Practice English Reading Exercises for B2 – The Performing Arts: Dance & Movement 3

Exercises:   123456

Reading 1

You are going to read an article about four people sharing their nerve-wracking experiences of auditioning for a prestigious national dance company.

For questions 1-10, choose from the people/sections (A-D). The people/sections may be chosen more than once.

Which person/section

1   felt intimidated by the seemingly relaxed attitude of other candidates?

2   admits that a wardrobe choice caused an unexpected issue?

3   was taken aback by an alteration to the planned timetable?

4   managed to conceal an error while performing?

5   appreciated some guidance previously offered by an instructor?

6   wishes they had dedicated more time to a particular dance genre?

7   mentions that the physical space did not match their expectations?

8   suffered a temporary loss of memory before regaining their focus?

9   believes their execution got better as the audition progressed?

10   found it impossible to interpret what the judges were thinking?

Stepping into the Spotlight: Auditioning for the National Troupe

A Lucas

As I walked into the holding area for the National Ballet tryouts, my stomach was doing somersaults. What really threw me off, however, was how incredibly chilled out the other competitors appeared. They were chatting and laughing over coffee, whereas I was practically paralyzed with nerves, convinced they were all far more experienced than me. Before stepping through the intimidating double doors, I took a deep breath and recalled what my old mentor used to tell me: “Channel your anxiety into your leaps; let it give you height rather than holding you down.” That invaluable wisdom truly helped to ground me. To be completely honest, my opening classical sequence was fairly shaky; my legs felt like lead and I struggled to find my rhythm. Nevertheless, once the music shifted and we transitioned into the contemporary piece, I finally hit my stride. My movements became far more fluid and expressive, making up for the initial clumsiness. By the time I struck my final pose, I felt I had given a solid account of myself, despite the rocky start.

B Mia

Securing an audition for the National Dance Theatre is notoriously difficult, so the pressure was on from the moment I woke up. I had meticulously planned everything, down to the exact timing of my arrival, which went off without a hitch. The judging panel was unexpectedly warm, offering encouraging smiles that instantly put me at ease. However, things started to go downhill during the modern jazz segment. I had opted to wear a brand-new pair of character shoes, thinking they would provide better grip. Instead, the stiff material blistered my heels terribly, making every step excruciating. I battled through the pain, but the discomfort definitely distracted me. Furthermore, when they asked us to perform a spontaneous hip-hop routine, I completely froze. I’ve always focused predominantly on classical ballet, and looking back, I really kick myself for neglecting the urban dance classes offered at my college. If I had broadened my training, I wouldn’t have felt so out of my depth.

C Julian

I had pictured the audition taking place in a massive, brightly lit studio with mirrored walls. Instead, we were ushered into a remarkably cramped, gloomy theatre basement with a slanted floor, which completely threw my spatial awareness off. I tried to mingle with the other dancers to calm my racing heart, but we were abruptly interrupted. The organisers announced that the solo performances would occur before the group choreography, rather than after, as had been stated in our welcome emails. This sudden swap sent a wave of panic through the room. When it was my turn to face the panel, the atmosphere was incredibly intense. There were five directors sitting behind a long desk in the shadows. Throughout my entire routine, they maintained expressions of stone. I desperately searched their faces for any sign of approval or criticism, but it was absolutely impossible to figure out what they made of my performance. I left the building feeling entirely in the dark about my prospects.

D Sophie

Auditioning for the country’s top contemporary dance troupe was the most intense experience of my life. I had rehearsed my routine so thoroughly that it was practically ingrained in my muscle memory, and my carefully chosen outfit was perfectly comfortable. However, the sheer pressure of the environment can play cruel tricks on you. Right in the middle of a complex turning sequence, my mind simply went blank. For a terrifying split second, I completely forgot the next sequence of steps. Thankfully, my instincts kicked in before the judges could even blink. Instead of stopping, I seamlessly improvised a dramatic floor sweep that linked back into the correct choreography. I managed to cover up the slip-up so smoothly that nobody on the panel batted an eyelid. I even caught a glimpse of the head choreographer nodding in approval. It was a stressful ordeal, but it proved to me that I have the ability to bounce back under immense pressure.

