To find your raw score, count the number of questions that you answered
correctly.
Use the table at the back of the book to translate your raw score into an MCAT scaled
score. How did you do?
6.
Tum to the Answers and Explanations section of the book and examine the explanations.
7.
Check your schedule for when you will take your next practice test. Between tests concentrate on the
other MCAT knowledge-based areas of study. Verbal Reasoning is a skills-based area. Practice will
Improve your scores.

Table of Contents

Page
Warm-Up Passages
.i
Answers and Explanations to Warm-Up Passages
vi

Verbal Test 1
1
Verbal Test 2
21
Verbal Test 3
.41
Verbal Test4
61
Verbal Test 5
81
Verbal Test 6
101
Verbal Test 7
121
Verbal Test 8
141
Verbal Test 9
161
Verbal Test 10
181
Verbal Test II
201

Explanations to Verbal Test I
221
Explanations to Verbal Test 2
243
Explanations to Verbal Test 3
266
Explanations to Verbal Test 4
288
Explanations to Verbal Test 5
.309
Explanations to Verbal Test 6
330
Explanations to Verbal Test 7
349
Explanations to Verbal Test 8
.369
Explanations to Verbal Test 9
390
Explanations to Verbal Test 10
.410
Explanations to Verbal Test 11..
431

Answers for Verbal Test 1
451
Answers for Verbal Test 2
.452
Answers for Verbal Test 3
.453
Answers for Verbal Test 4
454
Answers for Verbal Test 5
:
.455
Answers for Verbal Test 6
456
Answers for Verbal Test 7
.457
Answers for Verbal Test 8
.458
Answers for Verbal Test 9
459
Answers for Verbal Test 10
460
Answers for Verbal Test 11............................................................... .
.461

Raw Score Conversion
.462

Verbal Reasoning Warm-Up
(Two passages only!)

Time: 19 Minutes
Questions 1 - 14

i
.
Copyright © 2002 ExamKrackel"s, Inc.

VERBAL REASONING

DIRECTIONS:
There are nine passages in the Verbal
Reasoning test. Each passage is followed by several
questions. After reading a passage, select the one best
answer to each question. If you are not certain of an
answer, eliminate the alternatives that you know to be
incorrect and then select an answer from the remaining
alternatives. Indicate your selection by blackening the
corresponding oval on your answer document.

Passage I (Questions 1-7)

There are two basic methods used to teach acting skills:
the "external" and "internal" styles. The "external" style,
best exemplified by the London-based Royal Academy of
Dramatic Art (RADA), emphasizes the technical detail of
5
reproducing voice, facial expression, and body language.
Actors trained in this style are taught to mimic the classic
external manifestations of emotions, without striving to
feel the emotion themselves. To this end, they study what
are commonly regarded as obvious physical indicators of
10
the emotional state being portrayed, and incorporate some
or all of them into the role.
For example, actors,
scientists, and most of the public agree that tying is
characterized by "shifty eyes,"
avoidant eye contact,
hesitant speech, elevated pitch, sweating, and/or hand
15
wringing.
Thus, an "external" actor portraying a liar
would consciously perform some or all of these motions
while reciting his lines, to suggest to the audience the
external traits they are likely to associate with deception.

Therein lies the primary advantage of this classical,
20
"external"
style:
since
it conveys
emotions
through
stylized, visible movements which the public instinctively
associates with identifiable feelings, it usually succeeds in
letting audiences know which emotion the actor is trying
to portray. Audiences are rarely confused. But there is a
25
risk
the
perfonnance
may
seem
too
overt,
too
melodramatic.
This usually happens when an overeager
classical actor attempts to work in too many external
indicators of the same emotion. The result is a character
that obviously feels an identifiable emotion, but seems to
30
either feel it much more strongly than the circumstances
warrant, or else seems to be exaggerating his feelings to
the point of melodrama.

