text:
Q: Progress Dialog for AsyncTask Implementation in sending multiple sms  I m working on SMS feature of android and I can send users location and address via sms to a limited number of contacts as its my apps requirement , now i want to implement Progress dialog so when users click on the send button the progress dialog should be appear and after sending sms to all contacts the progress dialog should disappear .I searched alot for this but its making me very confuse on how to do it for my application because i am a beginner in android!
can anyone please help me on how to implement onPreExecute(),onPostExecute() and doInBackground() methods in my class, here i am including my java class for sending sms.
package com.example.ghaznavi.myapp;

import android.app.Activity;
import android.app.PendingIntent;
import android.content.BroadcastReceiver;
import android.content.Context;
import android.content.Intent;
import android.content.IntentFilter;
import android.telephony.SmsManager;
import android.util.Log;
import android.widget.Toast;
import android.content.IntentFilter;

public class SmsHandler{

    Settings setObj=new Settings();
    double latitude,longitude;

    public SmsHandler() {
    }

    public void SendSms(final Context hcontext)
    {
        GPSService mGPSService = new GPSService(hcontext);
        LocationAddress locObj=new LocationAddress();
        mGPSService.getLocation();

        latitude = mGPSService.getLatitude();
        longitude = mGPSService.getLongitude();

        StringBuilder sb = new StringBuilder(160);
        String addd=  locObj.getAddressFromLocation(latitude,longitude,hcontext);

        sb.append("Hi, I m in trouble, Please Help!\n\n");

        if ((latitude != 0.0) && (longitude!= 0.0)) {
            sb.append("Map Link:").append("\n").append("https://maps.google.com/maps?q=").append(latitude).append("%2C").append(longitude).append("\n\n");
        }

        if (addd != null) {
            sb.append("Address: ").append(addd).append("\n\n");
        }
        sb.append( "- My Application");

        setObj.Initialize(hcontext);

        if (setObj.GetContactListCount()!=0)
        {

        for(int i=0;i<setObj.GetContactListCount();i++)
        {
            try
            {
                String SENT = "SMS_SENT";
                PendingIntent sentPI = PendingIntent.getBroadcast(hcontext, 0, new Intent(
                        SENT), 0);
                BroadcastReceiver sendSMS = new BroadcastReceiver() {
                    @Override
                    public void onReceive(Context arg0, Intent arg1) {
                        switch (getResultCode()) {
                            case Activity.RESULT_OK:
                                Toast.makeText(hcontext, "SMS sent Successfully",
                                        Toast.LENGTH_SHORT).show();
                                break;
                            case SmsManager.RESULT_ERROR_GENERIC_FAILURE:
                                Toast.makeText(hcontext, "Generic failure",
                                        Toast.LENGTH_SHORT).show();
                                break;
                            case SmsManager.RESULT_ERROR_NO_SERVICE:
                                Toast.makeText(hcontext, "No service",
                                        Toast.LENGTH_SHORT).show();
                                break;
                            case SmsManager.RESULT_ERROR_NULL_PDU:
                                Toast.makeText(hcontext, "Null PDU",
                                        Toast.LENGTH_SHORT).show();
                                break;
                            case SmsManager.RESULT_ERROR_RADIO_OFF:
                                Toast.makeText(hcontext, "Radio off",
                                        Toast.LENGTH_SHORT).show();
                                break;
                        }
                    }
                };

               SmsManager localSmsManager = SmsManager.getDefault();
                if (sb.toString().length() <= 160) {
                    hcontext.registerReceiver(sendSMS, new IntentFilter(SENT));
                    localSmsManager.sendTextMessage(setObj.GetContactListNumber()[i], null, sb.toString(), sentPI, null);
                } else {
                    hcontext.registerReceiver(sendSMS, new IntentFilter(SENT));
                   localSmsManager.sendTextMessage(setObj.GetContactListNumber()[i], null, sb.toString().substring(0, 159),sentPI, null);
                    localSmsManager.sendTextMessage(setObj.GetContactListNumber()[i], null, sb.toString().substring(160),sentPI, null);
                }

                }
            catch (SecurityException localSecurityException)
            {
                Log.e("Error", "Security Exception, SMS permission denied");
                return;
            }
            }
            }
        else
        {
            Toast.makeText(hcontext,"please select a number",Toast.LENGTH_SHORT).show();
        }
    }
}

Any Help would be much appreciated , Thank you in advance!

A: 1) You will need Class which extends AsyncTask
2) Then try foll. snippet -
 public class SendSMS extends AsyncTask<String ,String,String>{
        ProgressDialog pd = new ProgressDialog(MainActivity.this);

       @Override
            protected void onPreExecute() {
                super.onPreExecute();
            //this method executes Before background process done
                pd.setTitle("Please Wait!");
                pd.setMessage("Sending SMS");
                pd.show();
            }

            @Override
            protected String doInBackground(String... params) {
            //Your logic here for sending SMS
                return null;
            }

            @Override
            protected void onPostExecute(String s) {
                super.onPostExecute(s);
          //this method executes after completion of background process
             pd.dismiss();  //don't forget to dismiss
            }
}

Hope it will help:)

A: Create an Activity and implement Handler and AsyncTask
public class YourActivity extends AppCompatActivity{

// Constant variables to show progress dialogs...
    private static final int SHOW_PROGRESS = 0x01;
    private static final int STOP_PROGRESS = 0x02;

// On create...
    @Override
protected void onCreate(@Nullable Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.your_xml_layout);

   new SendSms().execute();
    }

 // Your asynchronous class..
 public class SendSms extends AsyncTask<Void, Void, Void> {

        @Override
        protected void onPreExecute() {
            super.onPreExecute();
            mHandler.sendEmptyMessage(SHOW_PROGRESS);
        }

        @Override
        protected Void doInBackground(Void... params) {

            // Do your work here

            return null;
        }

        @Override
        protected void onPostExecute(Void aVoid) {
            super.onPostExecute(aVoid);
            mHandler.sendEmptyMessage(STOP_PROGRESS);
        }
    }

  Handler mHandler = new Handler() {

        public void handleMessage(android.os.Message msg) {
            switch (msg.what) {
                case SHOW_PROGRESS:

                    if (mProgressDialog == null) {
                        mProgressDialog = Utils.createProgressDialog(YourActivity.this);
                        mProgressDialog.show();
                    } else
                        mProgressDialog.show();
                    mHandler.removeMessages(SHOW_PROGRESS);
                    break;
                case STOP_PROGRESS:

                    if (mProgressDialog != null && mProgressDialog.isShowing())
                        mProgressDialog.dismiss();

                    mHandler.removeMessages(STOP_PROGRESS);
                    break;
    }
};

  protected void onDestroy() {
        super.onDestroy();
        if (mProgressDialog != null && mProgressDialog.isShowing())
            mProgressDialog.dismiss();
    }

