被OG102的问题所困惑，求牛人们解惑~

wyoung

这个问题的问法让我不知道做题的入手点在哪里，请问这个问题的意思是什么？考点是什么？
非常感谢~

OG102:
Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century. The
director claims that this production is as similar to the original production as is possible in a modern theater.
Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century
American comedian Groucho Marx, Marx’s comic style was very much within the comic acting tradition that had
begun in sixteenth-century Italy.

The considerations given best serve as part of an argument that

(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) in the United States the training of actors in the twentieth century is based on principles that do not differ
radically from those that underlay the training of actors in eighteenth-century Italy
(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the
director’s claim
(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on
comic performances of Groucho Marx

MichelleLXN

弱弱的问一下，导演说表演近似于首演，而首演在18世纪， 演表演员近似于GM的风格，而GM是16世纪的表演风格，那么能说演员的表演近似于首演吗？一个18世纪，一个16世纪，不一样的啊

sdcar2010

This is a main point type question, which asks for the conclusion.

3) Theater Critic: The play La Finestrina, now at Central Theater, was written in Italy in the eighteenth century (background). The director claims that this production is as similar to the original production as is possible in a modern theater (opinion). Although the actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx (concession), Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy (premise).

The considerations given best serve as part of an argument that

(A) Modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
(C) In the United States the training of actors in the twentieth century is based on principles that do not differ radically from those that underlay the training of actors in eighteenth-century Italy
(D) The performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
(E) The director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx

As highlighted, the flow of the argument is Background, Opinion, Concession, premise. So the unstated main conclusion can be reached according to the last sentence of the argument: performance of the actor is as similar to the original old Italian style as you can get.

The conclusion says that actor = Marx = acient Italian style.