Campus Assault Essay

Grounds Assault Essay Grounds Assault Essay Conveying The Weight Columbia University senior, Emma Sulkowicz, talks immovably outside of her quarters building. It is a grave articulation, and one that she has rehashed to numerous journalists since school continued in the start of September. Three days into her senior year and still uncertain of her thorough class plan, Sulkowicz is now amassed by journalists and picture takers on her approach to class. The visual expressions major has quite recently set out on her senior proposal, a continuance execution craftsmanship venture she is calling â€Å"Mattress Performance,† in which she will heft around a naval force, Twin XL sleeping cushion †precisely the same sort of bedding on which she was assaulted the main day of her sophomore year †until her attacker leaves the school through ejection, intentional leave, or graduation. Sulkowicz has just gotten media consideration as one of the twenty-three â€Å"complainants† recording April’s Title IX body of evidence against the university’s affirmed misusing of rape cases, yet the individual consideration has heightened since her specialty piece has turned into a web sensation on the Internet. On Mondays, Emma goes to class conveying the fifty-pound sleeping pad across grounds from north to south and east to west. â€Å"It’s a ton of physical pain,† she says. Except if there are columnists encompassing her, her kindred understudies, the two companions and outsiders are anxious to help her when class. These associates are not helping her get from direct A toward point B yet additionally partaking in her ordinary weight: conveying the heaviness of her past †and present †upon her shoulders. Understudies, in view of their age, are at high hazard for rape, and a few specialists accept that school ladies are more defenseless than their nonstudent peers. Grounds rape is endlessly underreported to specialists with less than 5-percent of school ladies who are survivors of assault or endeavored assault revealing it to the police. Some portion of the issue is that numerous survivors don't call their experience assault in spite of the fact that it meets the legitimate rules, however schools additionally frequently empower casualty accusing through anticipation programs that emphasis solely on chance decrease conduct by possible casualties. Medication and liquor misuse strategies that do exclude resistance for survivors of rape can likewise obstruct revealing. Not approaching secret or unknown revealing decreases the quantity of casualties who will approach and a conviction that the attacker won't be rebuffed. President Obama and Vice President Biden joined pioneers from colleges, media organizations, the games world, and grassroots associations to dispatch the â€Å"It’s On Us† crusade against rape on school grounds. â€Å"It’s On Us† is a convention cry welcoming everybody to step up and understand that the arrangement starts with us. It tries to reframe the discussion encompassing rape in a manner that rouses everybody to consider it to be their duty to accomplish something, significant or little, to forestall it. In propelling â€Å"It’s On Us,† President Obama stated, â€Å"To the survivors who are driving the battle against rape, your endeavors have helped start a development. I can just envision to what extent and forlorn your battle must feel. What's more, that’s why we’re all here today †to state that it’s not on you; it’s not your battle to wage alone; it’s on us †we all †to battle ground s rape. You are not the only one. We’ve got your back.† With the ascent of intrigue and force that we’ve seen in simply the underlying first long periods of propelling the crusade, it’s clear that Americans the nation over truly have victim’s backs. The National Campus Leadership Council had attempted to join 200 and three grounds to run understudy drove â€Å"It’s On Us† battles. In just a couple of days, that number has bounced to 200 and thirty-three grounds across the nation. President George Bush marked â€Å"The Campus Sexual Assault Victims’ Bill of Rights† into law in July of 1992. The law necessitates that schools and colleges, both open and private, partaking in government understudy help programs

5 Examples of Misplaced Modifiers