// Copy the following methods in your Utils class..
public static ProgressDialog createProgressDialog(Context mContext) {

       // if you want to set style..
        ProgressDialog dialog = new ProgressDialog(mContext,
                R.style.MyProgressDialogStyle);
      // or Otherwise..
        ProgressDialog dialog = new ProgressDialog(mContext);

        try {
            dialog.setCancelable(false);
            dialog.getWindow().setBackgroundDrawable(
                    new ColorDrawable(mContext.getResources().getColor(android.R.color.transparent)));
            dialog.show();
            dialog.setContentView(R.layout.custom_progress_dialog);
        } catch (BadTokenException e) {
            Utils.debug(e.getMessage());
        }
        return dialog;
    }

And custom_progress_dialog in your layout.xml
<?xml version="1.0" encoding="utf-8"?>
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:layout_gravity="center"
    android:background="@android:color/transparent">

    <FrameLayout
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:layout_centerInParent="true">

        <ProgressBar
            android:id="@+id/progressBar1"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:padding="10dip" />
    </FrameLayout>

</RelativeLayout>

Thats it.. You are good to go. Please let me know if you face any trouble.


After losing your beloved spouse wife, the idea of dating again for a widower is almost unimaginable. Some widowers decide not to venture into a relationship again and stick to their vows. But others who can't find a suitable partner to remedy their feelings. For senior widowers seeking for new love at such age, it may be difficult to hook up with a single lady, so many searches for senior widows. This is a common trend because it comes with certain understanding that can only be comprehended by one who has lost his/her beloved.
It is understandable that there is a natural desire to overcome loneliness. Senior widowers can definitely find love and happiness again but it is important to note that it does not about replace the spouse you had before. Here is a comprehensive advice for senior widowers looking for senior widows.
Don't date until you are ready.
There is no timeline for grief. The way we process trauma is different from person to person. For some it takes months while it takes a few years for others. Don't let others tell you when it is the right time. At the same time, you may not know for sure if you are ready, don't let fear stop you from giving it a try. So going on a real date could be the only way to find out.
Date for the right reasons.
Instead of taking an irrational decision, a senior widower must ask himself why he seeks a fresh start. It is not wrong for a widower to date because of loneliness and the need for company. Even single people date for these reasons. However, it doesn't date because you want to fill the void in your heart or replace your ex-wife.
Even though you have lost your beloved spouse, a senior widower may feel like he is are cheating. It might seem embarrassing for your friends and your ex's friend and family to know that you have made up your mind to move on. But you should know that dating is not wrong. If you are ready, then you have every right to date again. After a few dates with senior widows, the guilty conscience should start to subside. If you still feel guilty after a while, it is advisable to pause for a while.
I have been a widow for a few years and look forward to meeting someone.
I am a 79 year old widow. Someone will become very wealthy if they would start a dating site for "older singles" that are just widows/widowers. I get tired of hearing about the divorced X!! It is difficult to find widowers. Maybe we have our own set of "baggage". However, our loved one is dead and we choose to go on with life. It differs from divorce!


Plagiarism - that visible barrier that still puzzles so many students. For students studying in a foreign language, paraphrasing, citing and managing a bibliography becomes even more challenging.
you can see some of the infographics which EasyBib includes in its resources for teachers.
There are also videos and lesson plans which help teachers get the message across - that yes, citation is still relevant in academic studies today.
How do you approach plagiarism? Do you find it an issue with your students or simply let it pass quietly by?
Plagiarism from Caity Selleck on Vimeo.


text:
Q: How to use resnet by reading the .ckpt file of my learned weights with pytorch In pytorch, how can I write the code that loads my .ckpt file instead of
model = torchvision.models.resnet50(pretrained=True)

Here is my attempt below
model = torchvision.models.resnet50(pretrained=False)

PATH = "/content/drive/MyDrive/Colab Notebooks/mlearning2/multi_logs/resnet_2/version_0/checkpoints/epoch=1-step=2543.ckpt"

model.load_state_dict(torch.load(PATH, map_location=torch.device('cpu')))

But it could not work and the following error appeared.
RuntimeError: Error(s) in loading state_dict for ResNet:
    Missing key(s) in state_dict: "conv1.weight", "bn1.weight", "bn1.bias", "bn1.running_mean", "bn1.running_var", "layer1.0.conv1.weight", "layer1.0.bn1.weight", "layer1.0.bn1.bias", "layer1.0.bn1.running_mean", "layer1.0.bn1.running_var", "layer1.0.conv2.weight", "layer1.0.bn2.weight", "layer1.0.bn2.bias", "layer1.0.bn2.running_mean", "layer1.0.bn2.running_var", "layer1.0.conv3.weight", "layer1.0.bn3.weight", "layer1.0.bn3.bias", "layer1.0.bn3.running_mean", "layer1.0.bn3.running_var", "layer1.0.downsample.0.weight", "layer1.0.downsample.1.weight", "layer1.0.downsample.1.bias", "layer1.0.downsample.1.running_mean", "layer1.0.downsample.1.running_var", "layer1.1.conv1.weight", "layer1.1.bn1.weight", "layer1.1.bn1.bias", "layer1.1.bn1.running_mean", "layer1.1.bn1.running_var", "layer1.1.conv2.weight", "layer1.1.bn2.weight", "layer1.1.bn2.bias", "layer1.1.bn2.running_mean", "layer1.1.bn2.running_var", "layer1.1.conv3.weight", "layer1.1.bn3.weight", "layer1.1.bn3.bias", "layer1.1.bn3.running_mean", "layer1.1.bn3.running_var", "layer1.2.conv1.weight", "layer1.2.bn1.weight", "layer1.2.bn1.bias", "layer1.2.bn1.running_mean", "layer1.2.bn1.running_var", "layer1.2.conv2.weight", "layer1.2.bn2.weight", "layer1.2.bn2.bias", "layer1.2.bn2.running_mean", "layer1.2.bn2.running_var", "layer1.2.conv3.weight", "layer1.2.bn3.weight", "layer1.2.bn3.bias", "layer1.2.bn3.running_mean", "layer1.2.bn3.running_var", "layer2.0.conv1.weight", "layer2.0.bn1.weight", "layer2.0.bn1.bias", "layer2.0.bn1...
    Unexpected key(s) in state_dict: "epoch", "global_step", "pytorch-lightning_version", "state_dict", "callbacks", "optimizer_states", "lr_schedulers", "hparams_name", "hyper_parameters".

