We know that the Reading section of the TOEFL iBT® exam is a crucial component that assesses a test-taker's ability to comprehend and analyze academic texts in English. Designed to simulate the demands of reading in an English-speaking academic environment, this section evaluates various skills, including understanding main ideas, identifying details, making inferences, and recognizing the organization within a text.

The best hack to excel in this section includes rigorous practice. We offer practice tests that mirror the actual exam format and writing style, ensuring you feel comfortable and prepared on test day. So, boost your confidence and excel in the TOEFL iBT® Reading section with our practice tests now! 

Let’s take up this TOEFL iBT® Practice Test on the topic - La Loie - for a better understanding of the format and the areas we need to improve!

Reading Instructions

• You have 15 minutes to read the following passage and answer all 10 questions related to it.  
• Most questions are worth 1 point, but the last question is worth more. The directions indicate how many points you will receive for that specific question. 
• The specific section/paragraphs have been provided again with the question for ease of understanding and quick solution.
• Some questions include a word or phrase that is highlighted in the question as well as in the paragraph for quick reference.

In the late nineteenth century, Loie Fuller, a dancer from the United States (1862–1928), deemed traditional theatrical dance artistically unsatisfying. Viewing herself as an artist rather than solely an entertainer, she garnered attention from fellow artists.

Fuller pioneered a unique dance style that emphasized the interplay of lights and colors on her billowing skirts or drapes. These were kept in constant motion primarily through the movements of her arms, sometimes aided by wands hidden under her costumes. Unlike ballet, the dominant theatrical dance form of the era, Fuller's approach prioritized visual effects over technical prowess, likely due to her limited formal dance training. While she had previously worked as an actress, storytelling and emotional expression through dance were secondary to her; instead, the focal point of her performances was the captivating visual spectacle she created.

While Loie Fuller first showcased her artistry in the United States, her true acclaim blossomed in Paris, particularly after her engagement with the Folies Bergère in 1892, where she swiftly became known as "La Loie," captivating audiences across the city. Many of her performances embodied natural elements or objects such as Fire, the Lily, and the Butterfly, aligning seamlessly with the prevalent Art Nouveau movement characterized by nature-inspired imagery and flowing graceful lines. Her dances not only resonated with the tastes of French poets and painters of the era, who were drawn to the enigmatic quality of her work but also reflected their adherence to the concept of "art for art's sake," emphasizing the intrinsic value of art itself rather than its moral or educational implications, as well as their pursuit of harmonizing form and content.

Fuller's fascination with science led her to constantly experiment with emerging technologies such as electrical lighting, colored gels, slide projections, and other stage innovations. She not only devised and patented unique mirror arrangements but also formulated chemical dyes for her flowing draperies. Her keen interest in the interplay of color and light mirrored the explorations of fellow artists of her time, including the renowned painter Seurat, known for his Pointillist technique of utilizing small dots of color to depict shapes and light. Among Fuller's notable inventions was underlighting, where she would stand on frosted glass illuminated from below, a technique prominently featured in her mesmerizing Fire Dance of 1895, set to Richard Wagner's "Ride of the Valkyries." This innovative performance caught the attention of artist Henri de Toulouse-Lautrec, who immortalized it in a lithograph.

As Fuller's technological prowess advanced, so did the sophistication of her dance performances. While initially giving little consideration to music, she later incorporated scores by esteemed composers such as Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually progressing to the works of forward-thinking composers like Stravinsky, Fauré, Debussy, and Mussorgsky. Exploring more ambitious themes, she choreographed pieces like "The Sea," where dancers manipulated vast expanses of silk with invisible movements, illuminated by colored lights. Ever embracing scientific and technological advancements, she forged a friendship with Marie and Pierre Curie following their discovery of radium, inspiring her creation of a Radium Dance simulating the phosphorescence of the element. Venturing into the emerging realm of cinema, Fuller both starred in and directed films, with René Clair, later a renowned French film director, playing the lead role in her fairy-tale film "Le Lys de la Vie" (1919).