35

... We should note that classical acting evolved on
stage, and bears the imprint of its origins. Classical actors
often practice Shakespearean productions, which affects
their style.
Since the Elizabethan stage was unamplified
and vIewed from a distance, classical acting stressed

vocal strength, projection, and clear enunciation. It also
stressed general posture over small gestures and facial
40
expression, since an Elizabethan audience could see only
the former from their seats. But, when it is used in film,
the actor may appear too rigid and theatrical, conducting a
street conversation with a booming, stentorian voice and
Oxford-precise enunciation.
This is not to say that
45
classically trained actors have not made inroads into
American film; consider Patrick Stewart, John Gielgud,
and Judy Dench.
However, you will notice that such
actors are usually typecast as commanding, dignified,
well-educated characters, basically playing the same roles
50
in every movie.

The other style of acting is the Stanislavski Method,
popularized
in
America
during
the
1930s
at
the
prestigious
New
York-based
Actors
Studio
and
exemplified by the young Marlon Brando.
"M~thod"
55
acting is an "internal" discipline, which aims to get the
actor to actually feel the thoughts, motives, and emotions,
which the script calls for the character to feel.
In
Stanislavski's An Actor Prepares( he urges actors to
prepare for a role not by mimicking others' mannerisms,
60
but
by
taking
time
to
contemplate
the
character's
circumstances
and
motivations,
and
his
purpose
in
interacting
with
the
other
characters,
props,
and
environment. Ideally, this preparation lets the actor "get
into the mind" of the character, and give a "natural,"
65
effortless perfonnance by "living the life" of the character
on stage/screen.
Since Method actors do not focus on
mechanical gestures, they give a less mannered, more
naturat pcrfonnancc when at their best.
... But this
method also has its drawbacks. First, it is better suited to
70
the ctose-up camera than the stage, because Method
actors' reliance on facial expression and quieter, natural
speaking styles wilt not project to the stage audience.
While Method acting aims for a subtler perfonnance, if
the actor does not accompany his understanding of the
75
character with overt actions suggesting his emotions to
the audience, his perfonnance may be too subtle for the
audience to appreciate. ...

GO ON TO THE NEXT PAGE.
ii
Copyright © 2002 ExamKrackers, Inc.

1.
Which of the following approaches to a performance
would be most likely to be stressed by an actor who had
an understanding ofthe drawbacks ofthe RADA style?

A.
Projection
B.
Subtlety
C.
Mimicry
D.
Enunciation

2.
According to the author, Patrick Stewart's success in
the role as the commander of the starship Enterprise in
the series Star Trek, was in large part the result ofhis:

A.
previous roles in Shakespearian productions.
B.
ability to make imoads into American film.
C.
previous classical training.
D.
ability
to
incorporate
some
of
Stanislavski's
Method.

3.
On the basis of the passage, it is reasonable to conclude
that:

A.
Stanislavski probably did not think much of the
'external' style.
B.
Marlon Brando would not have done well in an
Elizabethan stage production.
C.
an andience might be confused by a Method actor
in an Elizabethan stage production.
D.
John Gielgud was probably not capable of acting
using the Method.

4.
Assume that Judy Dench was interviewed.
If Ms.
Dench remarked that often, in her film career, she had
refused roles after reading the scripts and realizing that
she could not relate to what her character was feeling,
this evidence would weaken the passage assertion that:

A.
Ms. Dench was usually typecast, playing the same
roles in every movie.
B.
the RADA style enabled actors and actresses to
mimic emotions.
C.
the Stanislavski method helps actors to get into
the minds oftheir characters.
D.
Ms. Dench was a classically trained actress.

5.
Children may often lie, or say that they will do
something
while
having
no
intention
of actually
carrying through with what they are saying.
What
question might this information reasonably suggest
about the author's explanation of acting styles?

A.
Children can be naturally good actors.
B.
Isn't the RADA style a more basic or natural style
of acting?
C.
Aren't most actors simply 'lying' when they are in
a film?
D.
Did Stanislavski analyze children to come up with
the basis for his style?

6.
According
to
the
passage,
the
best
actress
to
realistically portray the character of the blind Helen
Keller in a television documentary would be one who
has been trained primarily in:

I.
the Method.
II.
the RADA style.
III.
the 'internal' style.

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

7.
According to passage infonnation, when compared to
Elizabethan stage characters, characters in films would
appear:

A.
more realistic.
B.
'larger than life'.
C.
as commanding, or diguified.
D.
too subtle.

GO ON TO THE NEXT PAGE.
iii
Copyright © 2002 ExamKrackers, Inc.