How can I do it?
@Shai I tried to run
model.load_state_dict(torch.load(PATH, map_location=torch.device('cpu'))['state_dict'])

however got the following error.

A: Your saved checkpoint contains not only a snapshot of the trained weights of the model but some other useful information on the state of the training (e.g., the state of the optimizer etc.).
Try selecting only the relevant part of the saved checkpoint:
model.load_state_dict(torch.load(PATH, map_location=torch.device('cpu'))['state_dict'])

Update
Based on the modification you made and the new error you received, it seems like the model that was saved is model.backbone = torchvision.models.resnet50().
You need to instantiate your model in the same manner as done during training.

redpajama_set_name: RedPajamaStackExchange


A rustic waterfront beer and wine garden, just steps away from the Diplomat Landing Marina, where in addition to gazing at the resident yachts, guests can entertain themselves with outdoor games like ping pong, corn hole and ring toss. Offering an assortment of small plates, signature pizzas, charcuterie and specialty cheese boards, you're bound to find something to satisfy your taste palate. The grazing style menu is designed to pair with any of the tap beverages, all served in seven ounce glasses, encouraging the conviviality of sipping, tasting and plate swapping. Old and new world wines, local craft beers, beloved imports and even the house signature Americano cocktail, will all be available on tap.


text:
City of Santa Maria appealing $420k settlement to crash victims
The City of Santa Maria is appealing a jury's ruling last year that awarded $420,000 to two people injured in a crash with a Santa Maria police car.
Attorney Michael Clayton, who represents the men injured in the May 19, 2016 crash, says the men have waited two years to get needed medical assistance for injuries sustained when they were hit from behind by a Santa Maria police car and the appeal is now holding that up again.
"He (Santa Maria City Attorney Ruben Escobedo) is attempting, in this motion, to take the verdict away from the jury and convince the judge to massively reduce the verdict or grant a new trial," Clayton said.
He claims the officer was on the phone and distracted. The City has denied those allegations, saying the officer was looking at his in-dash computer while in the process of responding to reports of an attempted robbery when traffic came to an unexpected stop.
The City contested the extent of the men's personal injuries but could not reach a settlement, which eventually resulted in the jury's decision in favor of the two men.
The appeal is set to be heard again on Monday.
Clayon's office says a judge has told the city attorney to provide more documents supporting the City's request to decrease the settlement amount.
The City of Santa Maria sent the following statement to KSBY Thursday afternoon:
"The City of Santa Maria admitted fault in the accident and promptly paid the full value of the vehicle. However, the City contested the extent of the Plaintiffs' personal injuries. After trial, a divided jury returned a verdict for approximately $420,000.
At the March 12, 2019 hearing, the City argued that the $420,000 award is excessive and unsupported by the evidence. At trial, Plaintiffs failed to submit sufficient evidence of the reasonable value of their medical damages to support the judgment amount. Special counsel for the City, at Lynberg and Watkins, asked the court for a reduction in damages so that the judgment amount is consistent the reasonable value of Plaintiffs' medical damages based only on evidence that was actually submitted to the jurors or for a new trial. A further hearing on the issues is scheduled for March 18, 2019."

redpajama_set_name: RedPajamaCommonCrawl


text:
Renée Brand (née Renate Johanna Brand, also Renée Johanna Brand-Sommerfeld, pseudonym Yolan Mervelt) (born February 22, 1900 in Berlin; died November 5, 1980 in San Francisco) was a German-Jewish writer and psychologist. She is one of the German exile writers.

She grew up in Berlin and went to school in England. At the beginning of the First World War she returned to Berlin and attended the Fürstin-Bismarck-Lyceum. She studied after graduating from high school in Berlin and Freiburg im Breisgau. She dropped out of her studies on the occasion of her marriage in 1922 to the Berlin contractor Adolf Sommerfeld, who was patron of the Bauhaus and knew a number of artists of the Weimar Republic. They had a son in 1926. In Berlin-Dahlem they lived in a house built by Walter Gropius and Adolf Meyer, the Blockhaus Sommerfeld (Limonenstraße 30, 12203 Berlin, destroyed).

In 1931, Renee Brand divorced her husband. After the Nazis seized power, she emigrated with her son to France and to Basel in Switzerlandin early 1934. From 1936 she studied Romance Studies, Art History, German Studies with Friedrich Ranke and Walter Muschg. He advised her on her first literary works. In 1938, under the pseudonym Yolan Mervelt, she submitted the story Kleine Hand in my Hand, where are we going? at a literary competition published by the American Guild for German Cultural Freedom.

In her 1940 work No Man's Land, she described the desperate situation of emigrants who had to wait in the no man's land off the Swiss border during the Second World War, some of whom illegally overcame the border with Switzerland and were returned from Switzerland. The Swiss censorship authority Swiss Book Surveillance Authority banned the text after its publication. Renée Brand then went into exile with her son in 1941 in the USA, where a year later the translation of no man's land was published under the title Short Days Ago.

She received her doctorate in 1943 and worked as a German teacher at Stanford University.

From 1944 to 1949 she studied in Los Angeles. She became a member of the C. G. Jung Institute and opened her own practice in San Francisco. With lectures and the publication of specialist literature, she dealt in particular with the works of Erich Neumann and advised on the translation of his texts.

Works
 Little hand in my hand, where are we going? 1938 (competition entry, lost).
 No man's land. Zurich/New York: Oprecht, 1940; Short Days Ago. Transl. by Margaret H. Beigel, New York : Farrar & Rinehart, 1941.
 To the interpretation of the "Ackermann from Bohemia". Basel: Schwabe, 1943. (Phil. Diss., 1943).
 The Experiment. San Francisco, Calif.: C.G. Jung Institute of San Francisco, 1981.

Literature
 Renate Wall: Lexikon deutschsprachiger Schriftstellerinnen im Exil  1933–1945, Gießen: Haland & Wirth, 2004, , S. 52–54.
 Dorothee Schaffner, Urs Kaegi: Wenn die Ersatzbank zum Dauersitz wird : Jungerwachsene in der Sozialhilfe, Basel : Basler Institut für Sozialforschung und Sozialplanung der Fachhochschule für Soziale Arbeit beider Basel, 2004 (Impact, Nr. 10/2004), S. 6.
 Regula Wyss, Nachwort, in: Renee Brand, Niemandsland, 1995,
 Deutsches Exilarchiv 1933–1945 ; Katalog der Bücher und Broschüren, Deutsche Bibliothek Frankfurt am Main. [Red.: Mechthild Hahner]. Stuttgart : Metzler, 1989, , Nr. 600.
 Wilhelm Sternfeld: Deutsche Exil-Literatur 1933–1945: Eine Bio-Bibliographie, 2. Aufl., Heidelberg: Schneider, 1970, S. 68.