5 Examples of Misplaced Modifiers 5 Examples of Misplaced Modifiers 5 Examples of Misplaced Modifiers By Mark Nichol You’ve heard that planning is everything. Recorded as a hard copy, nonetheless, arrangement comes out ahead of the pack with regards to passing on importance. Think about these models. 1. â€Å"So far, the book has just turned out in Italian.† It has just turned out in Italian? It hasn’t done something else in that language? No, it is just in Italian that it has come out. This amendment says so plainly: â€Å"So far, the book has come out just in Italian.† (The situation of just inside a sentence is the most well-known kind of lost modifier. It’s pardonable in communicated in English, yet recorded as a hard copy, it’s best set in its proper place.) 2. â€Å"Then you’ll have the option to endure pretty much whatever life tosses at you with certainty and style.† What, precisely, does life toss at you with certainty and style? Nothing. It’s you, not your life, that displays these qualities: â€Å"Then you’ll have the option to get by, with certainty and style, pretty much anything that life tosses at you.† 3. â€Å"She kicked things off as the principal lady to run for leader of the United States in 1872.† This sentence suggests that the subject was the main lady to enlist as a presidential competitor that year. However, the importance is that in that specific year, she turned into the principal such competitor ever. This update conveys that point: â€Å"In 1872, she kicked things off as the main lady to run for leader of the United States.† 4. â€Å"She found a new line of work with an association that created approach for youth and youngsters while she was a political theory major.† The impression one gets from this sentence is that the association completed its strategic during the term of the subject’s time at the college. In any case, saying is that she got her activity with an association that sought after that objective freely of her residency, and that she was an understudy when she did as such, as passed on here: â€Å"While she was a political theory major, she found a new line of work with an association that created approach for youth and children.† 5. â€Å"Smith as of late introduced a paper at a gathering titled ‘Averting Bloodshed: The Benefits of Community-Based Mediation Services.’† What exactly does the title allude the paper, or the gathering? The vicinity of meeting to the title suggests that the occasion was so named, however this amendment uncovers reality: â€Å"Smith, at an ongoing gathering, introduced a paper titled ‘Averting Bloodshed: The Benefits of Community-Based Mediation Services.’† Need to improve your English in a short time a day? Get a membership and begin accepting our composing tips and activities day by day! Continue learning! Peruse the Grammar class, check our mainstream posts, or pick a related post below:Bare or Bear With Me?Grammar Quiz #21: Restrictive and Nonrestrictive ClausesHow Many Sentences in a Paragraph?

A Year End Review How Everything Can Change in a Year

A Year End Review How Everything Can Change in a Year Oh, what a difference a year can make! One year ago, on December 14, 2010, we started The Minimalists. Since then, almost everything in our lives has changed. A year ago we both worked for large corporations. Now we work for ourselves and pursue our passions every day. A year ago we were unhappy with our lives. Now were living meaningfully by contributing beyond ourselves in meaningful ways. A year ago we could hardly spell HTML, let alone build a website. Now we have a successful blog. A year ago we had zero people reading our words (other than some vapid corporate emails). Now we have over 100,000 monthly readers, and our essays have been read by over a million people in 151 countries this year. A year ago zero people subscribed to our site. Now tens of thousands of people subscribe via email to get our free essays. A year ago no one was interested in following us on Twitter or Facebook. Now we have thousands of people who interact with us through social media. A year ago we hadnt published anything. Now weve published a bestselling book. A year ago we had spreadsheets full of goals, and we would beat ourselves up when we didnt achieve those goals. Now Ryan lives with one goal at a time, and Joshua has no goals at all. A year ago we strived to make everything perfect. Now we embrace the imperfection of our daily lives. A year ago we were a couple of guys stuck in Dayton, Ohio. Now were traveling the country on a our first book tour and meeting the most amazing people weve ever met, dishing out hundreds of free hugs in the process. A year ago there was a considerable amount of discontent in our lives. Now were happy, and when we look in the rearview mirror, everything is different. Now, we arent trying to impress you with our accomplishments; rather, we want to impress upon you the power of a year. As human beings, we often overestimate what we can accomplish in a short period of time (e.g., six-pack abs in two weeks), but we drastically underestimate what we can accomplish in a year or two. Most of the above mentioned accomplishments  werent goals we developed at the beginning of the year. They just happened, organically, as we worked hard to add value to other peoples lives. Thus, we discovered that when we add value to other peoples lives, everything else tends to fall into place. The big life changes dont happen overnight: Give yourself some time. Put in the necessary effort. Keep at it. Youll be surprised with what can happen in a year. Subscribe to The Minimalists via email.

