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Theater Critic: The play La Finestrina, now at CentralTheater, was wri

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Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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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 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
[Reveal] Spoiler: OA

Originally posted by getmba on 29 Sep 2009, 20:43.
Last edited by hazelnut on 06 Oct 2017, 18:23, edited 1 time in total.
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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tejal777 wrote:
can someone explain between C and D?

C: why do you want to generalize that the training of 'all' actors is based on the principles ...?
D: to the point, only talks about the actor who played Harlequin.
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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sagarsabnis wrote:
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 find it hard to tolerate certain characteristics of a historically accurate
performance of an eighteenth-century play
(8) 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

Not satisfied with the explanation of OG pls someone can help on this?


I'll give it a try...

premise 1: The play La Finestrina was written and performed ('director claims that this production is as similar to the original production') in Italy in the 18th century.

premise 2: "Although the actor who plays............sixteenth-century Italy." this statement implies that the performance of the actor who played harlenquin was within the comic acting tradition that had begun in the 16th century.

conclusion: the director claims that the production is quite similar to the original production in modern theater.

now closely look at the premise 2.... premise 2, in no way does it support (since no one knows how the actors during the 18th century performed the show) or, as a matter of fact, oppose (since the actor who plays harlequin now represents the style of the 16th century Italians, his act might have been similar to the act performed in the 18th century) the director's claim...

A. characteristics of the historically accurate performance in not known.
B. this is definitely not known to us, it is not mentioned in the argument.
C. this is a sweeping generalization, not necessarily true.
D. yeah.. this statement is true. as we have seen above, the performance of the actor does not serve as evidence against the director's claim.
E. this cannot be said. it need not be the director who advised the actor, the producer or any other member of the crew could have advised him to model marx's performance. having said that, the actor imitating marx could have been intentional, but not necessarily on the director's advise.

Answer:D

i hope my explanation is clear...
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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courtdancer wrote:
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




can anyone give a simple stucture of this argument?
which is premise, which is conclusion?
how can i analyse the logical chain?
thanks so much


Simple terms. A play that was staged in the 18th century is running in a theatre. The director says "I have tried to retain max originality that can be done in a modern theatre." But one actor(comedian) is imitating styles of a 20th century actor.

So there is a direct contradiction saying that 18th century originality is lost

But the 20th century actors style dates to the 16th century, which means that the comedian's act does not contradict the say of the director, as the comedian is imitating the 16th century style.

Hope this helps
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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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

Question Stem
The considerations given best serve as part of an argument that
Inference Question. So answer MUST BE TRUE.

Argument
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.

Answer Choices

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
INCORRECT ANSWER - The passage does not state this. None of the information in the passage leads us to believe this

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
INCORRECT ANSWER - Though one may think that this is correct, there is nothing in the passage that suggest this option

(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
INCORRECT ANSWER - Training is Out of Scope. The argument is not talking about the training of actors here.

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
CORRECT ANSWER - This is TRUE. It is not an evidence against the Director's claim that this production is as similar to the original production as is possible in a modern theater

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
INCORRECT ANSWER - The actor could have himself decided to model his performance on Marx. We have no information to deduce this fact.
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nelz007 wrote:
Theater Critic: The play La Finestrina, now at CentralTheater, 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

Is this an assumption question? How would you classify this question?


Responding to a pm:

It is an inference/conclusion question.

Question stem: The considerations given best serve as part of an argument that

What this means: The given argument supports the argument that ... i.e. the information given to us will best be a part of which of the following arguments? i.e. what is the author trying to say by giving you this information?
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thangvietnam wrote:
I do not know what to look for in answer choices. this question is hard because we do not know what to do with answer choices.

what is purpose of this consideration?

is the type of question here


As I said above, it is an inference/conclusion question. The wording of the question is a little typical, I agree, and you need to put in some effort to figure out what it means. The gist of the question is: what is the author trying to say by giving you this information? What can you infer/conclude from the given argument?

Argument:
The play La Finestrina was written in Italy in the eighteenth century.
The director claims that this production is as similar to the original production (18th century production).
Although the actor who plays Harlequin gives a performance very reminiscent of the twentieth-century comedian Groucho Marx, Marx’s comic style had begun in sixteenth-century Italy.
(So basically, Harlequin's performance reminds one of Marx's style but Marx's used a style that had originated in the 16th century. So Harlequin's performance is old style)

Which of the following can we conclude:

(A) modern audiences would fi nd it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
No such info available. The argument says that it may not be possible to replicate the play exactly but why, we do not know. Is it because of the technology or actors or audience, we cannot say.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
No such info given

(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
The argument only talks about one particular 20th century actor, Marx, not about actors in general. So we cannot say this.

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
The director claims that his production is similar to the original 18th century production. Even though the performance of the guy who plays Harlequin reminds us of Marx, the 20th century comedian, his style was old school. Hence, the guy's style was old school. So his performance is not evidence against the director's claim. True. Hence this is the answer.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
We don't know who told the actor to model his performance on Marx or whether he did it on his own or whether his style is actually similar to Marx's.
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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piyushksharma wrote:
sravanth wrote:
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 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


I opted for B, can someone give the OE for this one.