References

External links

1900 births
1980 deaths
20th-century German women writers
Jewish women writers
German women psychologists
German emigrants to the United States

redpajama_set_name: RedPajamaWikipedia


Theresa May's scheme to secure a massive majority mandate with a snap election has all but completely backfired on the UK Prime Minister. With the net loss of seats suffered by her Conservatives, May has held onto power by the skin of her teeth thanks to a deal brokered with the Democratic Unionist Party, whose ten seats will put her government at 328, two more than the threshold for governance.
The odd election, which saw 42% of the vote going to the Tories (who picked up 318 seats) and 40% going to the massively resurgent Labour party (translating to 261 seats), will do little to send a message to the Tories, save that they may decide in the near future to jettison May. With the DUP helping them avoid the consequences of a hung Parliament, the Conservatives will attempt to press on with the status quo, using their shared ideology to advance policy that won't garner substantive debate from the DUP.
Major questions in the election included Theresa May's austerity policies vs. Corbyn's massive giveaways, and the nature of upcoming Brexit talks and negotiations with the EU. Corbyn is suggested to have pulled the rug out from under May, who had plotted to make this her "Brexit election," by standing firmly pro-Brexit and changing the conversation to responsible handling of Article 50 talks.
It must be said that whether or not Theresa May or Jeremy Corbyn hear the message, it appears to be resonating with voters across the UK: Neither party has made a sufficient case for majority governance. While Corbyn's gains are not to be denied, 18% of the electorate cast votes supporting other parties, strongly enough that more than 1/10 seats in the 650-seat House of Commons were won by other parties. Both parties should take this as a wake-up call to discover who they aren't reaching and why.
As to what comes next, it will hinge heavily on the price the DUP exacts from May for their support of her continued governance. While the two parties share positions on many issues, the DUP wants to see a "softer" Brexit and takes much more hardline positions on right-wing social issues – anti-LGBT, anti-abortion, deniers of climate change, and no fans of debating women's issues.
The DUP, a Northern Irish political party whose 10 seats will make it the fifth-largest party in Westminster, now has a unique opportunity to push for its policy visions that would bring home the bacon for Ireland. DUP leader Arlene Foster has, however, asserted that the DUP recognizes its position in the new May administration and intends to look beyond the parochial – in other words, they don't intend to ransom the government for investments in Northern Ireland, and will instead look to giving input in matters of general UK governance.
Looking ahead to the Brexit negotiations, more than anywhere else this is where the DUP will be guaranteed to throw their weight around – and where May could find herself in trouble, as she must wrangle both her own MPs and the ten-member bloc that keeps her dangling on the cliffside. The Northern Irish concern is that they will have the UK's only land border with the EU once Brexit occurs (the Republic of Ireland is a member) and they want to ensure a "soft" border and continued ease of trade with the EU. For Tory hardliners who want the borders rock-solid, this will be a sticky negotiating point.
It remains to be seen what the Queen's Speech will say about the state of governance in the United Kingdom, but for the moment the only thing that has changed is how Theresa May must now grapple with what she had hoped to sail through with ease. Furthermore, she'll have to contend with her government effectively taking sides in Northern Ireland by dealing with the DUP, which has positions domestic to Northern Ireland proper that put it at odds with Sinn Féin and the SDLP. With ongoing mediation afoot in Northern Ireland to attempt to restore an administration there, May's deal will invariably read as putting a finger on the scales.
The clock is now ticking to see what happens when the DUP and Tories begin talking frankly about Brexit desires and realities. With rumors of infighting already cropping up behind the doors of the Conservatives – anger turned toward their leader's failed gambit – it's quite possible the UK will see another election sooner rather than later.