Aps1001 Project Management - 4617 Words

Rocky Flats Contamination Cleanup Project: Lessons Learned Project Management, APS 1001H Fall 2011 University of Toronto Fall 2011 Table of Contents Executive Summary iii Introduction, Background on the Rocky Flats Site Cleanup 1 Project Management Lessons Learned 3 Time, Cost and Performance Management 3 Risk Management amp; Planning 5 Quality Management 8 Knowledge Management 9 Communications Management 10 Human Resources Management 11 Regulation Management 13 Conclusions 14 Bibliography 15 Executive Summary The purpose of this report is to give the readers an overview about the Rocky Flats Cleanup Project which was completed in 2005 by Kaiser-Hill LLC (K-H). The Rocky Flats site was a†¦show more content†¦The first agreement, in 1995, was successfully accomplished at a cost of nearly $3 billion. Due to their achievement on the first contract, they were picked up for the second phase which started in 2000 and they were supposed to close the project by the end of 2006 within a budget of nearly $4 billion. The U.S. Department of Energy (DOE) anticipated at the beginning that the project would require $36 billion and almost 70 years to be completed; however, the cleanup was finished with a total cost of about $8 billion. The project was named the PMI’s Project of the year in 2006 and received many other awards such as â€Å"Project Merit Award from the Environmental Business Journal in 2005† (Hunsberger, 2007). This project was considered a very successful one since it was finished almost half a billion under budget and more than a year earlier than the promised schedule on October 2005. There are a large number of les sons learned that could help every project specifically contamination cleanup projects. All the very on time planning and scheduling, well defined project scope, correct budget planning, and many others have helped this project to be an example project. In the following report we will explore thirteen lessons learned from the closure project (the second phase

Theory of Ritualism by Robert Merton

Ritualism is a concept developed by American sociologist Robert K. Merton as a part of his structural strain theory. It refers to the common practice of going through the motions of daily life even though one does not accept the goals or values that align with those practices. Ritualism as a Response to Structural Strain Merton, an important figure in early American sociology, created what is considered to be one of the most important theories of deviance within the discipline. Mertons structural strain theory states that people experience tension when a society does not provide adequate and approved means for achieving culturally valued goals. In Mertons view, people either accept these conditions and go along with them, or they challenge them in some way, which means they think or act in ways that appear deviant from cultural norms. Structural strain theory accounts for five responses to such strain, of which ritualism is one. Other responses include conformity, which involves continual acceptance of the goals of the society and continued participation in the approved means through which one is supposed to achieve them. Innovation involves accepting the goals but rejecting the means and creating new means. Retreatism refers to rejection of both the goals and the means, and rebellion occurs when individuals reject both and then create new goals and means to pursue. According to Mertons theory, ritualism occurs when a person rejects the normative goals of their society but nonetheless continues to participate in the means of attaining them. This response involves deviance in the form of rejecting the normative goals of society but is not deviant in practice because the person continues to act in a way that is in line with pursuing those goals. One common example of ritualism is when people do not embrace the goal of getting ahead in society by doing well in ones career and earning as much money as possible. Many have often thought of this as the American Dream, as did Merton when he created his theory of structural strain. In contemporary American society, many have become aware that stark economic inequality is the norm, that most people do not actually experience social mobility in their lives, and that most money is made and controlled by a very tiny minority of wealthy individuals. Those who see and understand this economic aspect of reality, and those who simply do not value economic success but frame success in other ways, will reject the goal of climbing the economic ladder. Yet, most will still engage in the behaviors that are meant to achieve this goal. Most will spend most of their time at work, away from their families and friends, and may even still attempt to gain status and increased salary within their professions, despite the fact that they reject the end goal. They go through the motions of what is expected perhaps because they know that it is normal and expected, because they do not know what else to do with themselves, or because they have no hope or expectation of change within society. Ultimately, though ritualism stems from discontent with the values and goals of society, it works to maintain the status quo by keeping normal, everyday practices and behaviors in place. If you think about it for a moment, there are probably at least a few ways in which you engage in ritualism in your life. Other Forms of Ritualism The form of ritualism that Merton described in his structural strain theory describes behavior among individuals, but sociologists have identified other forms of ritualism too. For example, sociologists also recognize political ritualism, which occurs when people participate in a political system by voting despite the fact that they believe that the system is broken and cannot actually achieve its goals. Ritualism is common within bureaucracies, wherein rigid rules and practices are observed by members of the organization, even though doing so is often counter to their goals. Sociologists call this bureaucratic ritualism.