I'm glad the Verbal Bot bumped this question up. It's a fantastic test to see if a test-taker truly gets the logic behind an Inference Question.

In asking: "The considerations given best serve as part of an argument that" we're asked to see which of the 5 options can be inferred with 100% certainty. This is an Inference Question
Goal: Find the option that has to be 100% certain

Here's what we know:
Fact 1) La Finestrina, now at Central Theater, was written in Italy in the eighteenth century
Fact 2) The director claims that this production is as similar to the original production as is possible in a modern theater.
Fact 3) The actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx
Fact 4) Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy

All 4 wrong options can be eliminated because they CAN NOT be confirmed on the basis of the 4 facts:

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
How would we have any clue how modern audiences would react? Can you point to any part of the facts given that would guarantee how modern audiences would feel? No. That's good for us then. The right option has to be 100% supported, so this one is gone.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
The actor who plays Harlequinn is reminiscent of Groucho. Does that mean we can somehow infer that Groucho once played Harlequinn? He could have, but it's totally unsupported by this prompt.

(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
Similarly, the passage in NO WAY equips us to comment on the training of either 20th century US actors or 18th century Italian actors. Not at all supported. Gone.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
Just because the actor who plays Harlequinn is reminiscent of Goucho, 1) does that mean that the actor ACTUALLY modeled his acting after Groucho? Not necessarily. 2) Do we have any clue as to whether the director advised the actor to do so? Not at all. Completely unsupported. Gone.

That brings us to our right option:

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
If someone seeing this question didn't understand that Inference questions ask for the option that must be 100% supported from the information in the prompt, they'd look at this option and be utterly baffled as to why it's the right option. It would seem so random. Here's the story though: do we know for a fact that the performance of the actor who plays Harlequin in La Finestrina does NOT serve as evidence against the director’s claim that "this production is as similar to the original production as is possible in a modern theater"? Yes. The information presented DOESN'T RUN COUNTER to the director's claim, therefore this information does not serve as evidence against the director's claim. 100% true.
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This is a conclusion question. You have to choose an answer which best summarizes all the points. The author says that the actor "Harlequin" who acts in the play "La Finestrina" reminds people of "Groucho Marx" and Marx represented the comic acting tradition of 16th century Italy." D" is the only answer choice which agrees with the above statements. "Does not serve against" translates into serves in favor of the author's claim.
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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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 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[/quote]



In asking: "The considerations given best serve as part of an argument that" we're asked to see which of the 5 options can be inferred with 100% certainty. This is an Inference Question

Goal: Find the option that has to be 100% certain

Here's what we know:
Fact 1) La Finestrina, now at Central Theater, was written in Italy in the eighteenth century
Fact 2) The director claims that this production is as similar to the original production as is possible in a modern theater.
Fact 3) The actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx
Fact 4) Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy

All 4 wrong options can be eliminated because they CAN NOT be confirmed on the basis of the 4 facts:

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
How would we have any clue how modern audiences would react? Can you point to any part of the facts given that would guarantee how modern audiences would feel? No. That's good for us then. The right option has to be 100% supported, so this one is gone.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
The actor who plays Harlequinn is reminiscent of Groucho. Does that mean we can somehow infer that Groucho once played Harlequinn? He could have, but it's totally unsupported by this prompt.

(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
Similarly, the passage in NO WAY equips us to comment on the training of either 20th century US actors or 18th century Italian actors. Not at all supported. Gone.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
Just because the actor who plays Harlequinn is reminiscent of Goucho, 1) does that mean that the actor ACTUALLY modeled his acting after Groucho? Not necessarily. 2) Do we have any clue as to whether the director advised the actor to do so? Not at all. Completely unsupported. Gone.

That brings us to our right option:

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
If someone seeing this question didn't understand that Inference questions ask for the option that must be 100% supported from the information in the prompt, they'd look at this option and be utterly baffled as to why it's the right option. It would seem so random. Here's the story though: do we know for a fact that the performance of the actor who plays Harlequin in La Finestrina does NOT serve as evidence against the director’s claim that "this production is as similar to the original production as is possible in a modern theater"? Yes. The information presented DOESN'T RUN COUNTER to the director's claim, therefore this information does not serve as evidence against the director's claim. 100% true.
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emmafoster wrote:
I failed because i didnot understand this as an inference question!
Can you please explain how you concluded as an inference question??

Hi emmafoster,

I'd be happy to help. Your question underscores an important macro point about Question Type Identification: it's not about the typical buzzwords found d in most of the questions, but rather the fundamental assignment we're being asked to perform.