Passage II (Questions 8-14)

It might be argued that the main purpose of modem
fashion is to make the wearer appear more attractive.
But, at least for men, that is not the main function that
clothes fulfill. ...

5
Fashion-oriented
clothing
desiguers
indeed
have
developed diverse methods to create the illusion of more
perfect
body
proportions,
which
are
remarkably
successful in conveying this image. For example, vertical
stripes on a garment create an effective optical illusion.
10
They make the wearer himself appear more vertical -
taller
and
thinner
-
thus
improving
the
physical
attractiveness of someone who is shorter and/or heavier
than average.
On a jacket, padded shoulders convey the
appearance of muscular shoulders and arms, while a
15
narrow, tapered waist shows off (or creates the illusion
of) trim, athletic abdominals.
Similarly, the garment's
color, seen juxtaposed against the wearer's skin, affects
viewers' perception of the skin tone.
For example, pale
skin seems sallow against a dark, navy blue suit, but
20
tanner with a light shirt and jacket. In high fashion, color
aims to mimic the color of the wearer's hair andlor skin
undertone, for a more harmonious blend.
...
Again, we
should emphasize these effects are not just overblown
claims by clothes peddlers; clothing in the right colors,
25
patterns, and cut will actually make its owner appear
more ideally proportioned.
... Yet the best-designed,
most fonn-flattering clothes are not necessarily the most
popular, or considered acceptable.

55

.

Unfortnnately for fashion, these traditions are so deep-
seated that they cannot be changed in one lifetime by the
80
average person, or even by vast advertising campaigns by
designers.
While a businessman would look objectively
"better" by eschewing the traditional "red tie white shirt
blue suit" uniform in favor of a color) cut,) and patte~
more suited to his individual body, this would be unwise.
85
Research shows that a unifonn's historic implications
trump any aesthetic considerations, and have much more
of an impact on the viewer.
Thus) confonnity produces
the best results, if not the best fashions.

British Isles.
The cold, sodden climate of England and
Ireland are well served by heavy woolen suits and hats,
and heavy brogue shoes. However, they are not suitable
for export into the sweltering dry heat of Africa and the
antebellum SoutIl, or even humid summers on New
York's Wall Street.
Yet these ancient uniforms persist
throughout all of Britain's fomier colonies, despite their
obvious impracticality.

60
Many items of clothing are worn purely for traditional
purposes.
For example, the tie has no rational function
that anyone can explain, yet most businessmen agree that
the tie is a man's most important accessory. The reasons
are again historic.
The tie evolved from other, more
65
archaic
badges of class and
rank,
whose
symbolic
implications persist.
The traditional diagonally striped
"repp" tie is more properly called tIle "regimental"
pattern, which once was worn by British Army officers to
symbolize their high status and access to guns. Similarly,
70
the repeating-patterned "foulard" evolved from ancient
heraldic crests, which medieval aristocrats once wore on
their shields and pennants to symbolize their connection
to wealthy, landowning, arms-bearing clans.
Even more
recently, the "Ivy League" tie pattern was worn by
75
wealthy East Coast scions,
to
symbolize their elite
schooling
and
connection
to
the
"old
boy"
power
network. ...

Tradition played a greater role than any other influence
in men's clothing.
In the Middle Ages (and probably
earlier), clothing was strictly regulated by law; certain
colors could only be worn by the upper classes, or by
certain guilds, on penalty of a fine.
Since that time,
clothing has become a uniform of class, rank., and calling,
whIch has endured as a "dress code" long after the legal
rules were repealed. While the look of "power" clothing
has certainly changed, there remains a ''power'' look,
which is expected dress for those in power, or aspiring to

It.

35

30

40

45

50

CurrentIy, the "power" look is the British business suit
with its limited range of dark colors and simple patterns:
Simply put, executives are expected to wear a power suit,
and the mere wearing of such suits signals to viewers
subconsciously that the wearer must be a wealthy and
powerful businessman. The power look gravitated toward
the British heavy woolen suit because of a historical
accident; Englishmen were driven by a combination of
jingoism, greed, and gunpowder, to become the dominant
colonial empire, and thus exported to economically-and-
culturally subjugated nations their dismal fashion sense.
Note that English fashion is not badly suited to life in the

GO ON TO THE NEXT PAGE.
iv
Copyright © 2002 ExamKrackers, Inc.