Bob Dylan An Influence for a Generation Free Essays

string(144) " and protest music in the early 1960’s then moved through to electrified folk-rock in the mid and late 1960’s and early 1970’s \(Kamin\)\." â€Å"A person is a success if they get up in the morning and gets to bed at night, and in between dose what he wants to do† –words spoken by the singer/songwriter Bob Dylan. Being a man of success himself, yet a very humble and simple man, changed the way people view musical quality. Dylan was awarded with the number one song in the twentieth century with those lyrics from his masterpiece Like a Rolling Stone, by Rolling Stone Magazine. We will write a custom essay sample on Bob Dylan: An Influence for a Generation or any similar topic only for you Order Now His poetic words were heard all across the world, inspiring all who heard his voice. Telling tales of political and civil injustice, Dylan’s words brought normal everyday life a new sense of hope through tough times in a person’s life. Discussed will be the early era of Dylan from his unique musical talents during his childhood which drove him to his writing pieces, himself as an inspirational and motivated leader of the 1960’s and how his powerful music makes him one of the most influential musicians of all time. In the beginning, Bob Dylan was born Robert Allan Zimmerman on May 24th, 1941 in Duluth Minnesota (Heatly, 126). Dylan was raised in a middle-class family to his parents Abraham and Beatrice Zimmerman (Martin). His father owned Zimmerman Furniture Appliance Company in the small town of Duluth, but the family was forced to move to the nearby town of Hibbing after he lost the business due to him becoming ill with polio in 1946 (Kooper). Dylan was raised in Hibbing, Minnesota from the age of seven and lived there for most of his childhood (Heatly, 126). Raised in a small town, Dylan was musically inclined and had a great significance in music at an incredibly young age which brought him to learn many various instruments at the same time. He took piano lessons when first moving to Hibbing, but became impatient with the teacher so decided to quit lessons and began to teach himself how to play piano, guitar and harmonica; without surprisingly knowing how to read music (Martin). With his yearning for music, Dylan was largely influenced by the late-night radio broadcasts of the country, blues and rock-and-roll, during his mid-teens (Heatly, 126). Some of his favorites were the blues musicians, which included Muddy Waters, Howlin’ Wolf and Jimmy Reed (Martin). Dylan’s favorite musical idol was Woody Guthrie, who was a socially-conscious singer/songwriter of â€Å"This Land is Your Land† and several other protest songs (Heatly, 126). Always knowing he wanted to be a musician, Dylan tried to play in many bands as possible during high school and throughout college as well. In 1959, just before enrolling in college, he served a brief stint playing piano for the rising pop star, Bobby Vee (Kooper). With some musical experience, Dylan participated in several high school rock bands while studying at the University of Minnesota with a high interest of American folk music (Heatly 126). While in college, Dylan discovered the bohemian section of Minneapolis know as Dinkytown (Kooper). An after Dylan explored the talent that came out of Dinkytown; Dylan was inspired to quit the University of Minnesota and became a full-time musician. Dylan traveled to the East Coast, playing at several Greenwich Village coffeehouses and was gaining rising fame (Heatly, 126). He went by the phony name of Bob Dylan, which was picked out after the Welsh poet Dylan Thomas. Dylan picked him because he liked many of Thomas’ poems (Kooper). During his travels between coffeehouses, Dylan was determined to meet up with musician Woody Guthrie. Guthrie, who was actually in a New Jersey hospital dying from a neurological disorder called Huntington’s Chorea. Dylan was able to speak to Guthrie, his idol, before he passed away†¦ but never explained in detail of their only and final conversation between each other (Heatly, 126). With his multiple coffeehouse performances, his career took off and still soars to this day. Bob Dylan became a common name and his skills of music and lyrics became widely known; which make you wonder what was said between him and Guthrie? Bob Dylan is a very skillful songwriter, usually expressing his ideas through his well known protest songs. His protest songs often dealt with problems caused by social and political injustice, which