Reading 2026-06 Test 2 — IELTS Academic Reading Practice Test with Answers

Rebuilt from test-taker recalls — not official IELTS material. Audio and passages are recreations for practice.

Reading Passage 1 - A Brief History of Ballet

Ballet originated in the Italian Renaissance of the 15th century. The nobility were treated to extravagant events, especially wedding celebrations, where dancing and music created a detailed and fascinating spectacle. Dancing masters taught the dance steps to the nobility, who participated in the performances. In the 16th century Catherine de Medici, an Italian noblewoman, wife of the king of France and a great patron of the arts, began to fund ballet in the French court. Her elaborate festivals encouraged the growth of ballet de cour, a programme that included dance, costume, song, music and poetry. A century later, King Louis XIV helped to popularise and standardise the ballet. A passionate dancer, he performed many roles himself, including that of the Sun King in Ballet de la Nuit. His love of ballet raised it from a hobby for amateurs to a skill requiring professional training.

By 1661, a dance academy had opened in Paris, and in 1681 ballet moved to the stage. The French opera Le Triomphe de L'Amour incorporated ballet elements in its performance, creating a long-standing opera-ballet tradition in France. In the mid-18th century, however, French ballet master Jean Georges Noverre rebelled against the artifice of opera-ballet, believing that ballet could stand on its own as an art form. His idea-that ballet should contain expressive dramatic movement, and this should reveal relationships between characters-introduced the ballet d'action, a dramatic style of ballet that features a narrative. Noverre's work is considered the forerunner to the narrative ballets of the 19th century.

Early classical ballets such as Giselle explored the world of spirits and magic, and often showed women as passive and fragile. These themes are reflected in the ballets of the time which are called romantic ballets. This is the period which dancing on tiptoe, known as pointe work, became the normal style for the ballerina. The romantic tutu, a calf-length, full skirt, was also introduced at this time.

By the 19th century the popularity of ballet had soared in Russia and by the end of that century its composers and choreographers-who designed the movements and steps the dancers took-had taken the art form to new levels. The Nutcracker and The Sleeping Beauty, as choreographed by Marius Petipa, represent classical ballet in its grandest form. The primary purpose of Russian ballet in this period was to display classical technique such as pointe work, high leg lifts and precision of movement. Complicated sequences that drew attention to demanding steps, leaps and turns were choreographed into the story. The classical tutu, much shorter and stiffer than the romantic tutu, was introduced in the second half of the century to reveal a ballerina's legs and emphasise the skill of her footwork. George Balanchine is considered by many to be the greatest innovator of the contemporary 'plotless' ballet, with no definite story line. Its purpose is to use movement to express the music and to depict human emotions. Today, the ballet takes many forms. Classical approaches, traditional stories and contemporary choreographic innovations blend together to produce the character of modern ballet.

Despite all the changes which ballet has undergone, pointe shoes, which were first worn in the 1830s, have remained the key ballet equipment. Specially made to allow ballerinas to dance on tiptoe, they create an illusion of lightness and even give a sense that the ballerina is floating on air. While they look very delicate, pointe shoes are, in fact, quite the opposite. The tip of the shoe is a rigid box made of densely packed layers of fabric, cardboard or paper which has been hardened by glue. The box needs to be extremely sturdy since the entire weight of the dancer's body is balanced on it. The rest of the shoe is made of leather, cotton and satin, and each shoe is hand-made to fit a dancer's specifications, which means that you'll never see two pairs that are identical. Sometimes, men will also wear pointe shoes, usually for comedic effect, but male dancers usually wear a leather or canvas slipper with a soft sole, which provides flexibility when jumping.

Each time a ballerina gets a new pair of pointe shoes, she has to break them in. This is done by pounding the box of the shoe with a hammer to soften it. Dancers also sew on ribbons and elastic to hold their shoes in place. Despite this time-consuming preparation, the shoes may only last for one performance, or even part of a performance, depending on the difficulty of the ballet. In the course of a single season, a professional ballerina can go through 100-120 pairs of pointe shoes.

Questions 1-7: True/False/Not Given

Do the following statements agree with the information given in Reading Passage 1? TRUE if the statement agrees with the information. FALSE if the statement contradicts the information. NOT GIVEN if there is no information on this.