Review posted July 3, 2011.
Signet Classic, 1982. 461 pages. First published in 1846.
This is not going to be a standard review. It turns out I already did a review of Jane Eyre back in 2001, when I was first writing Sonderbooks. If you haven't read Jane Eyre, Dear Reader, stop reading these spoiler-filled musings and go read the book! It's a classic! You really should read it!
I listed Jane Eyre on my list of about ten favorite books when I was a Freshman in college. I loved it wholeheartedly -- the romance, the melodrama, the true love, the clever and conscientious but plain heroine. I'm still a romantic, and I still loved the story, but I found my perspective at 47 quite different than when I first read it around 15.
But mostly I found myself awfully cynical over the romance! Mr. Rochester is just plain mean when he works at making Jane jealous. She could have done much, much better with half a chance of meeting more people! Mostly, I now have a hard time thinking anything at all good about a married almost-40-year-old man who falls in love with a 19-year-old! Right, they'll have a lot in common! Sure, she's the only one who's ever really understood him! I have a much, much harder time believing that than I did when I was a teenager. Rather than find Mr. Rochester romantic, this time I thought him making a fool of himself, and not even being very nice while he was at it.
Mind you, I do like Jane and the way she deals with him as he manipulates her. I don't blame her for falling in love with him, but if she'd seen more of the world, I hope she would have realized how much better she could have done. (I read a book once that said the reason so many middle-aged men have affairs with much younger women is that those are the only ones stupid enough to fall for the line, "My wife doesn't understand me.") This guy was twice her age and besides being married, had had three different mistresses. He doesn't deserve you, Jane!
What's more, I found myself wondering if the insane wife was actually insane before she got locked in the attic for years and years. Mr. Rochester explains to Jane that soon after the wedding, he hated his wife, even before she went mad -- as if that makes it okay. He tries to portray himself as so compassionate for "keeping" her locked up in the attic with a jailer and pretending she doesn't exist. I still wonder: How insane was she before she got locked up?
It was a grovelling fashion of existence: I should never like to return to it. Hiring a mistress is the next worst thing to buying a slave: both are often by nature, and always by position, inferior: and to live familiarly with inferiors is degrading. I now hate the recollection of the time I passed with Celine, Giacinta, and Clara.
I felt the truth of these words; and I drew from them the certain inference, that if I were so far to forget myself and all the teaching that had ever been instilled into me, as -- under any pretext -- with any justification -- through any temptation -- to become the successor of these poor girls, he would one day regard me with the same feeling which now in his mind desecrated their memory. I did not give utterance to this conviction: it was enough to feel it. I impressed it on my heart, that it might remain there to serve me as aid in the time of trial.
I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man. I will hold to the principles received by me when I was sane, and not mad -- as I am now. Laws and principles are not for the times when there is no temptation: they are for such moments as this, when body and soul rise in mutiny against their rigour; stringent are they; inviolate they shall be. If at my individual convenience I might break them, what would be their worth? They have a worth -- so I have always believed; and if I cannot believe it now, it is because I am insane -- quite insane: with my veins running fire, and my heart beating faster than I can count its throbs. Preconceived opinions, foregone determinations, are all I have at this hour to stand by: there I plant my foot.
Now, part of my enthusiasm for Jane was reflecting that if young women today had half the principles of Jane Eyre, and refused to have affairs with married men, how many, many lives would not be torn apart! If more people let principles rein in their passions, I persist in thinking that many less hearts would be broken, including mine.
However, by this time I was loving Jane and rooting for Jane, so no matter how dissimilar our situations, now I saw myself in her. I, too, felt torn away from the one I had thought was the love of my life. Okay, so he left me, and didn't want me around. Leaving wasn't my choice -- though the decision to stop begging him to come back seemed almost as difficult as Jane's decision to tear herself away. The fact is, I had never stopped loving him, and when he moved to the other side of the world, I felt like my heart was being torn out of my chest. How could I fault Jane for loving Mr. Rochester when I still love my husband? I could easily understand Jane's despairing wanderings. I took great comfort in Jane's realization that was the same as I had come to -- that there was nothing she could do to help the man she loved with all her heart. She would have to entrust him to God's care.
Worn out with this torture of thought, I rose to my knees. Night was come, and her planets were risen: a safe, still night; too serene for the companionship of fear. We know that God is everywhere; but certainly we feel His presence most when His works are on the grandest scale spread before us: and it is in the unclouded night-sky, where His worlds wheel their silent course, that we read clearest His infinitude, His omnipotence, His omnipresence. I had risen to my knees to pray for Mr. Rochester. Looking up, I, with tear-dimmed eyes, saw the mighty Milky-way. Remembering what it was -- what countless systems there swept space like a soft trace of light -- I felt the might and strength of God. Sure was I of His efficiency to save what He had made: convinced I grew that neither earth should perish, nor one of the souls it treasured. I turned my prayer to thanksgiving: the Source of Life was also the Saviour of spirits. Mr. Rochester was safe: he was God's and by God would he be guarded. I again nestled to the breast of the hill; and ere long, in sleep, forgot sorrow.
Later, I again found myself cheering for Jane when she grew busy and happy teaching school. However, I fully believed that she would have dreams, over and over again, about the one she loved -- no matter how serene her day to day life, no matter how admirable her accomplishments.
And then I related to her next temptation. I thought Charlotte Bronte was brilliant that this was the next thing Jane faced: Her temptation was to give her life being a really really good Christian. She could devote herself to Christian service, and she would be good at it. But service without heart. St. John's proposal was a true temptation. But because Jane had known real love, she could not settle for a mockery of marriage. No matter how dressed up it would be in piety, her heart sensed that it would be wrong, that love itself is sacred.
I'm not sure if I'm explaining why I related to this. I guess there's a side of me that also thinks I can hide my pain in Christian service. Yes, God is enough. Yes, my relationship with God is incredibly comforting me. But if I keep my heart out of it, even that service will be worthless. As it says in I Corinthians 13, "If I give all I possess to feed the poor and deliver my body to the flames, but have not love, I am nothing."
So, by the end of the book, I'm loving Jane, rooting for Jane, and relating to Jane. I'm still a romantic, so I love the part where Jane asks God for direction, and in answer she can hear Mr. Rochester's voice across hundreds of miles. By this time, I don't begrudge Jane her happy ending, no matter how contrived. Honestly, with Mr. Rochester crippled and blinded, the relationship seems a bit more equal. Though I do wish Jane would stop calling him "my master"!
Anyway, 30 years ago when I read Jane Eyre, I thought it a beautiful story of true love persevering despite all obstacles. I think that today I see it as a beautiful story of a young woman with true character and true faith and genuine love and forgiveness in her heart.
And a rousing read, no doubt about it!