include â€Å"Blowin in the Wind and â€Å"The Times They Are A-Changin† (Martin). The Civil Rights Movement took very kindly to Dylan’s songs, so well that they wanted him to be a part of the cause for quality. His best known work of the 1960’s took on a musical shadow so large it shaped into a political influence. It was such a huge influence, the Civil Rights Movement adopted his song â€Å"Blowin in the wind† as their anthem for equality and peace (Ayoub). Dylan accepted his place in the Civil Rights Movement and gathered the attention of the people to the movement. Frequently performing at the Civil Rights rallies in the early 1960’s which included the March on Washington when Martin Luther King gave his â€Å"I Have a Dream† speech on August 28th 1963 (Rathbone). Dylan became a powerful voice to all the working-class people in America during the 1960’s. He had several protest songs that had political content that both reflected and influenced the concerns of a generation of younger people such as the Civil Rights movement, anti-nuclear weapons campaign and the anti-Vietnam War movement (Rathbone). Dylan was a prominent part of the radical change during the 1960’s reform and was greatly recognized for his participation such as receiving the Tom Paine Award by The National Civil Liberties Committee for his contribution and achievements (Rathbone). All throughout Bob Dylan’s musical career, he has created and molded new types of different styles of music together. His inspiration was to intimidate the music of his own music idol, Woody Guthrie. He wanted to be a socially conscious singer/composer just like Guthrie (Heatly, 126). As the times changed, Dylan became a musical chameleon. He was able to conform to the changes in the popularity in music. Dylan’s career started with folk and protest music in the early 1960’s then moved through to electrified folk-rock in the mid and late 1960’s and early 1970’s (Kamin). You read "Bob Dylan: An Influence for a Generation" in category "Essay examples" After the Civil Rights, most fans found Dylan’s folk music more admiring and significant than anything he had ever wrote; popularity formed by creating the raw-sounding combo of vocals, harmonica and guitar. That mixture alone has kept his music career last him forty-seven years (Rathbone). Dylan did not want to stop there; he wanted to evolve into the new generation of music. Dylan cross-pollinated folk and country music with electric rock, creating an entirely new dimension of popular music (Heatly, 126). He liked to mix sounds and experiment different styles to meet his high expectations of creativity. He created the new style called â€Å"folk-rock† mixing his original folk sound but began to play electric guitar to embrace rock-and-roll (Dylan). Some Dylan fans did not approve of his switch but happened to still remained a musical sensation with a wider audience. Dylan and his band also caused an uproar at the Newport Folk Festival in July of 1965, when they began to perform with electric instruments instead of traditional acoustic ones. After being heckled by the crowd, they left the stage after only playing three songs (Martin). Dylan kept his optimism up with his fan-base and continued to play his electric instruments. To win back his fans, â€Å"Like a Rolling Stone† was a United States hit, cementing his reputation as a lyricist but added his new sound among the electrical instruments of guitars and organs (Ayoub). His musical career had its ups and downs, but his fans rolled through his many experimented musical styles. Dylan’s voice and songwriting were still raw but were mixed with the realms of traditional folk, country, blues, rock-and-roll and gospel (Kamin). A Bob Dylan song is more than just a catchy tune to whistle to. Dylan was possibly the most influential singer/songwriters of his era (Dylan). Not only did he create a respectable musical rhythm, his lyrics were his area of expertise. He wrote very poetic and sometimes even abstract but often-philosophical lyrics of astute commentary and therapeutic introspection that spoke to masses during an era of social unrest, political upheaval and radical change (Heatly 126). Dylan had many techniques to keep his audience engaged with his poetic lyrics, by performing his allusive, poetic songs with his nasal spontaneous vocal style and electrical bond. He enlarged pop music’s range and vocabulary while creating a widely limited sound. While accomplishing all of that, he still had the ability to challenge, influence