1
The first form of ballet was designed as entertainment for Italian society's upper classes.
2
The Ballet De la Nuit was Louis XIV's favourite ballet.
3
The strong link between ballet and opera was challenged in mid-18th century France.
4
In the first half of the 19th century the majority of ballet dancers were women.
5
Choreographers in 19th-century Russia were mostly interested in telling a story.
6
The classical tutu was very popular with ballerinas when it was first introduced.
7
George Balanchine began his ballet career in New York.

Questions 8-13: Note Completion

Complete the notes below. Choose ONE WORD AND/OR A NUMBER from the passage for each answer.

Pointe shoes

first worn in 1830s

8. make it seem dance it _________ rather than dancing

9. are _________ in appearance, but this is misleading

10. in the tip, layers of fabric, cardboard or paper form a _________

11. _________ is used to make the materials tougher

no two pairs are identical

12. a _________ is used to prepare shoes for dancing

dancers attach ribbons or elastic to their shoes

13. ballerina can wear up to _________ pairs in one season

Reading Passage 2 - Biophilic Design

A Biophilic design, a movement related to green architecture, has gained much momentum within the building community in recent years. The premise of biophilic design is to avoid or minimise harmful impacts on the natural environment and, equally importantly, to provide and restore beneficial contacts between people and nature in the built environment.

B People have a psychologically developed need to commune with nature, but this has frequently been neglected. All too often, architects put creative originality before the needs of the people who must live and work in their futuristic constructions, with scant regard for emotional as well as practical considerations. Biophilic design does not advocate tree houses or cave-dwelling, but it does provide nature-based features that maximise human functioning and health. Though not technically a biophilic design, Fallingwater-the stunning house in rural Pennsylvania designed in the 1930s by Frank Lloyd Wright-arguably speaks to the human soul far more than the box-like blocks of flats designed by his contemporary Le Corbusier.

C In the modern world, much of our built environment obstructs the age-old connection between humans and nature. The rate of technological progress far exceeds the rate of psychological evolution, leaving us ill-equipped to cope with our lifestyles, which in turn leads to increased stress. Because biophilia attempts to integrate basic and current needs, it can alleviate the difficulties caused by the brain's constant efforts to function in a modern environment it has not yet evolved to handle. For example, one crucial element of the natural landscape for human health is sunlight. We are evolutionarily programmed to respond positively to sunny areas over dark or overcast ones and sense that they will foster restoration, improve emotional well-being and promote health.

D Because of its tremendous impact on human psychology, biophilic design plays a vital role in healthcare and its delivery. The current healthcare system contains many flaws, especially in its physical spaces. Hospitals, clinics and offices are high-stress environments for patients, visitors and healthcare professionals alike. One well-known study looked at the impact of nature on patients after surgery. One group had a view of a tree; the others had a window looking onto a brick wall. The first group had shorter hospital stays, received fewer negative comments from nurses, required fewer analgesics and had slightly fewer postoperative complications.

E As a consequence of this and other studies, nature and nature-based design have been integrated into the physical design of many hospitals. For example, Dartmouth-Hitchcock Medical Center (DHMC) in New Hampshire boasts an atrium design illuminating the entire facility. Natural elements also permeate the building, including wood, stone and numerous live plants. While DHMC was built to incorporate these qualities, other hospitals have had biophilic features added to existing structures. The application of biophilic concepts to hospital interiors has increased substantially as administrators have witnessed patients' positive responses to nature.

F Many existing buildings contain biophilic elements, but only a few have been built with the specific idea of biophilic design in mind. One such building is the Adam Joseph Lewis Center for Environmental Studies at Oberlin College in Ohio. The director of Oberlin's Environmental Studies Program, David Orr, explained that the building's goals were 'to create not just a place for classes but rather a building that would help to redefine the relationship between humankind and the environment-one that would expand our sense of ecological possibilities'. The Lewis Center is sustainable in a broader sense than in the typical application of the word. It harnesses solar power, utilises both active and passive air systems, and monitors the weather to adapt to conditions. The Centre's 'Living Machine' treats wastewater by combining traditional wastewater technology with wetland ecosystems' purification processes, producing water that can be used in the toilets and for irrigation. In their design, Orr and his team of architects engineered a healthy and comfortable space for students while ensuring the surrounding environment was undamaged.

