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A Sense of Possibility
註釋J. Michael Miller traces his journey from his childhood on the farm to a life dedicated to the improvement of actor training and the recognition of actors as artists. Miller is a seminal figure in theatre training in the United States. In 1966, he co-founded New York University's Tisch School of the Arts and ran the Theatre Program for over 30 years. Under his guidance, NYU became one of the leading theatre training institutions in America. Michael's ideas have impacted training programs all over the country. In 1972, he co -founded the League of Professional Theatre Training Programs, a consortium of schools advocating for higher training standards, and served as President for much of the organization's history. From the early '70s to the late '80s, the League was given sub-granting power by the National Endowment for the Arts to establish and uphold those standards. The organization's annual Actor Presentations or "Leagues" have been widely copied as graduating artist showcases at training programs across the country. Its sister event, the Design Portfolio Review, has introduced several generations of America's premier design students to working careers in theater, film and television. In 1996, after retiring from NYU, Michael founded The Actors Center, which quickly became one of the preeminent acting studios in the country. At The Actors Center, Michael established a Workshop Company which today provides 250 award-winning artists an ongoing residency program to advance their creative and artistic development. In 1997, Michael initiated a Teacher Development Program, together with Lloyd Richards, Earle Gister, and Ron Van Lieu, offering vital mentorship to the next generation of acting teachers and advocating for greater diversity in the field. In 2014, Michael led the program's alumni in founding the National Alliance of Acting Teachers. Over 200 acting teachers graduated from the program at The Actors Center and now teach at leading institutions throughout the United States and abroad. Michael's legacy has been to rectify the perception of actors as commodities, rather than as valued collaborative artists at the center of the theatre.