Reading 2

You are going to read an article about four choreographers describing the creative process of transforming a piece of abstract music into a full physical performance.

For questions 1-10, choose from the people/sections (A-D). The people/sections may be chosen more than once.

Which person/section

1   admits to discarding their originally complicated plans in favour of a minimalist style?

2   relies on the cast to spontaneously generate the initial physical gestures?

3   was annoyed that the piece of music did not follow a standard storytelling structure?

4   breaks the abstract sounds down into exact, quantifiable segments?

5   develops unique character profiles for the dancers to portray?

6   refuses to invent any movements until the production’s physical surroundings are fully established?

7   struggled with the piece because it was missing a steady, dependable rhythm?

8   argues that an initial, instinctual feeling is much more useful than extensive preparation?

9   notes that their preferred technique involves giving up a certain amount of directorial control?

10   found that visualising a strong comparative image helped them to interpret the noisy track?

Moving to the Abstract: Translating Sound into Dance

A Elena

Whenever I am presented with an abstract composition, my first step is simply to lie on the studio floor, close my eyes, and let the atmosphere wash over me. I deliberately avoid overthinking it, as I strongly believe that an immediate, unthinking emotional response is far more valuable than weeks of meticulous planning. Once I have a genuine feel for the piece, I bring in the company. Instead of standing at the front and dictating precise steps, I play the track and ask them to improvise freely. Naturally, this means I have to take a step back and relinquish a significant amount of my own authority, which can initially be quite daunting. However, the dancers often originate raw, unexpected movements that I would never have conceived of myself. By bouncing ideas off each other and experimenting with different dynamics, we gradually mould these spontaneous, disjointed gestures into a beautifully cohesive routine. It’s a deeply collaborative journey from start to finish.

B Marcus

My brain works in a very logical, structured way, so my approach to choreography is highly analytical. Before I even set foot in the rehearsal studio, I listen to the music repeatedly with a stopwatch and a notepad, dividing the chaotic audio into precise, measurable units. Abstract music can be exceptionally tricky to navigate because it frequently lacks a predictable tempo or a steady underlying beat. During my most recent project, the commissioned soundtrack was essentially a bizarre collection of overlapping electronic drones and sudden pauses. It was incredibly challenging to work with because there was absolutely no conventional rhythm to latch onto. To overcome this obstacle, I was forced to invent my own complex internal counting system for the performers to follow. Once that rigid mathematical framework is firmly established, I can finally start building the physical vocabulary. For me, the choreography is essentially a visible, physical translation of the music’s hidden architecture.

C Sofia

I’ve always viewed contemporary dance primarily as a form of storytelling, which makes tackling purely abstract music a rather complicated puzzle to solve. When I first heard the strange, atmospheric score for our current production, I was genuinely frustrated by the complete absence of a traditional narrative arc. It just felt like a random, endless series of disjointed sounds without a climax. To make sense of the noise, I realised I needed to invent a concrete scenario. I decided to assign specific, distinct personas to each of the individuals on stage, giving them personal motivations that matched the shifting dynamics of the audio. Eventually, I hit upon the visual metaphor of a desperate flock of birds caught in a violent storm, which perfectly encapsulated the chaotic energy of the track. Once I had that powerful image firmly lodged in my mind, the actual physical movements began to flow quite naturally, bridging the gap between sound and story.

D Julian

For me, the transformation of abstract sound into meaningful movement always begins with the physical space itself. I simply cannot choreograph a single step until the stage environment—the lighting angles, the props, and the shadows—has been completely finalised. The unsettling atmosphere of the track dictates the visual world long before the dancers arrive. For my recent piece, I initially came up with incredibly elaborate concepts, featuring shifting walls, heavy smoke, and complex digital projections. However, once we actually started rehearsing, I quickly realised that the music was already so overwhelming that the busy set was becoming a massive distraction. I swallowed my pride and admitted to scrapping those initial, complicated ideas entirely, opting for a bare stage and a single, harsh spotlight instead. It was a tough decision to make, but returning to basics allowed the subtle nuances of the dancers’ bodies to truly resonate with the strange, haunting audio.

Exercises:   123456