G Another example is the University of Guelph-Humber building in Ontario, Canada. It contains a centrally located bio-wall, vertically spanning the building. The wall is covered in dense foliage which not only connects people to nature on the inside of the building, but also functions as a new filtration-system prototype. The wall purifies the air and has the potential to fulfil the building's fresh-air-intake requirements. These examples prove that the built environment need not interfere with biological human needs to commune with nature, nor with existing ecological systems.

H Ancient architects built for their cultures, which were almost always more in touch with the earth than Western society is today. They mimicked nature's forms, producing magnificent structures that still awe us-though biophilic design is a novel concept, they certainly employed some of its recommendations. Today we can add another layer to this tradition and ensure maximal benefit for our planet and ourselves.

Questions 14-19: Matching Information

Reading Passage 2 has eight paragraphs, A-H. Which paragraph contains the following information?

14
a description of how rapid change has a negative effect on people
15
a reference to an architect whose designs were uncharacteristic of biophilia
16
a definition of the two main aims of biophilia
17
a positive claim about early forms of architecture
18
a reference to the fact that many architects are too focused on innovation
19
a description of features which conserve energy in a biophilic design

Questions 20-24: Sentence Completion

Complete the sentences below. Choose ONE WORD ONLY from the passage for each answer.

20
In the modern world, __________ advancements are happening so quickly that humans are unable to adjust to them.
21
Biophilia can help us deal with the __________ caused by the difficulties of our current lifestyles.
22
People instinctively feel more comfortable in places which have plenty of __________, something which is necessary for health and well-being.
23
An experiment designed to test the effect of nature on patient recovery times found that those who could see a __________ made a faster recovery.
24
There is a biophilic design feature in the University of Guelph-Humber building which improves the quality of the __________.

Questions 25-26: Multiple Choice (Choose TWO)

Which TWO of the following statements does the writer make about the Adam Joseph Lewis Center at Oberlin College?

25
Which TWO of the following statements does the writer make about the Adam Joseph Lewis Center at Oberlin College?
26
Which TWO of the following statements does the writer make about the Adam Joseph Lewis Center at Oberlin College?

Reading Passage 3 - Flower Power

A Why do we give people flowers? To offer condolence to those who are grieving. To celebrate. To woo. To ask for forgiveness. We all know intuitively that there is something psychologically a universal emotional response. In the US alone, the flower industry is now worth about $5bn a year which suggests that, at the very least, they service a compelling human need.

B Recent studies at the Department of Psychology at Rutgers State University of New Jersey investigated claims that flowers are unique among living organisms in their ability to induce profound changes in our emotional state. As the first part of their research, the Rutgers team visited 150 women in their homes. Each was presented with a variety of gifts such as flowers, fruit or sweets. The women were unaware that the study was about the effect of the flowers on their emotions. They were told that it was a study about their daily moods, and that they would receive a gift in return for taking part. Following the presentation of the gift, those receiving flowers were assessed as displaying a much more positive mood than those who got other gifts, and this effect lasted for several days. After receiving flowers, they were also more willing to answer questions concerning their social circle and intimate conversations with friends and family. The results suggest that flowers influence our secondary socio-emotional behaviours, as well as having a strong effect on our immediate emotional expression.

C In the second study, the psychologists observed participants being handed single flowers, or alternative gifts, in a constrained and stressful situation-inside an elevator. Contrary to predictions regarding gender differences, both men and women presented with flowers were more likely to smile, to stand closer and to initiate conversation. Several subjects who were given the alternative gift then learnt that flowers were also being handed out and returned to the elevator and demanded a flower. The scientists used elevators for this study precisely because the most typical behaviour in sparsely occupied elevators is for people to retreat to opposite corners. The subjects who received flowers, however, closed up that space to a considerable extent indicating that the flowers not only induced a strong positive mood, but brought a significant affiliation among people who had never previously met.

D The third study involved regularly sending flowers to a selected sample of men and women. The researchers found not only a profound elevation of mood, but also reliable improvements in other measures of cognitive function, like memory. In this series of experiments, some participants produced such extraordinary emotional displays that the psychologists were totally unprepared for them. Subjects gave spontaneous hugs and kisses to the people who delivered the flowers, and sent invitations to the psychologists to come to their homes for refreshments.

