Maura Fay works as a casting director, selecting performers for films, commercials and television drama. Her professional world is one in wh...

Maura Fay works as a casting director, selecting performers for films, commercials and television drama. Her professional world is one in which people greet one another with extravagant warmth, exchange compliments freely and seem entirely at ease with display. It is hardly an environment (18) __________. Yet Fay has found that the presentation courses she now runs for tense senior executives are being received with a seriousness that might once have seemed unlikely.

(19) __________. But if business people are to communicate ideas, expertise and strategy in a way that others actually remember, they need to understand techniques long associated with performance: how to use the voice effectively, how to manage physical tension, how to control breathing and how to establish authority the moment they begin to speak. Fay therefore began adapting drama-based training for corporate clients. The process took time to gain credibility, but the results proved persuasive. Most of her trainers come from the theatre, many have worked professionally as actors, and some continue to do so; indeed, participants may sometimes find themselves being coached by someone they had seen on television only the previous evening.

(20) __________. At the same time, other organisations have begun to adopt comparable methods, using theatre-based workshops not only to sharpen presentation skills but also to address wider questions of behaviour in the workplace. Like music, drama can cross linguistic and cultural boundaries. People from different backgrounds may interpret the same situation differently, but that is precisely why (21) __________.

Fay is particularly interested in how business is conducted across cultures, and she draws on actors from a range of countries in her multicultural workshops. These actors demonstrate how clients in their own societies might respond in specific professional situations, and (22) __________.

Question 18:

A. holding conventional executives in an atmosphere of obvious appeal

B. in which conventional executives are likely to appear obviously appealing

C. where obvious appeal is conventionally held by executive figures

D. likely to hold much obvious appeal for conventional executives

Question 19:

A. Business professionals are rarely trained with performance in mind

B. The training of performance is rarely in the minds of business professionals

C. Performance rarely trains business professionals in what they have in mind

D. Business performance is rarely what professionals are trained in mind for

Question 20:

A. The initial scepticism of the corporate world was disappeared by some parts nevertheless

B. Initial scepticism in some parts of the corporate world was nevertheless slow to disappear

C. Some parts of the corporate world were nevertheless slow in disappearing their scepticism

D. Nevertheless, the initial scepticism of some corporate sectors disappeared them only slowly

Question 21:

A. drama-based training can be especially valuable in international contexts

B. international contexts are where drama-based training values itself especially

C. drama-based training is of international value in especially contextual ways

D. there is special value internationally where drama-based training contexts exist

Question 22:

A. provide, in doing so, a rehearsal of value by companies entering those markets

B. companies entering those markets are provided in doing so with valuable rehearsal

C. in doing so, provide companies entering those markets with a valuable form of rehearsal

D. by doing so, companies entering those markets are rehearsed in valuable ways