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April 02, 2009 News » Metro
Reptiles fight elements to survive in Oklahoma
By Carol Cole-Frowe
Reptiles have been hitting the headlines in Oklahoma, mostly for hard times that have befallen them.
"Merlin" and "Albert" are rock stars " one is even a movie star " when it comes to snakes and alligators in Oklahoma.
The snake-napped albino python and orphaned 12-foot, 800-pound American alligator made headlines.
SURVIVAL INSTINCTS
TALE GATOR
SUN DOWN
Merlin was taken, not once, but twice from the Little River Zoo in Norman within a 10-day period in September 2008. There was some concern about whether the 12-foot Merlin could make it if he was released outdoors after he was taken. Chances are " he couldn't.
Albert is a 43-year-old alligator that came to live in a tiny southeastern Oklahoma town from Hollywood, Calif., about eight years ago.
The movie-star alligator, which appeared in the 1996 film "Eraser" with Arnold Schwarzenegger, lived in a farm pond as the pet of his owner, Richard Beamon. That is, until the 69-year-old Beamon died from a chain saw accident in late January.
The 12-foot alligator, unusual for its size in Oklahoma, was rescued by caretakers from the G.W. Exotic Animal Park and moved from his pond to the animal park in Wynnewood.
Albert had not only been surviving, he apparently had been thriving outdoors thanks to his owner. In his new home now, Albert could live another 50 years.
Some exotic animals can survive an Oklahoma winter, but most cannot.
A study released in February 2008 by the U.S. Geological Survey focused on the "potential non-native python habitat," in the U.S. and indicated pythons could exist in the wild in up to 32 states in the continental U.S " stretching north to Washington, D.C., and west to the Pacific.
A map showing the climate of the Burmese pythons was published with the study to compare the U.S. climate to that of Pakistan and Indonesia where the snakes exist naturally.
But, the potential for pythons slithering " and thriving " in Oklahoma is more than just latitude and longitude.
"The north part of Florida is about as far as it realistically can get," said Brian Aucone, the Oklahoma City Zoo's animal management director and a herpetology expert.
Even far south Texas is too dry for pythons, he said.
In Florida, pet pythons released into the wild are creating havoc with the native species, including alligators in the Everglades National Park. The price tag for invasions of exotic species costs the state more than $500 million per year, according to the National Park Service and the Florida Fish and Wildlife Conservation Commission.
Florida's python problem, however, may be limited to the Sunshine State.
Other studies since that original USGS study went into much greater depth. The USGS study only factored mean rainfall and temperatures.
An August 2008 study from City University of New York computed the extreme temperatures in 32 states and found the invasion of the pythons for the rest of America just won't happen.
"It just gets too cold," Aucone said.
And there are other problems.
"When you are a tropical snake, you are not designed to hibernate," he said.
Merlin was returned unharmed after his second snake-napping to the Little River Zoo, packed tightly in a burlap sack. Zoo officials expressed gratitude at that time that he made it back to the zoo because with winter coming, the popular albino snake likely would have frozen.
The American alligator is native to far southeastern Oklahoma, and small alligators are not uncommon to find in farm ponds. But they generally don't grow as large as Albert.
"Because of our short season, the growth rate is much slower," Aucone said.
He said Albert had much more opportunity for growth because he was apparently fed well by his owner.
It took 12 people 12 hours to move him to G.W. Exotic Animal Park along with four snakes found at Beamon's house " a 9-foot python, 7-foot boa constrictor, 2-foot king snake and a poisonous 2-foot copperhead.
Family members told park officials that Beamon was close to Albert and that the alligator responded to certain commands.
"Gators are very intelligent animals," Aucone said. "They are very easy to train."
He said alligators at the Oklahoma City Zoo are trained to go inside on command and can be called back out.
"But we discourage people to have them as pets," he said. "They may be trained, but they are still wild. We keep our distance."
Joe Schreibvogel, park director of the G.W. Exotic Animal Park, said he often gets calls about alligators and snakes.
"We get (pythons) dumped off every other day," he said. They get about three calls a year about alligators.
The Wynnewood park is a nonprofit organization with a mission of rescuing every animal it can. Schreibvogel said he sent six people to pick up Albert, which he expected to be about 5- or 6-feet long.
"I wasn't expecting to find a dinosaur," he said. It was the biggest alligator he said he'd seen in his 23 years in the animal park business.
The effort continued as the sun went down, and it started getting cold. Albert didn't put up any fight when they removed him from a pond, after partially draining it with a backhoe borrowed from a nearby oil rig site.
"He was so cold, he didn't care at all," Schreibvogel said of the rescue.
Reportedly, Albert was found nearby Beamon's body, which the alligator hadn't touched. Schreibvogel said alligators normally won't hunt a human, and most aren't big enough to go after "a small cow or deer or somebody's dog."
Albert is now at home in the park's new alligator enclosure. Schreibvogel said Albert's movie days are over, because he is just too large to move around, even if the occasion presented itself.
"He's going to live in peace here," Schreibvogel said.
Mark Howery, a biologist with the Oklahoma Department of Wildlife Conservation, said pythons, boa constrictors and alligators are not generally a threat to the public.
To have an alligator, a permit is needed, and few people can qualify. Beamon did not have a permit.
"I would say most people don't have any business with an alligator," Howery said, noting there are relatively few incidents with snakes or alligators in Oklahoma, and people shouldn't worry about encounters with them. But that doesn't mean they should have them as pets.
Agreed Aucone, "As tame as they might be, they are not tame. They are just trained."
There are 46 species of snakes native to Oklahoma. Of those, seven are poisonous.
Those include five kinds of rattlesnakes: western pygmy, western massasauga, large western diamondback, timber rattlesnake and prairie rattlesnake.
The last two poisonous snakes are the copperhead and the western cottonmouth. The copperhead is found in sandy, forest-type areas; cottonmouths are a water snake. "Carol Cole-Frowe
Speaking of Features;News
Two Oklahoma brothers set out from London in a tiny car for charity with one goal in mind: reach Mongolia
Action Figure Museum won't hit the Bricks
Summer's a perfect time to dig into the state's little-known spots and hidden gems
Tags: Metro, Features;News
More Metro »
More by Carol Cole-Frowe
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← Award Received! Thank you, Becka!
Chapter 14 – Freedom Squad Nanowrimo →
Chapter 13B – Freedom Squad Nanowrimo
More writing… Chapter 13 continues
An alert blared. "Unauthorized personnel at front gate," announced the computer.
Solaria could be seen standing at the front gate, flames swirling around her. She had her arms folded in front of the sun symbol that she wore on her red bodysuit. Snowfall was clearly recognizable standing behind her and to the left, despite the fact that he wore a black trenchcoat over his costume and a black hat on his head.
Telekinetically, Rigel activated the front intercom. "7… 8… 9…" said Solaria while flames crackled in the background.
"Solaria, this is Rigel. What are you doing?"
"It's about time. We need to talk, and don't I get a 'G'Day'?"
"Sorry, it hasn't been a good day. I'll let you both in and meet you at the front door, assuming you've passed all the scans," said Rigel. "Oh, and stay on the sidewalk. The grounds have mines."
