Title Đề thi thử TN THPT 2025 - Cấu trúc mới - Môn TIiếng Anh - Đề 26 - File word có lời giải.docx ✅

Puppetry is an old art form in Southeast Asia,(18)______. Puppets in the region vary in size and style, and their colourful designs are often crafted by the artists themselves.(19)______. For example, performances in Malaysia and Thailand start with a battle, while in Indonesia speech is very important. These differences, however,(20)______ and begin the ASEAN Puppets Exchange Programme in 2014. Despite the different cultures and languages, the programme has managed to develop a united yet diverse community of ASEAN artists. Since 2014, there have been many workshops promoting local puppet traditions. In addition, professional artists from one country have the opportunity to visit and mentor community artists from another country or work with other professional artists to create joint performances.(21)______. Through these efforts, puppetry continues to thrive. Not only entertaining but also educating and bonding people in ASEAN,(22)______. As artists engage in this shared passion, the art form grows, ensuring its place in the future. (Adapted from Tiếng Anh 11 Global Success) Question 18: A. whose location is distant from the North Pole B. is one of the most popular among the inhabitants in the region C. which is not just for children, but for audiences of all ages D. having been passed down on from generations to generations for a long time Question 19: A. They have been catching on in all around the world as a form or pastime B. Puppet performances are also influenced by different cultural styles and skills C. People across the global enjoy this kind of art as much as possible D. The performance is getting more and more popular Question 20: A. did not stop puppetry artists from ASEAN countries to collaborate B. of which win the admiration from a lot of people in all around the world C. having proven to be adored by a wide range of people from various origins D. that originated from a tradition form of art of different local ethnic minorities Question 21: A. Their love of puppetry and storytelling brings them together B.The performances were various among different countries. C. But for their love of puppetry and storytelling, they would not get together D. Bringing together on the daily basis, they tell numerous stories about puppetry Question 22: A. local people were succeeded in preserving and spreading puppetry B. it played an integral part in the mental well-being of the local residents C. we should take measures to protect it from being extinct. D. live puppet shows foster deeper connections across cultures Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions from 23 to 30. ASEAN’s diversity showcases an incredible variety of traditional dances, each with fascinating histories and cultural significance. Among these, Cambodia’s ancient Apsara dance stands out as a prime example of a tradition that has endured for more than 1,000 years. Originating from animistic beliefs, this dance was influenced by Hindu forms introduced during the era of Indian cultural influence, which began in the 1st century. Over time, particularly between the 12th and 15th centuries, the Apsara dance evolved to reflect a distinctly Khmer identity. Through the addition of unique movements and deeper meanings, it became a cultural symbol during the early Angkor era. Indonesia, with its vast size and diverse cultural influences, is home to a remarkable array of traditional dances. While dozens of these dances can be found across the archipelago, a few have gained prominence for their uniqueness and storytelling. Traditional Indonesian dances vividly reflect the nation's rich cultural diversity. In Bali, three famous dances - the Sanghyang (Trance), Kecak (Monkey Dance), and the Fire Dance - stand out. Each of these tells captivating stories of bringing peace, unity, and harmony to local villages. Visitors to Laos who explore ethnic villages will often find themselves immersed in the basics of local dances, which play a key role in the cultural life of the community. Lamvong, for instance, is a well- known dance where men form an inner circle surrounded by women in an outer circle, moving gracefully in rhythm. Each ethnic group in Laos has its distinct dances, shaped by their unique beliefs, legends, and traditions. In Viet Nam, traditional dance is a profound expression of the nation’s culture and history. Featuring graceful and fluid movements, these dances often depict elements of nature, such as flowing rivers and
blooming flowers, or daily activities like boat rowing and silk washing. Popular dances include the conical hat dance, the fan dance, the royal lotus dance, and the ancient drum dance. Question 23: The word “prime” in paragraph 1 is OPPOSITE in meaning to: A. inferior B. excellent C. rough D. rigid Question 24: The word “these” in paragraph 2 refers to: A. Three traditional dances of Bali B. The unique cultural elements of Indonesia’s islands. C. Stories of peace and harmony shared through dance. D. Ritual practices rooted in Indonesia’s history. Question 25: Which of the following best paraphrases the underlined sentence in paragraph 3? A. Tourists visiting rural villages in Laos can observe and participate in local dances, which are important to the culture. B. Exploring Laotian ethnic villages gives visitors insight into the historical significance of traditional dances. C. Local dances in Laos offer visitors a deeper understanding of ancient legends and beliefs, preserving cultural traditions. D. People traveling to ethnic villages in Laos have the opportunity to learn advanced techniques of traditional dance. Question 26: Which of the following is NOT mentioned as a factor shaping Laotian ethnic dances? A. unique beliefs B. legends C. historical events D. traditions Question 27: The word “depict” in paragraph 4 could be best replaced by: A. represent B. resemble C. mark D. symbolize. Question 28: According to the passage, which of the following statements is TRUE? A. The Apsara dance reflects a blend of Hindu and Khmer influences over centuries. B. Lamvong is a type of traditional Laotian dance performed only in rural areas. C. Vietnamese dances are characterized solely by depictions of nature. D. Indonesian traditional dances have little connection to religious practices. Question 29: In which paragraph is the influence of Hindu culture on the Apsara dance discussed? A. Paragraph 1 B. Paragraph 2 C. Paragraph 3 D. Paragraph 4 Question 30: In which paragraph is the role of natural elements in Vietnamese traditional dances mentioned? A. Paragraph 1 B. Paragraph 2 C. Paragraph 3 D. Paragraph 4 Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the best answer to each of the following questions from 31 to 40. A New Capital When Pakistan was established as a new state in 1947, Karachi initially served as its capital. However, maintaining Karachi as the capital proved to be a challenge due to several disadvantages, such as its climate and the condition of the existing infrastructure. Rather than attempting to improve these issues, the government opted to create a completely new capital city. In 1959, a commission was formed to explore potential locations for this new capital. Dr. Doxiadis, a renowned architect and city planner, was appointed as the chief advisor to the commission. Dr. Doxiadis and his team explored several possible sites for the new capital, considering both geographical and environmental factors. After a thorough evaluation, they narrowed the options down to two locations: one just outside Karachi and the other located north of Rawalpindi. Both sites had their own sets of advantages and drawbacks, making the decision a complex one. The final choice was made after carefully considering a range of factors such as transportation, water availability, economic implications, and national interests. Ultimately, the area north of Rawalpindi was selected. On February 24, 1960, the new capital city was named Islamabad, and a comprehensive master plan for its development was created. The plan divided the area into three distinct sections: Islamabad itself, neighboring Rawalpindi, and a national park. Each section was designed to serve a specific purpose. (I) Islamabad would function as the country’s political and cultural center, meeting the administrative needs of the nation. (II) Rawalpindi, located nearby, would continue as the regional hub for industry and commerce. (III) The national park area was intended to provide space for education, recreation, and agriculture, enhancing the quality of life for residents. (IV)