and surprise his listeners (Wenner). In his earlier lyric writings, he focused on the societal issues during his protest era. The songs were broken down into a simple folk melody combined with lyrics questioning the social and political status quo. These songs were very native and unsophisticated in their nature, catching the attention of the zeitgeist of the 1960’s (Ayoub). All of his music was interpreted differently but he reached an elevated standard of lyric writing also the role of the singer/songwriter as well (Heatly, 126). While a fine interpreter of songs, Dylan was not considered a beautiful singer. Many of his own songs when first reaching the public were sung through other artists. Dylan’s fans could get past his singing, only because they were amazed how he could write such wonderful lyrics. Dylan’s music was also more popular though other artist that covered his songs such as Joan Baez, Pete Paul Mary, Guns n’ Roses, The Byrds and Jimi Hendrix, because adding an able singer to his wonderful lyrics made his music very popular to a wider group of fans (Ayoub). Dylan was hailed the Shakespeare of his generation, due to his intellectualism of classic literature and poetry that showed though his music; even if he was not the artist performing the song (Kooper). It was subsequently common for a band to cover Dylan’s songs in the mid-1960’s, that CBS started to promote him by saying â€Å"Nobody sings Dylan like Dylan. † Whoever sang his songs were immediately recognized as his and a good part of his fame rested not only on his lyrical excellence but on the underlying attitude of Dylan (Ayoub). Even though many artists covered his songs, Dylan had his own techniques to sing his songs. He sang in what he called the â€Å"taking blues† and story-telling format in most of his first few albums such as â€Å"The Freewheelin’ Bob Dylan† and â€Å"The times They Are A-Changin† (Dylan). Dylan had many other trademarks and techniques that signified his music. One of his newer types of songs was a lengthy and impressionistic still retaining an element of social commentary but added dense metaphorical landscape like the songs â€Å"Chimes of Freedom† and â€Å"Mr. Tambourine Man. He exhibited his dry wit and inhabited by a sequence of grotesque, metaphorical character (Ayoub). Dylan’s many styles of lyrics have all contributed to his success as a musician. The music Dylan made revolutionized rock, as his lyrics were analyzed, debated, and quoted like no music before him. Dylan chewed up traditional folk and spat out literary and folk traditions still used today (Wenner). Bob Dylan was given a lot of recognition and praise for his achievements and gain throughout his musical career. There are so many musical facets he discovered and always pushed his musical talent to the limit. Not only had Dylan achieve a high musical status, but he is highly looked upon in society for his contribution for the Civil Rights movement. He gave a voice to the working-class to fight for peace and help give a reason for freedom to the minorities. Dylan’s musical talent is beyond any other, as being able to compose his own music and create a whole new genre of music for an ever-changing society of his time. Along with his musical style, his lyrical masterpieces gave his listeners a mass of different trademarks in his lyrics. Every song he has written, all the way from his first protest song to his upbeat electric songs along with his metaphorical and abstract songs, has changed the standard of a singer/songwriter. All throughout his career, Dylan has given a voice to the working people, by creating new genres of music and is the ideal singer/songwriter of the 1960’s. As the ambiguous man he was, he had more questions than answers. At the end of the day, Bob Dylan would always say â€Å"All I can do is be me, whoever that is. † He knew he was a man of radical change, but he did not know he could change the world with a piece of paper, a pencil and a guitar. How to cite Bob Dylan: An Influence for a Generation, Essay examples

Kahn artist Essay Example For Students