Rigel clicked off the intercom.
"I can talk to Solaria, if you'd like," offered Ion with a grin. "I don't mind."
"I'm sure you don't. Fine, you can come."
After Solaria and Snowfall passed retina scans and made it up the sidewalk, Rigel and Ion greeted them at the front door to the mansion. Solaria was no longer projecting flames, but she seemed irritated enough to do so.
Before Rigel could even invite the duo inside, Solaria spoke up, "Are there going to be more tryouts or would you like to make us members of the team? I got arrested trying to help this guy," she paused to point at Ion, "and my fiancé nearly got killed."
"I'm sorry about what happened. I'll inform the mayor that the two of you are members of the team and have your security clearance authorized," said Rigel.
"So how long will that take? Weeks?" asked Solaria.
"Um, Solaria…" said Snowfall, who Rigel noticed was holding a woman's trenchcoat and another hat.
"Sorry," said Rigel, checking her communicator. "You are authorized. Half an hour to go through all the paperwork. Ion offered to help you with it."
"I did?" asked Ion.
"Wait," said Solaria, "did you just make us members of Freedom Squad?"
"Yes," said Rigel, smiling.
Solaria hugged her. "Thank you!" She turned to Snowfall, "We did it! We made it!"
"It's great," he said as she hugged him, "We made it. Freedom Squad."
"Excellent," said Rigel, "take care of them, Ion." She added in a whisper, "Let them know about Protector once they've finished with the paperwork." With that, she headed back inside the building.
Cori felt sick as she finished her sentence. Even now, Alex was in a bed in the medlab with Dr. Lord hovering over him. She knew he was asleep, but Jake had used the word coma. He thought that Alex had suffered a stroke. She hadn't explained what the word "Ace of Spades" coming out of Alex's mouth had meant. As she thought, she became angrier and the walls started to vibrate ever so slightly.
She stopped and took a deep cleansing yoga breath, inhaling through the nose and exhaling through the nose. The shaking ceased. "I haven't done that in years, losing control of the TK like that," she whispered to herself. "Get yourself together, Cori girl," she said, imitating her dad.
"Nightstar, is the Night Cycle ready for a test drive?" she asked into her communicator.
"I need some air. Take me for a ride?"
Ten minutes later, Rigel sat on the back of the Night Cycle with her arms wrapped around Nightstar's nearly perfect abs as they streaked in and out of traffic. She leaned against him. They had gone out on more than a few dates, and she had to confess that she was more than a little attracted to him. In her first real mission as Freedom Squad's team leader, she had saved his life and in the process, she had touched his mind and learned nearly everything about him.
She always told everyone that memories like that faded in 48 hours. They usually had in the past. She had thought about telling Nightstar that she knew everything about him, but there never seemed to be a good time. This certainly wasn't a good time.
She pretended that they were normal people riding through the city streets on a motorcycle.
"Invisibility projector's flawless," said Nightstar with excitement. She could hear the grin on his face. She wondered if he was really aware that she was on the motorcycle. "None of these cars have a clue that we are here. This is utterly fantastic. I owe Starlight for all of his technical expertise. Ion's a pretty good engineer, helping me to integrate alien tech with my people's psychic tech and meshing it with this beauty. I always wanted a Night-Cycle. Ready for dimensional de-synchronization?"
"What?" asked Cori, no longer able to pretend they were remotely like normal people.
" Activating. Let's just hope the gyroscopic solid detector works and the gravity field doesn't get reversed. This is going to be amazing."
"Wait, what is happening?" asked Cori, as the world around her seemed to fade. It was as if she had been in a watercolor painting which had just been splashed.
Nightstar took a hard left into a concrete barrier before Rigel could even think about her telekinesis. To her surprise, they passed through the barrier as if it weren't there. "Awesome!" shouted Nightstar.
Cori thought she had been kidnapped by a crazed 12-year old.
"It's all working, except… crud. Re-emerging… let me cut back over to the right side of the street before we materialize."
Nightstar turned the Night-Cycle back across the barrier and kept going around a car and onto the sidewalk narrowly avoiding a streetlight before wheeling into an alley. He stopped.
The colors were back.
Nightstar sighed. "Too much power drain," he said with a shrug, taking his hands off the handlebars, "it can't handle that for any length of time. It will take it about 15 minutes to recharge. Still… you know what?"
"What?" she asked.
"I love this machine," he declared.
It was Rigel's turn to sigh, but she found herself smiling instead. Nightstar turned around to look at her. "What did you think?" he asked.
"It was pretty cool, I have to admit," she said.
He kissed her.
Almost before she realized that their lips were together, he pulled away. "Sorry, I probably shouldn't have…"
She wove her silver gloves into his long dark hair and kissed him back. "You should have done that before you started talking about loving a machine," she said when their lips parted, "However, as much as I'm really enjoying this, we have work to do."
She pulled out her communicator and dialed Stacy King.
"Agent King."
"Good evening, Agent King. It's Rigel, but I'm sure you knew that. I need to meet with you, and it's urgent. I'm going to transmit some coordinates. It's a park near that mega-mall they've built."
"That's in the Appleton planned community."
"Right. We need to talk. Can you be there in twenty minutes?" asked Rigel.
"See you then," Rigel said, disconnecting.
"Are we going to the Appleton Mall Park, the one next to the golf course?" asked Nightstar.
"A few things first," said Rigel, "One, do you agree that Solaria and Snowfall deserve to be on the team?"
"I guess it depends on what you used as criteria."
"Snowfall and Solaria both responded when Ion called them. They both have powers that put them in the top percentages of paranormals. They pased all the security prescreening from the government, and I like them."
"Works for me," said Nightstar. "Solaria's hot and Snowfall's cool. How can I argue?"
Rigel groaned. "I'm going to forbid you and Ion from spending time together. Anyway, two, I think Freefall doesn't have the power that I want, and I don't trust Chameleon, so I'm not planning on approving them at this point."
"Three, what do you know about the Ace of Spades?" she asked.
Nightstar adjusted his mirrorshades. "Very little other than the obvious. My guess is that he set up Defiance. I don't know how we find someone like that, but I'm looking forward to trying."
"Me too," she said. "Four, how are you going to contact the Destroyers and are you going to pay them out of your own billion-dollar accounts?"
"I was going to call a shady contact and offer them an obscene amount of money from my billion-dollar accounts. Having access to the wealth of an extra-dimensional kingdom has its perks. Do you like the plan?"
"No, I don't," said Rigel. "But I have a better idea. So, among other things, I'm going to ask Homeland Security where to find potential new recruits, because if the Destroyers decide to help Defiance, we will need a few other members. I'm sure they have some people under surveillance who might turn out to be great heroes. What do you think?"
"Sounds reasonable to me. What else?" asked Nightstar.
"This," she said, kissing him again. "And what do you think of cosplay?"
Posted on November 23, 2013, in Freedom Squad, HeroNet Files, NaNoWriMo and tagged Freedom Squad, Harry Heckel, HeroNet, HeroNet Files, Nanowrimo, Nanowrimo Novel, Nightstar, Rigel, superhero, Superhero Nanowrimo, Superhero team. Bookmark the permalink.	Leave a comment.