During the Paris Exposition in 1900, Fuller curated her own theater, showcasing not only her innovative dances but also pantomimes performed by the Japanese actress Sada Yocco. Around this time, she assembled an all-female dance company and established a school, although both ventures did not outlast her. While she is primarily celebrated today for her groundbreaking advancements in stage lighting, her influence extended to Isadora Duncan and Ruth St. Denis, fellow American dancers exploring new dance forms. Fuller notably supported Duncan's debut in Europe. St. Denis, inspired by Fuller's work, gleaned fresh insights into stagecraft and artistic inspiration from Sada Yocco's performances during her visit to Fuller's theater at the Paris Exposition. In 1924, St. Denis honored Fuller with the duet "Valse à la Loie."

Directions: Once you have read the passage, answer the following questions.

Paragraph 1

In the late nineteenth century, Loie Fuller, a dancer from the United States (1862–1928), deemed traditional theatrical dance artistically unsatisfying. Viewing herself as an artist rather than solely an entertainer, she garnered attention from fellow artists.

1. What inference can be made regarding theatrical dance during the late nineteenth century, as suggested by paragraph 1?
   1. It exerted influence beyond the realm of dance to encompass various artists.
   2. It closely resembled theatrical dance practices from the early nineteenth century.
   3. It prioritized entertainment over serving as a platform for serious artistic expression.
   4. It represented a relatively recent artistic development within the United States.

Paragraph 2

Fuller pioneered a unique dance style that emphasized the interplay of lights and colors on her billowing skirts or drapes. These were kept in constant motion primarily through the movements of her arms, sometimes aided by wands hidden under her costumes. Unlike ballet, the dominant theatrical dance form of the era, Fuller's approach prioritized visual effects over technical prowess, likely due to her limited formal dance training. While she had previously worked as an actress, storytelling and emotional expression through dance were secondary to her; instead, the focal point of her performances was the captivating visual spectacle she created.

1. As per paragraph 2, which of the following attributes is not associated with Fuller's style of dance?
   1. Exploratory use of color
   2. Elaborate and voluminous attire
   3. Uninterrupted motion of her costumes
   4. Technical prowess in movement

1. Which sentence most accurately conveys the main idea of the highlighted statement?
   1. Fuller prioritized the visual aspects of dance over its narrative or emotional aspects.
   2. Fuller employed visual effects to enhance the portrayal of stories and emotions in her performances.
   3. Fuller attributed the dramatic essence of her dance to her emotive storytelling approach.
   4. Fuller's emphasis on visual effects stemmed from her prior experience as a theatrical actress.

Paragraph 3

While Loie Fuller first showcased her artistry in the United States, her true acclaim blossomed in Paris, particularly after her engagement with the Folies Bergère in 1892, where she swiftly became known as "La Loie," captivating audiences across the city. Many of her performances embodied natural elements or objects such as Fire, the Lily, and the Butterfly, aligning seamlessly with the prevalent Art Nouveau movement characterized by nature-inspired imagery and flowing graceful lines. Her dances not only resonated with the tastes of French poets and painters of the era, who were drawn to the enigmatic quality of her work but also reflected their adherence to the concept of "art for art's sake," emphasizing the intrinsic value of art itself rather than its moral or educational implications, as well as their pursuit of harmonizing form and content.

1. "Harmonizing" in the passage is closest in meaning to which of the following?
   1. Synchronizing
   2. Aligning
   3. Conforming
   4. Unifying

1. Based on paragraph 3, what contributed to the favorable reception of Fuller's work in Paris?
   1. Parisian audiences were intrigued by artists and trends originating from the United States.
   2. Renowned poets actively promoted Fuller's performances upon her arrival in Paris.
   3. Fuller's artistic endeavors during this period closely imitated French artists working in various fields.
   4. Fuller's choreography resonated with the existing artistic sensibilities prevalent in Paris.