8.
The author most likely believes that one of the main
purposes of clothing should be to provide the wearer
with:

A.
a "power" appearance.
B.
a unifonn.
C.
a more attractive appearance.
D.
au appearance appropriate to his employment.

9.
The author's characterization of Britain suggests that
the retort/comment that the "power look gravitated
toward the British heavy woolen suit because of a
historical accident" (line 45-47) meant that:

A.
the author believes the fonner colonies could have
defeated their British subjugators.
B.
the author believes the British business suit is
appropriate for the British Isles.
C.
the author does not think much ofBritain.
D.
the author does not think much ofthe British.

10. An
appropriate
theory,
based
upon the
emerging
dominance of the British business suit (lines 40-59) is
that:

A.
the best designed clothes are not necessarily the
most comfortable.
B.
the
traditional
British
'power'
look has
even
permeated the American business landscape.
C.
people will go to great lengths in their efforts to
increase their status.
D.
people usually don't dress appropriately for their
prevailing climate.

11. The 'expected' business suit jacket invariably has four
seemingly useless buttons sewn on the cuff of each
sleeve.
The information presented on the origins of
fashion makes which of the following ideas most
plausible?

A.
The extra buttons sewn on the sleeves actually
serve to create and enhance the appearance of
strength and authority in a man's hands.
B.
The appearance ofthe 'extra' buttons is a relatively
new
addition
to
jackets,
and
is
believed
to
somehow render the wearer more attractive.
C.
Traditionally, four buttons have always been sewn
on the sleeve ofjackets and have never served any
useful purpose.
D.
Traditionally,
oyster
shell
buttons
were
so
susceptible to breaking that 'extras' were always
sewn on the sleeve.

12. The
author
implies
that
the
primary purpose
of
women's fashion is:

A.
to enhance their appearance.
B.
to be more 'practical'.
C.
to promote the 'power' look, but in a different
manner.
D.
to confront traditional styles.

13. In the context of the passage, the word impact (line 87)
means:

A.
express historic implications.
B.
communicate an impression.
C.
convey authority.
D.
suggest an enhanced appearance.

14. The
author
probably
mentions
that
"conformity
produces the best results, if not the best fashions" (87-
88) in order:

A.
to demonstrate the weakness of some fashion
designers.
B.
to support the claim that there is an expected
'look'.
C.
to illustrate the persistence of beliefs that conflict
with the demands ofthe business world.
D.
to provide
an example of the
application of
traditional clothing.

STOP.
IF YOU
FINISH
BEFORE
TIME
IS
CALLED, CHECK YOUR WORK. YOU MAY GO
BACK
TO
ANY
QUESTION
IN
THIS
TEST
BOOKLET.

GO ON TO THE NEXT PAGE.
v
Copyright © 2002 ExamKracker.;;, Inc.

,

(
I
(
Verbal Warm-Up
\
"2 Passages"
Answer Key

1.
B
6.
B
11.
D

2.
e
7.
A
12.
A

3.
e
8.
e
13.
e

4.
D
9.
D
14.
B

5.
B
10.
e

Introductory Verbal Test
"2 Passages"
Answers and Explanations

Passage I (Questions 1-7)

1.
Which of the following approaches to a performance would be most likely to be stressed by an actor who had an
understanding ofthe drawbacks ofthe RADA style?

A.
Projection
WRONG: This would not be most likely to be stressed. The RADA "classical acting stressed vocal strength,
projection, and clear enunciation" (lines 37-38). However, this could actually be a drawback and would risk
over exaggerating a performance.
B.
·Subtlety
CORRECT:
This would most likely be stressed.
The London-based Royal Academy of Dramatic Art
(RADA) style is the "external" or "classical" style. A drawback of this style "is a risk the performance may
seem too overt, too melodramatic" (lines 24-26).
C.
Mimicry
WRONG: This would not be most likely to be stressed. "Actors trained in this [RADA] style are taught to
mimic the classic external manifestations" (lines 6-7).
A drawback of this style "is a risk the performance
may seem too overt, too melodramatic" (lines 24-26).
D.
Enunciation
WRONG: This would not be most likely to be stressed. The RADA "classical acting stressed vocal strength,
projection, and clear enunciation" (lines 37-38). However, this could actually be a drawback and would risk
over exaggerating a performance.

