Đề ôn thi Đề thi vào lớp 10 Trường THPT Chuyên KHXH môn Tiếng Anh - Mã đề KHXH-08

The aluminum can is one of the most common everyday objects, yet its creation is a marvel of high-speed engineering. Every day, (35) __________ of these lightweight and recyclable containers are produced worldwide. The entire journey from a flat piece of metal to a finished can that is ready to be filled happens in a fraction of a second, showcasing a highly efficient and precise manufacturing system.

The process begins with a huge roll of thin aluminum (36) __________, which can be several kilometers long. In the first stage, a powerful machine called a cupping press punches out thousands of flat, circular discs from this material. These discs, (37) __________ are then ready for the next stage, are the basic foundation of every can that will be formed.

Next, the discs undergo a process called 'drawing and ironing'. The flat discs are pushed (38) __________ a series of rings by a punch, which draws them up to form a shallow cup. Immediately after, this cup is forced through smaller rings that stretch the metal, making the can taller and its walls thinner. This makes the can walls extremely thin but also surprisingly (39) __________.

After being formed, the cans must be finished. They are washed to remove any oils from the manufacturing stage. Then, they are decorated. The colorful labels and brand logos (40) __________ directly onto the can’s surface using a high-speed printing method that applies multiple colors at once. (41) __________, a protective varnish is applied to the outside to prevent scratches and an internal coating is sprayed to protect the beverage from the metal.

In the final steps, the top of the can is shaped to form the neck, and the can is tested for leaks. This incredible (42) __________ of manufacturing ensures that millions of cans can be made quickly and consistently, ready to be filled with our favorite drinks. The precision at every step is essential for producing a container that is both durable and convenient.

Water puppetry, or 'múa rối nước', is one of Vietnam’s most unique and cherished traditional art forms, with a history spanning over a thousand years. Originating in the rice paddies of the Red River Delta, these performances traditionally depict scenes of rural life, historical legends, and folklore. The stage is a pool of water, concealing the skilled puppeteers who manipulate wooden puppets on long bamboo rods. For many tourists and older Vietnamese, a visit to a classic venue like the Thang Long Water Puppet Theatre in Hanoi is a must-see, offering a magical glimpse into the country’s cultural soul.

However, the very elements that make water puppetry a classic art form can also be a barrier for today's youth. Teenagers, accustomed to the fast-paced, high-tech world of video games, social media, and blockbuster movies, may find the slow tempo and traditional folk music of these shows less engaging. While the classic performances are beautiful and historically significant, their appeal to a generation raised on digital entertainment is a growing concern for cultural preservationists.

In response to this challenge, a conversation is emerging about how to innovate water puppetry for a new era. The goal is not to erase the original form but to create new versions that can coexist with it. Visionaries imagine shows with updated storylines that resonate with modern youth, incorporating contemporary music, and even redesigning puppets to be more dynamic. Advanced technology like projection mapping could transform the simple water stage into a stunning, interactive environment. Proponents argue that for water puppetry to survive and thrive, it must be willing to evolve.

Naturally, any suggestion of change meets with some resistance. Purists worry that modernization will dilute the art form's authenticity and turn it into a commercial gimmick. They argue that its value lies in its unchanged, historical nature. However, supporters of innovation counter that tradition is not a static museum piece but a living entity. They believe that by carefully blending the old with the new, water puppetry can become a vibrant, relevant art form for young Vietnamese, ensuring its legacy for centuries to come. The risk of inaction, they claim, is far greater than the risk of change.

Ultimately, the future of water puppetry may depend on striking a delicate balance. It requires respecting the deep roots of the tradition while bravely exploring new creative branches. The challenge lies in making this ancient art cool and compelling for 21st-century teenagers, transforming them from passive observers into an enthusiastic new audience.