Paragraph 4

Fuller's fascination with science led her to constantly experiment with emerging technologies such as electrical lighting, colored gels, slide projections, and other stage innovations. She not only devised and patented unique mirror arrangements but also formulated chemical dyes for her flowing draperies. Her keen interest in the interplay of color and light mirrored the explorations of fellow artists of her time, including the renowned painter Seurat, known for his Pointillist technique of utilizing small dots of color to depict shapes and light. Among Fuller's notable inventions was underlighting, where she would stand on frosted glass illuminated from below, a technique prominently featured in her mesmerizing Fire Dance of 1895, set to Richard Wagner's "Ride of the Valkyries." This innovative performance caught the attention of artist Henri de Toulouse-Lautrec, who immortalized it in a lithograph.

1. According to paragraph 4, one notable aspect of Fuller's Fire Dance was its
   1. utilization of colored gels to illuminate glass
   2. application of dyes and paints to depict fire
   3. method of illuminating the dancer from below
   4. incorporation of draperies with small dots akin to Seurat's Pointillist technique

Paragraph 5

As Fuller's technological prowess advanced, so did the sophistication of her dance performances. While initially giving little consideration to music, she later incorporated scores by esteemed composers such as Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually progressing to the works of forward-thinking composers like Stravinsky, Fauré, Debussy, and Mussorgsky. Exploring more ambitious themes, she choreographed pieces like "The Sea," where dancers manipulated vast expanses of silk with invisible movements, illuminated by colored lights. Ever embracing scientific and technological advancements, she forged a friendship with Marie and Pierre Curie following their discovery of radium, inspiring her creation of a Radium Dance simulating the phosphorescence of the element. Venturing into the emerging realm of cinema, Fuller both starred in and directed films, with René Clair, later a renowned French film director, playing the lead role in her fairy-tale film "Le Lys de la Vie" (1919).

1. Why does the author discuss Fuller’s “The Sea”?
   1. To highlight a dance of Fuller’s where music was not significant
   2. To elaborate on why Fuller occasionally utilized music by progressive composers
   3. To demonstrate a specific aspect of Fuller's artistic evolution
   4. To showcase how Fuller’s scientific curiosity influenced her artistic endeavors

Paragraphs 6

During the Paris Exposition in 1900, Fuller curated her own theater, showcasing not only her innovative dances but also pantomimes performed by the Japanese actress Sada Yocco. Around this time, she assembled an all-female dance company and established a school, although both ventures did not outlast her. While she is primarily celebrated today for her groundbreaking advancements in stage lighting, her influence extended to Isadora Duncan and Ruth St. Denis, fellow American dancers exploring new dance forms. Fuller notably supported Duncan's debut in Europe. St. Denis, inspired by Fuller's work, gleaned fresh insights into stagecraft and artistic inspiration from Sada Yocco's performances during her visit to Fuller's theater at the Paris Exposition. In 1924, St. Denis honored Fuller with the duet "Valse à la Loie."

1. According to paragraph 6, what characterized Fuller’s theater at the Paris Exposition?
   1. It showcased works beyond those created by Fuller.
   2. It hosted presentations by notable male and female dancers alike.
   3. It evolved into a renowned institution, preserving Fuller’s legacy.
   4. It remained an active venue following Fuller’s passing.

Paragraph 5

As Fuller's technological prowess advanced, so did the sophistication of her dance performances. (A) While initially giving little consideration to music, she later incorporated scores by esteemed composers such as Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually progressing to the works of forward-thinking composers like Stravinsky, Fauré, Debussy, and Mussorgsky. (B) Exploring more ambitious themes, she choreographed pieces like "The Sea," where dancers manipulated vast expanses of silk with invisible movements, illuminated by colored lights. (C) Ever embracing scientific and technological advancements, she forged a friendship with Marie and Pierre Curie following their discovery of radium, inspiring her creation of a Radium Dance simulating the phosphorescence of the element. (D) Venturing into the emerging realm of cinema, Fuller both starred in and directed films, with René Clair, later a renowned French film director, playing the lead role in her fairy-tale film "Le Lys de la Vie" (1919).

