DIRECTIONS Read the paragraph below. Then use what you have learned about paragraph structure to answer the questions below. Paragraph 2 Have you ever seen an actor barely move his arms when the scene requires that he extend his arm in a sweeping gesture? He looks more like a penguin flapping his flippers tightly at his side than like a man making an important point. Unfortunately, such an actor may never have studied movement for the theatrical stage. Acting students are required to take courses in exercise and movement to help them develop a full range of motions they can use to prepare for a role. Instructors teach a variety of physical movements along with different theatrical movement styles. They encourage students to connect voice and physical movement and to look at the relationship between a character’s spoken lines and physical movements. Movement impacts the meaning of each line. In addition, most theater classes cover changes in movement through different historical periods. Studying the variations allows students to see how movement has evolved and lets them expand their movement repertoires. They also learn to understand the different ways actors have been treated by society over the last few centuries. Most acting students leave their movement classes feeling that they have a much better understanding of the work involved in creating a fully developed character. When writing either for or against a certain issue, writers will often use words with a positive or negative connotation. Identify 3 words or phrases from the paragraph that support the writer’s beliefs about the need for movement lessons for actors.

Which sentence in this excerpt from leo tolstoy’s the death of ivan ilyich shows the human tendency to contemplate one’s past life? "but if that is so," he said to himself, "and i am leaving this life with the consciousness that i have lost all that was given me and it is impossible to rectify it—what then? " he lay on his back and began to pass his life in review in quite a new way. in the morning when he saw first his footman, then his wife, then his daughter, and then the doctor, their every word and movement confirmed to him the awful truth that had been revealed to him during the night. in them he saw himself—all that for which he had lived—and saw clearly that it was not real at all, but a terrible and huge deception which had hidden both life and death. this consciousness intensified his physical suffering tenfold. he groaned and tossed about, and pulled at his clothing which choked and stifled him. and he hated them on that account. he was given a large dose of opium and became unconscious, but at noon his sufferings began again. he drove everybody away and tossed from side to side. his wife came to him and said: "jean, my dear, do this for me. it can't do any harm and often . healthy people often do it." he opened his eyes wide. "what? take communion? why? it's unnecessary! " she began to cry. "yes, do, my dear. i'll send for our priest. he is such a nice man." "all right. very well," he muttered. when the priest came and heard his confession, ivan ilyich was softened and seemed to feel a relief from his doubts and consequently from his sufferings, and for a moment there came a ray of hope. he again began to think of the vermiform appendix and the possibility of correcting it. he received the sacrament with tears in his eyes.