Inference questions require us to take the information in the prompt, and find the option that has to be true on the basis of that support. So here, even though the question is really bizarrely phrased, if we're asked to take the statements in the prompt to find an option that can rest on them, that's an Inference question through and through.
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Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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emmafoster wrote:
I'm sorry. I still did not understand completely.
I have come across few question in which question stem ask for "support". I have noticed that support questions sometimes are inference questions and sometime are strengthen questions. Because of this identification error, i get most of the questions wrong. :(

Hi emmafoster,

That's actually a pretty common question since both Inference and Strengthen questions can use the word "support", which is why I stressed not going by the words we see, but rather the task we're asked to perform.

Here's the story:

STRENGTHEN:
Which of the following, if true, best supports the reasoning outlined above?

What are we asked to do here?
We need to select an option that makes the argument stronger. One option will make the prompt stronger---the support is going from option to prompt.


INFERENCE:
Which of the following is best supported on the basis of the information outlined above?

What are we asked to do here?
We're taking the information in the prompt, and selecting an option that is supported by the prompt. The prompt provides the strength for one option. The support is going from the prompt to the option.

You might have to re-read the a few times since it is one of the most technical distinctions on the entire Verbal section, but if you look at the task we're asked to perform, you'll see it.
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courtdancer wrote:
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 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.


We can eliminate 4 answer choices here.

A) There's nothing to indicate that modern-day audiences would be intolerant. ELIMINATE

B) There's nothing to indicate that Groucho Marx ever played the role of Harlequin. ELIMINATE

C) There's nothing to indicate this. ELIMINATE

D) We can't eliminate this. All we know is that the actor's performance was like that of Groucho Marx, who performed in a manner similar to comedians in the 16th century. Since it's POSSIBLE that the original production of La Finestrina included a performance of Harlequin that was 16th century-ish, we can't eliminate D.

E) "Must have advised..." There's nothing to indicate this. ELIMINATE

Answer: D
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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New post 16 Jul 2017, 20:24
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In asking: "The considerations given best serve as part of an argument that" we're asked to see which of the 5 options can be inferred with 100% certainty. This is an Inference Question

Goal: Find the option that has to be 100% certain

Here's what we know:
Fact 1) La Finestrina, now at Central Theater, was written in Italy in the eighteenth century
Fact 2) The director claims that this production is as similar to the original production as is possible in a modern theater.
Fact 3) The actor who plays Harlequin the clown gives a performance very reminiscent of the twentieth-century American comedian Groucho Marx
Fact 4) Marx’s comic style was very much within the comic acting tradition that had begun in sixteenth-century Italy

All 4 wrong options can be eliminated because they CAN NOT be confirmed on the basis of the 4 facts:

(A) modern audiences would find it hard to tolerate certain characteristics of a historically accurate performance of an eighteenth-century play
How would we have any clue how modern audiences would react? Can you point to any part of the facts given that would guarantee how modern audiences would feel? No. That's good for us then. The right option has to be 100% supported, so this one is gone.

(B) Groucho Marx once performed the part of the character Harlequin in La Finestrina
The actor who plays Harlequinn is reminiscent of Groucho. Does that mean we can somehow infer that Groucho once played Harlequinn? He could have, but it's totally unsupported by this prompt.

(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
Similarly, the passage in NO WAY equips us to comment on the training of either 20th century US actors or 18th century Italian actors. Not at all supported. Gone.

(E) the director of La Finestrina must have advised the actor who plays Harlequin to model his performance on comic performances of Groucho Marx
Just because the actor who plays Harlequinn is reminiscent of Goucho, 1) does that mean that the actor ACTUALLY modeled his acting after Groucho? Not necessarily. 2) Do we have any clue as to whether the director advised the actor to do so? Not at all. Completely unsupported. Gone.

That brings us to our right option:

(D) the performance of the actor who plays Harlequin in La Finestrina does not serve as evidence against the director’s claim
If someone seeing this question didn't understand that Inference questions ask for the option that must be 100% supported from the information in the prompt, they'd look at this option and be utterly baffled as to why it's the right option. It would seem so random. Here's the story though: do we know for a fact that the performance of the actor who plays Harlequin in La Finestrina does NOT serve as evidence against the director’s claim that "this production is as similar to the original production as is possible in a modern theater"? Yes. The information presented DOESN'T RUN COUNTER to the director's claim, therefore this information does not serve as evidence against the director's claim. 100% true.[/quote]

this is not an inference question because of "best serve as a part of the argument". Although it is true that both a inference and an assumptio will not be directly expressed in the passage, an inference will never be a part of an argument, but an assumption is.
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri [#permalink]

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New post 11 Mar 2018, 22:43
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aviejay wrote:
Could you please break down the question stem and explain it? Especially "best serve as part of an argument that"? Does it mean to infer?


It is an inference/conclusion question.

Question stem: The considerations given best serve as part of an argument that

What this means: The given considerations support the argument that ... i.e. the information given to us will best be a part of which of the following arguments? i.e. what is the author trying to say by giving you this information?
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Re: Theater Critic: The play La Finestrina, now at CentralTheater, was wri   [#permalink] 11 Mar 2018, 22:43
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