Kahn artist Essay Youve done a lot of lovely work on this scene since the last time. Tell me about it. Whats changed in your given circumstances? With this gentle invitation, Michael Kahn lets his young actors initiate the discussion about the Romeo and Juliet scene theyve just performed in his acting class at New Yorks Juilliard School. Romeo now thinks hes been up all night, fretting about his love life. Kahn prods himever so diplomaticallyto elaborate. Thats not saying this is the right or wrong choicethis is a good choice for you. Youve been up all nightwhat does that mean? Romeo-turned-student hesitates, then offers, in heartfelt actorspeak: I could have let that circumstance inform my body more. Kahn deftly slips into the breach, that dread gap between intention and action familiar to actors everywhere, and begins to work. He rarely moves from his chair, but looks perpetually about to spring out of it: legs crossed, body bent forward in a line led by his chin, hes amiably watchful, an animated owl with Jack Benny gestures and the compassionate habit of making regular eye contact with everyone in the room. KAHNS AT HOME IN THIS environment, which isnt surprising considering hes been a part of it since 1968, when the Juilliard Schoolalready known for music and dancefirst opened its doors to drama students. But his responsibilities at Juilliard, where he was recently named head of the drama division (succeeding Michael Langham), now extend beyond overseeing the welfare of his acting students to guiding the mission and future of one of the nations foremost acting conservatories. Thats in addition, remember, to his duties as artistic director of the Shakespeare Theatre (get the Folger off your tongue and out of your mental circuitry) in Washington, D.C., where he has just mounted Hamlet. No stranger to the scheduling nightmares of a commuter career (Ive probably had three jobs at a time my whole life), Kahn relishes the opportunity to provide Juilliard students with greater institutional links with the adjacent Lincoln Center Theatre Company as well as the Shakespeare Theatre. With Andre Bishop now serving as artistic director of the company next door, Kahn envisions Juilliard students as active participants in Lincoln Centers developmental work, with student actors involved in readings and workshops. He also hopes to create half-year internships for third-year acting students at Juilliards more remote campus, the one at the Shakespeare Theatre, and perhaps at other regional theatres as well. All this attention to professional theatre exposure is necessary, Kahn believes, in a culture where many fledgling actors havent even been to a play. The very idea of acting in the theatre is not a given anymore, Kahn laments. One of my goals here is to introduce the idea that training for the theatre is the best insurance for a career as an actor. Ive learned not to say too much about what Im going to doId rather wait until Ive done it. But I do want to find ways of getting students to think in a different way, and thats going to take a year or two to figure out. This is not to say Im not aware of the reality that film and television are, indeed, how you pay your school bills, nor do I think there isnt craft or even maybe art involved in sustaining a performance under those conditions. But its in the theatre that you can practice your art, be in control of your art. That for me is still the goal to strive for. I think weve taught people that process is a waste of time. We celebrate the cult of personality, we celebrate shortcuts, we celebrate a lot of things that are completely destructive to art. I think its the job of a school to get people to love process again, and thats hard. People are impatient. I get a lot of telephone calls from people in their thirties whove made other choices, and who are no longer young, pretty or box office, and who are rather desperate. The ones who have training have a chance. .ufe8cf2f80d278ba1b81d0f8258685e39 , .ufe8cf2f80d278ba1b81d0f8258685e39 .postImageUrl , .ufe8cf2f80d278ba1b81d0f8258685e39 .centered-text-area { min-height: 80px; position: relative; } .ufe8cf2f80d278ba1b81d0f8258685e39 , .ufe8cf2f80d278ba1b81d0f8258685e39:hover , .ufe8cf2f80d278ba1b81d0f8258685e39:visited , .ufe8cf2f80d278ba1b81d0f8258685e39:active { border:0!important; } .ufe8cf2f80d278ba1b81d0f8258685e39 .clearfix:after { content: ""; display: table; clear: both; } .ufe8cf2f80d278ba1b81d0f8258685e39 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufe8cf2f80d278ba1b81d0f8258685e39:active , .ufe8cf2f80d278ba1b81d0f8258685e39:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufe8cf2f80d278ba1b81d0f8258685e39 .centered-text-area { width: 100%; position: relative ; } .ufe8cf2f80d278ba1b81d0f8258685e39 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufe8cf2f80d278ba1b81d0f8258685e39 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufe8cf2f80d278ba1b81d0f8258685e39 