1. 9. Directions: Review the excerpt from the passage provided above. The letters (A), (B), (C), and (D) denote where the subsequent sentence could be incorporated.
   
   Despite her groundbreaking contributions to dance, Fuller's interests extended beyond the realm of dance to include emerging artistic mediums.
   
   Where would the sentence most appropriately belong?
   1. A) Choice A
   2. B) Choice B
   3. C) Choice C
   4. D) Choice D

1. Directions: You will find an introductory sentence for a summary of the passage provided below. Your task is to complete the summary by selecting the THREE answer choices that best represent the key ideas in the passage. Be mindful that some sentences may not align with the main ideas or may have minor ideas in the passage. This question carries a total of 2 points.
   
   Loie Fuller was an important and creative dancer.
   
   
   •  
   •  
   •  

   Answer Choices

   1. Fuller perceived a waning interest in theatrical dance among late nineteenth-century audiences.
   2. Fuller revolutionized dance by translating the works of poets and painters into captivating performances.
   3. Fuller's pioneering work had a significant impact on fellow dancers exploring experimental forms of dance.
   4. Fuller was a trailblazer in introducing numerous technical advancements to enhance the staging of theatrical dance.
   5. Throughout her career, Fuller evolved her artistry, crafting more intricate pieces and venturing into new artistic mediums.
   6. By the 1920s, Fuller's theater at the Paris Exposition emerged as the global hub for cutting-edge dance innovation.

Hold on!  Before checking your answers and matching them, explore what is a good TOEFL score!

Answer Key with Explanation for TOEFL iBT® Reading Passage - La Loie 

1.  Answer: C

Explanation: This is an Inference question concerning an inference supported by paragraph 1. The correct answer is choice C. The use of the phrase "solely an entertainer" in sentence 2 implies a distinction between entertainment and serious art, suggesting that Loie Fuller considered herself more than just an entertainer. Choice A is inaccurate because there's no indication of the specific fields of the artists attracted to Fuller or if her work influenced theirs. Choice B lacks support from the passage as there's no comparison made to theatrical dance in the early nineteenth century. Choice D is unsupported as there's no mention of the duration of theatrical dance practice. 

2. Answer: D

Explanation: This Negative Factual Information question pertains to specific details found in paragraph 2. The correct answer is choice D. As stated in sentence 2 of the paragraph, Loie Fuller rejected technical virtuosity, meaning it cannot be considered a characteristic of her style of dance. Choices A, B, and C are all mentioned in sentence 1 as attributes of her dance style.

3. Answer: A

Explanation: This Sentence Simplification question focuses on a highlighted sentence in the passage. The correct answer is choice A. Choice A effectively captures all the essential information conveyed in the highlighted sentence while omitting the secondary detail about Loie Fuller's early theatrical career as an actress.  

Choices B, C, and D alter the meaning of the sentence. Choices B and C inaccurately suggest that Fuller dramatized stories or had a storytelling style, which contradicts the statement that she was not primarily interested in storytelling. Choice D is incorrect because it implies that Fuller's early career as an actress influenced her style of dance, which is contrary to the information provided in the highlighted sentence. 

4. Answer: C

Explanation: This Vocabulary question centers on the word "harmonizing," highlighted in the passage. The correct answer is choice C, which equates "harmonizing" with "conforming." 

In the context of the passage, "harmonizing" implies aligning or conforming to the artistic values already present in Paris, particularly those emphasizing nature imagery and the synthesis of form and content. 

5. Answer: D

Explanation: This Factual Information question pertains to details found in paragraph 3. The correct answer is choice D. The second sentence of this paragraph specifies that Fuller's dances were in harmony with the Art Nouveau style that was fashionable in Paris at the time.  

Choice A is inaccurate because the paragraph only mentions Parisian audiences' appreciation for Fuller's work; it does not discuss broader American artistic movements. Choice B is incorrect because the paragraph indicates that poets were interested in Fuller's work themselves, not that they attempted to garner interest from others. Choice C is also inaccurate as the paragraph states that Fuller herself discovered and introduced her ideas, rather than borrowing them from other artists. 