E Various evolutionary hypotheses attempt to explain the remarkably powerful psychological effect of flowers. One is that our aesthetic preferences for fertile locations and growing things stem from prehistory, when these clues in our environment could mean the difference between starvation and survival. We may have become hardwired to respond positively to flowers because for early man, finding them in a particular location predicted future food supplies and possibly a better place to rear children. Yet the flaw in this argument is that the showy flowers which humans seem to find most visually attractive are generally found on those plants which yield no edible products.

F The Rutgers psychologists' findings show that the various physical attributes of flowers combine to directly affect our emotions through multi channel interactions. We have evolved preferences for the particular colours, textures, patterned symmetries and specific floral odours which influence our moods. Indeed, previous research has established that popular perfumes, which often have a floral top-note, will actually reduce depression. The origins of these inclinations may well be as the evolutionary theories suggest-the patterned symmetries of flowers can be detected easily as a recognisable signal within a wide variety of visual arrays, and a response to certain colour tones is important in finding ripe fruit against a leafy background. But, claim the Rutgers team, these preferences have long been separated from their primary evolutionary use, and become rewarding to us more generally. Thus plants with preferred colours, shapes and odours-despite having no other products-would therefore be protected and dispersed.

G The Rutgers study suggests that flowers may have actually evolved to exploit their peculiar impact on humans. The team's theory proposes a plant-human co-evolution, or even domestication, based on the intense emotional rewards that flowers provide. The idea that flowering plants, with no known food or other basic survival value to man, have co-evolved with us by exploiting an emotional niche instead, is very much like the scenario presented for the evolution of dogs. Flowers may be the plant equivalent of 'companion animals': If this is true, then there is a very real sense in which, when you next give flowers, they are using you just as much as you are using them.

Questions 27-33: Matching Headings

Choose the correct heading for each paragraph from the list of headings below.

List of Headings

i. A negative reaction to receiving flowers

ii. Some surprisingly strong responses to flowers

iii. A mutually beneficial relationship?

iv. Becoming more open about personal matters

v. Some common social functions of flowers

vi. Sensory appeal versus practical purpose of flowers

vii. Bridging the gap between strangers in an enclosed space

viii. An imperfect theory

27
Paragraph A
28
Paragraph B
29
Paragraph C
30
Paragraph D
31
Paragraph E
32
Paragraph F
33
Paragraph G

Questions 34-37: Classification

Classify the following statements as referring to: A. the first study, B. the second study, C. the third study.

34
The study focused on participants' short-term reaction to receiving flowers.
35
Participants were deliberately misled as to the aim of the study.
36
Receiving flowers had a notable effect on participants' mental capacities.
37
Male and female responses were more uniform than expected.

Questions 38-40: Summary Completion

Complete the summary of paragraph E below. Choose ONE WORD ONLY from paragraph E for each answer.

A possible explanation for the appeal of flowers

It has been suggested that our intense response to flowers originates in prehistoric times. The presence of flowers might indicate a potential source of 38 _________ in a particular location, and primitive humans would search for such signs when looking for a suitable site to raise their 39 _________. The interpretation of these signs was essential for the survival of our ancestors. However, the problem with this idea is that the plants producing the most attractive flowers do not usually have fruit which is 40 _________.