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufe8cf2f80d278ba1b81d0f8258685e39:hover .ctaButton { background-color: #34495E!important; } .ufe8cf2f80d278ba1b81d0f8258685e39 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufe8cf2f80d278ba1b81d0f8258685e39 .ufe8cf2f80d278ba1b81d0f8258685e39-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufe8cf2f80d278ba1b81d0f8258685e39:after { content: ""; display: block; clear: both; } READ: Last-chance dance EssayINTRODUCING A NEW generation of actors to the rigors and rewards of theatre training is only part of the challenge facing Juilliard on the rim of the 21st century, Kahn believes. First he has to convince his students that acting is not about behaving naturally, not about playing a version of yourselfthe legacy of film and television exposure. This means theres more work to be done with incoming students than there was a generation ago. Getting an actor to ground zero, in Kahns view, is no longer just a matter of getting rid of bad habits. Its about introducing the very idea of transformation, the idea of a literature beyond the contemporary, the idea of being comfortable with worlds that are not immediately perceptible to you. There are any number of ways to provide that initial openness and to cultivate it once it sprouts, Kahn insists, refusing to be drawn into the methodological warfare that has traditionally characterized the actor-training arena. Im quite passionate about the need for training, he stresses, but I totally disagree with the guru approach to it. When I was growing up, the arguments were about the Method as opposed to the Other, which seemed to mean anybody who went to England to study at RADA. Calling such territorial in-fighting unnecessary and counter-productive, Kahn, in the spirit of the 90s, preaches tolerance. I think part of my job is to facilitate different ways of working toward the same goal, to encourage students to find their way almost dialectically through a variety of approaches. I think thats actually a pretty good definition of what the training at Juilliard is. What about what the training at Juilliard isnt? It isnt exclusively classical, at least not in the sense that raises cultural diversity alarms. A classically trained actor, according to Kahn, is one who is prepared to sustain a characterization for three hours at a time over six months, to play a wide variety of roles in which you are not really recognizable from play to play, to be as at home in Shakespeare as you are in Sam Shepard, and to work with avant-garde and traditional directors without losing your own technique. Kahn thinks of his students as future colleagues, a designation thats frequently proved prophetic: Kevin Kline, Patti LuPone and Kelly McGillis are all former students. And though he credits his proteges with enriching his own perceptions about the craft of acting, he has little use for the notion, current in some discussions about training, that teachers and students ought to dismantle hierarchical structures and collaborate as peers. Im not sure Id want to spend $20,000 to work with a peer, to be honest with you, he manages to spit out between hiccups of laughter. I tell my students, look, why dont you try to learn this, and then you can throw it out or change it. Im against the kind of teaching that is autocratic and unquestioned. I remember watching Lee Strasbergwho had a lot of very important things to give to peoplespend two hours answering a question. He ended up talking about Duse and Beethoven, but he didnt answer the question. I assume he didnt know the answer at that particular moment. I learned that day to say, I dont have the answer. I would have a nervous breakdown if I thought I had to be infallible. KAHN INTERRUPTS A LAID-BACK confrontation from American Buffalo. Are you playing something or are you feeling something? Feeling something, one of the actors responds. Can you turn that into something youre playing? Kahn hints, sounding for all the world like a parent whos had to make the suggestion once too often. And oddly enough, that most elementary distinction seems to catch this young man off guard, and to prompt a wandering but earnest confessionalmore Mamet-like in its intimations of hidden turmoil than the scene hes just performedabout his ambitions as an actor and the common wisdom that getting a job is all about how you look, anyway. Kahn tosses a gauntlet of his own. What if every young actor got out of school and said, Im not going to buy this? People change things. Including minds, once in a while.