2.
According to the author, Patrick Stewart's success in the role as the commander of the starship Enterprise in the series Star
Trek, was in large part the result ofhis:

A.
previous roles in Shakespearian productions.
WRONG: It is accurate that Stewart had "previous classical training." Some "classically trained actors have
... made inroads into American ftIm; consider Patrick Stewart" (lines 45-46).
However, it is a major
assumption that he had any previous roles in Shakespearian productions.
B.
ability to make inroads into American film.

Copyright © 2002 ExamKrackers, Inc.

WRONG: This seems to merely be regurgitating passage information. There is no real cause-and-effect or
relationship between this answer and Stewart's success in the role as the commander provided in the passage.
C.
*previous classical training.
CORRECT: It is accurate that Stewalt had "previous classical training." Some "classically trained actors
have ... made inroads into American film; consider Patrick Stewart" (lines 45-46).
Secondly, Patrick
Stewart's role as "commander" (regardless whether you know anything about Star Trek or not) was probably
a success because "such actors are usually typecast as commanding, dignified, well-educated characters"
(lines 47-49).
.
D.
ability to incorporate some of Stanislavski's Method.
WRONG: There is no indication that Patrick Stewart used or was even aware of the Stanislavski' Method.
This is pure conjecture.

3.
On the basis of the passage, it is reasonable to conclude that:

A.
Stanislavski probably did not think much of the 'external' style.
WRONG: This is not a reasonable conclusion. Other than the man's name, there is no specific infonnation
on Stanislavski, or what he thought.
B.
Marlon Brando would not have done well in an Elizabethan stage production.
WRONG:
This is not a reasonable conclusion.
We can assume that "Since the Elizabethan stage was
unamplified and viewed from a distance... [doing well in an Elizabethan stage production required] vocal
strength, projection, and clear enunciation" (lines 36-38). However, it is another assumption altogether that
Brando had no training or background in this area, and/or would not have done well.
C.
'an audience might be confused by a Method actor in an Elizabethan stage production.
CORRECT:
This is a reasonable conclusion. Notice the word "might."
The inclusion of this 'softener'
opens up the possibilities in this answer.
The "Elizabethan stage was unarnplified and viewed from a
distance... [doing well in an Elizabethan stage production required] vocal strength, projection, and clear
enunciation" (lines 36-38).
The "external" style "conveys emotions through stylized, visible movements
which the public instinctively associates with identifiable feelings, it usually succeeds in letting audiences
know which emotion the actor is trying to portray. Audiences are rarely confused" (lines 20-24). In COlltrast
to the external style is ti,e Method. "While Method acting aims for a subtler performance, if the actor does
not accompany his understanding of the character with overt actions suggesting his emotions to the audience,
his performance may be too subtle for the audience to appreciate" (lines 73-75).
This might confuse an
audience.
D.
John Gielgud was probably not capable ofacting using the Method.
WRO
G: This is not a reasonable conclusion. There is no way of knowing this. This is pure conjecture.

4.
Assume that Judy Dench was interviewed. If Ms. Dench remarked that often, in her film career, she had refused roles after
reading the scripts and realizing that she could not relate to what her character was feeling, this evidence would weaken the
passage assertion that:
- The correct answer must satisfy two criterions. The first is that it is an accurate passage assertion. In this question, all
of the answers are accurate passage assertions. Be aware, that is not always the case on the MeAT. The question is no!
telling you to assume or trust that all of the following assertions are accurate. You must know!
The second is that the
assertion is weakened by the new information in the assumption.

A.
Ms. Dench was usually typecast, playing the same roles in every movie.
WRONG:
This is an accurate passage assertion.
However, it is 1I0t clearly weakened by the passage

a~~umption. For instance, what ifthe roles she refused were pretty much all "the same?" There is no way of
knowing and this is nol the best answer.
B.
the RADA style enabled actors and actresses to mimic emotions.
WRONG:
This is an accurate passage assertion.
However, it is /lot clearly weakened by the passage
assumption. Apparently, Ms. Dimch did not decline the roles because she was not able to "mimic emotions,"
but because "sbe could not relate to what her character was [actually] feeling."
C.
the Stanislavski method helps actors to get into the minds of their characters.
WRONG:
Tbis is an accurate passage assertion. However, it is 1I0t weakened by the passage assumption
because Ms. Dench was considered a classically trained actress (lines 44-47).
D.
'Ms. Dench was a classically trained actress.