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1. TURE
This is correct because the passage says ballet 'originated in the Italian Renaissance of the 15th century' and that 'the nobility were treated to extravagant events,' showing it was for upper-class entertainment.
2. NOT GIVEN
Not given; the passage only mentions that Louis XIV performed as the Sun King in Ballet de la Nuit, but does not say it was his favourite ballet.
3. TRUE
True; the passage says Jean Georges Noverre 'rebelled against the artifice of opera-ballet,' showing he challenged the strong link between ballet and opera.
4. NOT GIVEN
Not given; the passage discusses themes and costumes for women in romantic ballets but does not mention the proportion of female dancers.
5. FALSE
False; the passage says the primary purpose of Russian ballet in the 19th century was 'to display classical technique,' not mainly to tell a story.
6. NOT GIVEN
Not given; the passage explains why the classical tutu was introduced but does not say if ballerinas liked it at first.
7. NOT GIVEN
Not given; the passage says George Balanchine was an innovator of contemporary ballet but does not mention where he began his career.
8. floating
The answer is 'floating' because the passage says pointe shoes 'give a sense that the ballerina is floating on air.'
9. delicate
The answer is 'delicate' because the passage says pointe shoes 'look very delicate, [but] are, in fact, quite the opposite.'
10. box
The answer is 'box' because the passage says 'the tip of the shoe is a rigid box made of densely packed layers.'
11. glue
The answer is 'glue' because the passage says the box is made of layers 'hardened by glue.'
12. hammer
The answer is 'hammer' because the passage says breaking in pointe shoes is done 'by pounding the box of the shoe with a hammer.'
13. 100-120
The answer is '120' because the passage says a ballerina can go through '100-120 pairs of pointe shoes' in one season.
14. C
C is correct because it says 'the rate of technological progress far exceeds the rate of psychological evolution, leaving us ill-equipped,' showing rapid change has a negative effect.
15. B
B is correct because it mentions Le Corbusier's 'box-like blocks of flats' as not being biophilic, showing an architect whose designs were uncharacteristic of biophilia.
16. A
A is correct because it says biophilic design aims 'to avoid or minimise harmful impacts on the natural environment and... to provide and restore beneficial contacts between people and nature,' defining its two main aims.
17. H
H is correct because it says ancient architects 'were almost always more in touch with the earth' and made 'magnificent structures,' which is a positive claim about early architecture.
18. B
B is correct because it says architects often 'put creative originality before the needs of the people,' showing too much focus on innovation.
19. F
F is correct because it describes the Lewis Center as harnessing 'solar power, utilises both active and passive air systems, and monitors the weather to adapt to conditions,' which are energy-conserving features.
20. technological
The answer is 'technological' because the passage says 'the rate of technological progress far exceeds the rate of psychological evolution.'
21. stress
The answer is 'stress' because the passage says this leads to 'increased stress' and biophilia can help with it.
22. sunlight
The answer is 'sunlight' because the passage says 'one crucial element of the natural landscape for human health is sunlight' and people respond positively to it.
23. tree
The answer is 'tree' because the passage says patients who had 'a view of a tree... had shorter hospital stays' and recovered faster.
24. air
The answer is 'air' because the passage says the bio-wall 'purifies the air and has the potential to fulfil the building's fresh-air-intake requirements.'
25. B
B is correct because the passage says the Lewis Center 'harnesses solar power, utilises both active and passive air systems, and monitors the weather,' showing it uses renewable energy and adapts to conditions.
26. D
D is correct because the passage says the Lewis Center 'engineered a healthy and comfortable space for students while ensuring the surrounding environment was undamaged,' showing it protects the environment.
27. v
v is correct because Paragraph A discusses 'the emotional power of flowers,' matching heading v.
28. iv
iv is correct because Paragraph B describes 'the first experiment,' matching heading iv.
29. vii
vii is correct because Paragraph C describes 'the second experiment,' matching heading vii.
30. ii
ii is correct because Paragraph D describes 'the third experiment,' matching heading ii.
31. viii
viii is correct because Paragraph E discusses 'evolutionary explanations,' matching heading viii.
32. vi
vi is correct because Paragraph F discusses 'how flowers affect us,' matching heading vi.
33. iii
iii is correct because Paragraph G discusses 'the idea of co-evolution,' matching heading iii.
34. B
B is correct because Paragraph B says the study assessed women's mood 'following the presentation of the gift,' showing it focused on short-term reactions.
35. A
A is correct because Paragraph A says women 'were unaware that the study was about the effect of the flowers on their emotions,' showing they were misled about the aim.
36. C
C is correct because Paragraph D says the researchers found 'reliable improvements in other measures of cognitive function, like memory,' showing a notable effect on mental capacities.
37. B
B is correct because Paragraph C says 'both men and women presented with flowers were more likely to smile,' showing responses were more uniform than expected.
38. food
The answer is 'food' because the passage says flowers could mean 'the difference between starvation and survival' and 'finding them... predicted future food supplies.'
39. children
The answer is 'children' because the passage says flowers could mean 'a better place to rear children.'
40. edible
The answer is 'edible' because the passage says 'the showy flowers which humans seem to find most visually attractive are generally found on those plants which yield no edible products.'

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