text:
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Preparing for Club Fierce's Spring 2013 production of Alice.
Photo Strip
Prospective First-Year and transfer students MUST:
Submit their application through the Common Application or the Marymount Manhattan College Website prior to scheduling an audition or interview.
To schedule an audition students will be given access to their Admissions Portal.
Note: Your transcripts, test scores, and letters of recommendation can be submitted at a later date, and do not need to be marked as complete in order to schedule an audition.
SCHEDULING YOUR AUDITION or INTERVIEW
For all prospective freshmen and transfers, once you have submitted your Application for Admission you will have access to the Theatre Audition Form on your Admissions Portal where you will be able to select an audition/interview date.
Auditions are available on a first come, first served basis, so be sure to schedule your audition as soon as possible. Please do not make travel arrangements until your audition has been confirmed.
We recommend that applicants attend an on-campus audition/interview, but also offer regional audition/interviews and digital audition options. Please see below for specific criteria.
An audition is required for students interested in the following programs:
Acting (B.F.A.)
Musical Theatre (B.F.A) *
Directing (B.A.)
*Applicants to the B.F.A. in Musical Theatre, should they not pass the singing portion of the Musical Theatre audition, are also evaluated by faculty for admission to the B.F.A. in Acting as part of the acting audition for Musical Theatre.
An interview is required for students interested in the following programs:
Theatre Design and Technology (B.F.A.)
Producing & Management (B.A.)
Writing for the Stage (B.A.)
For prospective students interested in the following concentrations, a secondary online application must be submitted through the Admissions Portal checklist.
Theatre and New Media (B.A.)
Theatre History and Performance Texts (B.A.)
Audition/Interview Information
At this time all On-Campus/Regional Musical Theatre Audition Opportunities are at full-capacity. Applicants who wish to be considered as a Musical Theatre Applicant for Fall 2020 should submit their audition materials through a Digital Audition Opportunity.
ON-CAMPUS Auditions
NEW YORK CITY Audition Dates
( No Prescreen Criteria is required .)
November 16, 2019 (Audition Passed)
January 18, 2020 (Musical Theatre Audition/Waitlist at Full-Capacity)
February 1, 2020 (Musical Theatre Audition/Waitlist at Full-Capacity)
February 22, 2020 (Transfer & Current Students ONLY )
Acting (B.F.A.), Requirements
(Applicants to the BFA in Acting program will be required to prepare the following audition materials for their in-person audition.)
One contemporary monologue, no longer than 2 minutes in length (from a published play written during the 20th Century-present)
Monologues cannot be from musicals, television shows, or movies
Musical Theatre (B.F.A.), Requirements
(Applicants to the Musical Theatre program will be required to prepare the following audition materials for their in-person audition.)
Two contrasting songs, each 60-90 seconds in length (One song should be a ballad and one song should be an uptempo)
Directing (B.A.), Requirements
(Applicants to the Directing program will be required to complete an interview as part of the audition on their selected audition day.)
Portfolio of work (prompt books, scripts analyses, character analyses, conceptual ideas, floor plans, blocking notes, production photographs, or any additional production paperwork, etc.)
NEW YORK CITY Interviews
(No pre-screen is required.)
Theatre Design and Technology (B.F.A.), Requirements
(Applicants to the Design and Technical Theatre program will be required to prepare the following materials for their in-person interview.)
Portfolio of work (sketches, renderings, production photos, models, additional fine art work, etc.)
Please be prepared to talk about anything that speaks to who you are as a Designer and Theatre Artist.
Producing and Management (B.A.), Requirements
(Applicants to the Producing and Management program will be required to prepare the following materials for their in-person interview.)
Portfolio of work (prompt books, prop tracking, run books, rehearsal reports, any additional design work or production paperwork, etc.)
Be prepared to talk about anything that speaks to who you are as a Stage Manager and Theatre Artist.
Writing for the Stage (B.A.), Requirements
(Applicants to the Writing for the Stage program will be required to prepare the following materials for their in-person interview.)
Portfolio of work (full length or one-act play samples, creative writing samples, poetry, etc.)
Be prepared to talk about anything that speaks to who you are as a Playwright and Theatre Artist.
REGIONAL Auditions
(Pre-Screen is required. Regional auditions are only offered to those interested in Acting and Musical Theatre.)
January 6, 2020 (Audition at Full-Capacity)
January 7, 2020 (Audition at Full-Capacity)
In order to be considered for a regional audition slot a student must:
Submit required Prescreen materials through the Admissions Portal. Prescreen materials are due by Friday, December 6, 2020. However, it is in an applicant's best interest to submit these materials as soon as possible. Regional audition dates tend to fill up by mid-November.
Once the faculty has reviewed your prescreen material, applicants will be notified as to whether they will be granted a regional audition. Please do not make travel arrangements until your audition has been confirmed via email.
More information about regional audition days will be provided in your confirmation email.
PRESCREEN REQUIREMENTS
Marymount Manhattan College is a participant in the Musical Theatre Common PreScreen for the 2019-2020 cycle.
B.F.A. in Musical Theatre Prescreen:
Each piece should be filmed/uploaded as a separate piece of media. No continuous videos.
There should not be a separate "slate" video, rather slates are to appear at the beginning of each piece.
The proper slate for a song is to share your name, the title,and show in which it appears.
The proper slate for a monologue is to share your name, the title of the play,and the playwright.
Students should prepare 2-contrasting pieces:
One song should be a ballad and one song should be an uptempo.
Each song file should be 60-90 seconds (this time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds)
Songs should be filmed in a ¾ shot which means the top of the head to the knees should be visible in the frame.
MMC Musical Theatre Program requires OPTION A:
One song should be written prior to 1970. This song can be either the uptempo or the ballad (student's choice).
One song should be written after 1970 and contrast the style of the first.
Monologues must be from a published play.
Monologues cannot be from musicals, television shows, or movies.
Each monologue file should be 60-90 seconds in length (this time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds)
MMC Musical Theatre Program requires OPTION A :
1, 60-90 second contemporary monologue (written during the 20th Century-present) from a published play. This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.
Contemporary monologue should be filmed in a "close-up" shot which means the top of the head to the chest should be visible in the frame.
WILD CARD VIDEO
This video should be approximately 2 minutes in length and should include: a formal introduction, why you are interested in Marymount Manhattan College, and your interests outside of theatre/anything else you would like us to know about you.
DANCE (Not Required)
B.F.A. in Acting Criteria:
The B.F.A. Acting Program at MMC requires OPTION A :
DIGITAL Audition/Interview Requirements
(Digital Auditions must be submitted by March 6th, 2020 for program consideration.)
Musical Theatre (B.F.A.)
Wild Card Video: This video should be approximately 2 minutes in length and should include: a formal introduction, why you are interested in Marymount Manhattan College, and your interests outside of theatre/anything else you would like us to know about you.
For Designers your portfolio should include the following: (sketches, renderings, production photos, models, additional fine art work, etc.
For Producing and Management your portfolio should include the following: (prompt books, prop tracking, run books, rehearsal reports, any additional design work or production paperwork, etc.)
Be prepared to talk about anything that speaks to who you are as a Playwright and Theatre Artist
(All applicants who complete their application to the Theatre program are automatically considered for the Fine and Performing Arts Merit Scholarship. Applicants may also receive an Academic Merit Scholarship which can be stacked with the FAPA Merit Scholarship.)
Fine and Performing Arts Merit Scholarships may be awarded in both the BA in Theatre Arts and the BFA in Acting, based on the audition/interview. Your Admissions file to the College must be completed in the Admissions Office by March 6, 2020 to be considered for a Fine and Performing Arts Merit Scholarship. Any Admissions file completed after this date will be considered for a Fine and Performing Arts Merit Scholarship based on remaining funds available. No additional written application is required for Fine and Performing Arts Merit Scholarships.
RE-AUDITION PROCESS
Students who were not accepted into the Theatre Arts programs after their first audition may not audition again. Those who did not audition prior to attendance at MMC are eligible to audition during the Spring semester of their first year.
Prospective Theatre students who are HEOP applicants are encouraged to apply to the HEOP program by December 15, 2020 and schedule their Theatre Arts audition/interview as early as possible. For more information on the HEOP program, please refer to the HEOP page.
Want to know more or schedule a class visit? Contact Theatre Recruitment and Admissions at theatre@mmm.edu or call 212-774-0767.
If you'd like to speak with Kevin Kemler, Assistant Director of FAPA Admissions, email kkemler@mmm.edu or call 212-517-0514.
We look forward to speaking with you!
How to prepare for your audition?
Suggested Monologues
Theatre Office
Nugent Building, First Floor
theatre@mmm.edu