Preparing Early Acting Quickly

The goal of the International Finance Corporation is to promote sustainable development through private sector investment in developing countries in order to reduce poverty and improve people's lives. IFC often supports investments that involve complex social and environmental issues, and it takes these issues very seriously. IFC recognizes that the resettlement of people from their homes or displacement of people from their livelihoods is economically and socially disruptive and may affect some people living close to the edge of survival. Where resettlement is unavoidable, each project requires its utmost attention. IFC considers resettlement an opportunity to improve peoples' lives by providing sustainable benefits and improved means of livelihood to people affected by IFC-financed projects. This handbook outlines methods and practices for the preparation of successful resettlement action plans conforming to IFC's policy on involuntary resettlement. As a reference for project developers, it describes the issues associated with the economic and physical displacement of people and provides an appreciation of the level of effort a project will require. It is intended primarily to assist the practitioners, consultants, NGOs, and community-based organizations that design and carry out resettlement activities. The handbook may be used in conjunction with IFC's public consultation Good Practice Manual and its Community Development Guide.

Theoretically, the actor ought to be more sound in mind and body than other people, since he learns to understand the psychological problems of human beings when putting his own passions, his loves, fears, and rages to work in the service of the characters he plays. He will learn to face himself, to hide nothing from himself -- and to do so takes an insatiable curiosity about the human condition. from the Prologue Uta Hagen, one of the world's most renowned stage actresses, has also taught acting for more than forty years at the HB Studio in New York. Her first book, Respect for Acting, published in 1973, is still in print and has sold more than 150,000 copies. In her new book, A Challenge for the Actor, she greatly expands her thinking about acting in a work that brings the full flowering of her artistry, both as an actor and as a teacher. She raises the issue of the actor's goals and examines the specifics of the actor's techniques. She goes on to consider the actor's relationship to the physical and psychological senses. There is a brilliantly conceived section on the animation of the body and mind, of listening and talking, and the concept of expectation. But perhaps the most useful sections in this book are the exercises that Uta Hagen has created and elaborated to help the actor learn his craft. The exercises deal with developing the actor's physical destination in a role; making changes in the self serviceable in the creation of a character; recreating physical sensations; bringing the outdoors on stage; finding occupation while waiting; talking to oneself and the audience; and employing historical imagination. The scope and range of Uta Hagen here is extraordinary. Her years of acting and teaching have made her as finely seasoned an artist as the theatre has produced.