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CORRECT:
This is an accurate assertion (lines 44-47), which is weakened by the assumption in the
question. The author used her as one of three examples of a classically trained actor, and therefore one can
assume that she was probably predominantly an actress in this style. However, refusing roles because "she
could not relate to what her character was feeling" is not characteristic of the classical style. This shouldn't
have mattered to her.
She would only be "mimicking" her characters overt actions.
It was Stanislavski's
Method actors who would have been concerned with "actual feelings" (line 56).
This assertion would
indicate that Ms. Dench was also influence to a greater or lesser degree by the Method.

5.
Children may often lie, or say that they will do something while having no intention of actually carrying through with what
they are saying. What question might this information reasonably suggest about the author's explanation ofacting styles?

A.
Children can be naturally good actors.
WRONG: The correct answer requires a "question." This answer is not a "question."
B.
'Isn't the RADA style a more basic or natural style of acting?
CORRECT: This answer is reasonably suggested by the information. The London-based Royal Academy of
Dramatic Art (RADA) style teaches actors "to mimic the classic external manifestations of emotions, without
striving to feel the emotion themselves" (lines 6-8). Contrast this style with the Method style where the actors
are taught to "actually feel" the characters emotions, desires, and motivations. The "children" in the question
are clearly exhibiting the RADA style of acting; acting/saying one thing, while thinking/feeling another.
They are children-in-general (there is no specificity) and it is logical to assume that most ofthem have not had
any formal acting training, but are doing this 'naturally' as a 'basic' way ofbehaving.
C.
Aren't most actors simply 'lying' when they are in a film?
WRONG: This answer is not reasonably suggested by the information. It is possible that if this answer had
been more specific in referring to RADA actors only, then it would have been reasonable. However, "most"
actors is a generalization and severely limits the 'rightness' of this answer. Notice that this answer even gives
you a hint regarding who it is referring to with, "when they are in a film."
This answer is referring to the
Stanislavski style actors. Thus, there is no comparison or relationship with the "children" in the question.
D.
Did Stanislavski analyze children to come up with the basis for his style?
WRONG: This question is not reasonably suggested by the information. The "children" in the question are
(probably unconsciously) using the RADA style "to mimic the classic external manifestations of emotions,
without striving to feel the emotion themselves" (lines 6-8). Thus, there is no comparison or relationship with
the "children" in the question.

6.
According to the passage, the best actress to realistically portray the character of the blind Helen Keller in a television
documentary would be one who has been trained primarily in:

I,
the Method.
WRONG:
This choice is the same as III.
An actress primarily trained in this style would not be the best
choice. Stanislavski's Method style "urges actors to prepare for a role not by mimicking others' mannerisms"
(lines 58-59).
Yet the question states that we want someone who can "mimic" Helen Keller as closely as
possible.
II.
'the RADA style.
CORRECT: An actress trained primarily in this style would be the best choice. The fact that Helen Keller is
"blind" is of no consequence to the answer. The fact that she will be portrayed in a "television documentary"
is misleading because ofthe similarity to "film." The key to this question is the 'realistic portrayal '. There is
no suggestion here of interpreting emotions, motivations, circumstances. Stanislavski's style "urges actors to
prepare for a role not by mimicking others' mannerisms" (lines 58-59). Yet the question states that we want
someone who can "mimic" Helen Keller as closely as possible.
The "London-based Royal Academy of
Dramatic Art (RADA), emphasizes the technical detail of reproducing voice, facial expression, and body
language" (lines 3-5).
III.
the 'internal' style.
WRONG:
This choice is the same as I.
An actress primarily trained in this style would not be the best
choice. Stanislavski's internal style "urges actors to prepare for a role not by mimicking others' mannerisms"
(lines 58-59).
Yet the question states that we want someone who can "mimic" Helen Keller as closely as
possible.

A.
I only

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