6. Answer: C

Explanation: This Factual Information question pertains to details found in paragraph 4. The correct answer is choice C. Sentence 4 in this paragraph explicitly states that Fuller invented the technique of underlighting, which involves illuminating the dancer from underneath.  

Choices A, B, and D are incorrect because they misrepresent the techniques employed by Fuller. Additionally, none of these techniques are specifically associated with Fuller's Fire Dance as mentioned in the passage. 

7. Answer: C

Explanation: This Rhetorical Purpose question asks why the author mentions Fuller’s dance titled The Sea. The correct answer is choice C. The paragraph begins by highlighting Fuller’s expanding expertise and development as an artist. The mention of The Sea serves as an example of this growth, particularly in terms of the themes explored in her dances. 

Choices A and B are incorrect because The Sea is not discussed in relation to the use of music. Choice D is also incorrect because The Sea is not associated with science; instead, science is linked to a different dance by Fuller, the Radium Dance. 

8. Answer: A

Explanation: This is a Factual Information question asking for specific details mentioned in paragraph 6. The correct answer is choice A. The paragraph states that Fuller's theater at the Paris Exposition presented works by another artist, Sada Yocco. 

Choice B is incorrect because although Fuller created an all-female dance company at the time of the Paris Exposition, there is no mention of whether they performed in Fuller's theater.  

Choice C is inaccurate because while Fuller established a school around 1908, there is no direct connection mentioned between the school and the Paris Exposition. Additionally, there's no information about a school named after Fuller in the paragraph. 

Choice D is incorrect because the paragraph doesn't indicate whether Fuller's theater continued operating after the Paris Exposition concluded. 

9. Answer: D

Explanation: This is an Insert Text question where you are required to select the appropriate place to insert the provided sentence within the passage. Among the four possible answer choices provided in paragraph 5, the sentence "Despite her groundbreaking contributions to dance, Fuller's interests extended beyond the realm of dance to include emerging artistic mediums" is most fittingly inserted in choice D. The sentence following choice (D) elaborates on the "emerging artistic mediums." 

Choices (A), (B), and (C) are incorrect because the surrounding sentences before and after each of these options primarily discuss Fuller's dance work, while the specified sentence shifts the focus away from Fuller's dance work to other art forms. 

10. Answer: C, D, E

Explanation: This is a Prose Summary question, and the correct responses are C, D, and E. Therefore, options A, B, and F are incorrect.

Choice C: Fuller's pioneering work had a significant impact on fellow dancers exploring experimental forms of dance. This idea is highlighted in paragraph 6, where Fuller's influence on other dancers who later gained prominence is discussed. 

Choice D: Fuller was a trailblazer in introducing numerous technical advancements to enhance the staging of theatrical dance. This theme is a central focus of the passage, reiterated in several paragraphs. While paragraph 4 extensively details her technical innovations, references to them are also made in paragraphs 5 and 6. 

Choice E: Throughout her career, Fuller evolved her artistry, crafting more intricate pieces and venturing into new artistic mediums. This main idea is central to paragraph 5, which delves into Fuller's exploration of music, her engagement with complex themes in her dances, and her involvement in filmmaking.

Choice A: Choice A, "Fuller perceived a waning interest in theatrical dance among late nineteenth-century audiences," is incorrect because the passage does not make this claim. While Fuller herself lost interest in theatrical dance, there is no mention of her perception of audience interest. 

Choice B: Choice B, "Fuller revolutionized dance by translating the works of poets and painters into captivating performances," is incorrect because the passage emphasizes that Fuller's work was entirely original. She developed her own unique style and techniques rather than basing her dances on the works of other artists. 

Choice F: Choice F, "By the 1920s, Fuller's theater at the Paris Exposition emerged as the global hub for cutting-edge dance innovation," is incorrect because Fuller's theater existed for only one year during the Paris Exposition in 1900. Additionally, the passage does not designate any specific location as the center for innovative dance.

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