Ashley Wint Movement Co.
My journey as a Laban-based movement coach and choreographer for actors, and beyond. Integrating the world of movement analysis into my life one lesson at a time.
Friday, February 3, 2012
Wednesday, October 26, 2011
Testimonial
My experience with the Ashley Wint Movement Co. has been
inspiring, insightful, and spiritual.
Every day we wake up in our bodies, use our bodies throughout the day, and go to sleep with them at night, but rarely pay attention to them, really listen and notice. When we do pay attention to our body it is in an almost cruel way, at the gym we push ourselves through the pain, repeat mantras in our head like “push harder” and “don’t be weak.” We don’t notice or forgive our bodies for just being.
In Ashley Wint’s class I was allowed to take the time to notice and expand my understanding of how my body moves and how it reflects who I am. Now, to the untrained eye, it may have looked as if we were just rolling around on the floor, and at first that is how I felt, but the way that Wint guides her students, I was able to allow myself to relax and let go with focusing on the conversation that was happening between the space of the room and my body. Besides her obvious knowledge and passion of movement, her ability to recognize the different levels of her students is what made the time in class that much more comfortable—I feel as if I received a one on one.
As a theatre professional, I have seen the lack of importance given to the training of the body. The voice, which is important, is given more focus. However, without the body and only the voice, actors are nothing more than talking heads. As a director who has worked with actors ages 7 to 56, movement is one of the hardest things to address in a constructive and successful way. Even if you tell actors to walk across the stage a certain way, if they are not strongly connected to their bodies they have not hope of truly manipulating it.
Wint’s movement company has a strong mission that you start to feel a part of the moment you leave class. I am excited to continue my study about how my body moves and how I can utilize that understanding in the theatre.
Whitney Hershberger
Theatre Teaching Artist and Director
MFA in Arts Administration, Southern Utah University
Every day we wake up in our bodies, use our bodies throughout the day, and go to sleep with them at night, but rarely pay attention to them, really listen and notice. When we do pay attention to our body it is in an almost cruel way, at the gym we push ourselves through the pain, repeat mantras in our head like “push harder” and “don’t be weak.” We don’t notice or forgive our bodies for just being.
In Ashley Wint’s class I was allowed to take the time to notice and expand my understanding of how my body moves and how it reflects who I am. Now, to the untrained eye, it may have looked as if we were just rolling around on the floor, and at first that is how I felt, but the way that Wint guides her students, I was able to allow myself to relax and let go with focusing on the conversation that was happening between the space of the room and my body. Besides her obvious knowledge and passion of movement, her ability to recognize the different levels of her students is what made the time in class that much more comfortable—I feel as if I received a one on one.
As a theatre professional, I have seen the lack of importance given to the training of the body. The voice, which is important, is given more focus. However, without the body and only the voice, actors are nothing more than talking heads. As a director who has worked with actors ages 7 to 56, movement is one of the hardest things to address in a constructive and successful way. Even if you tell actors to walk across the stage a certain way, if they are not strongly connected to their bodies they have not hope of truly manipulating it.
Wint’s movement company has a strong mission that you start to feel a part of the moment you leave class. I am excited to continue my study about how my body moves and how I can utilize that understanding in the theatre.
Whitney Hershberger
Theatre Teaching Artist and Director
MFA in Arts Administration, Southern Utah University
Tuesday, October 25, 2011
Last Class of October
Last class of October is this Saturday, 10/29 at 2pm. Come move around before celebrating Halloween!
Also, classes will be on hiatus for the rest of the year due to the holidays. However, if you are interested in private lessons, coaching, or organizing a group class/workshop, please contact Ashley at wint.ash@gmail.com
Thanks for your support!
Also, classes will be on hiatus for the rest of the year due to the holidays. However, if you are interested in private lessons, coaching, or organizing a group class/workshop, please contact Ashley at wint.ash@gmail.com
Thanks for your support!
Sunday, October 23, 2011
Graduation Speech
As part of my graduation ceremony from the GL-CMA program at Columbia College Chicago, I was asked to speak on behalf of my classmates about our experience in the program. I wanted to share it here. The reference to Rudolf Laban and his quotes came from Evelyn Doerr's "Rudolf Laban: The Dancer of the Crystal." Thanks for reading!
Good morning. For those of you I have not met, my name is Ashley Wint, and I'm honored to be standing here as a GL-CMA Graduate and speaking on behalf of my classmates about our experience in this program.
In all honesty, I had a difficult time just sitting down to reflect and prepare this speech. I realized that I still have not completely processed the experience our group went through in the past 14 months because it was so profound.
I actually took out my notebook and looked back at the notes I first took, and remembered how foreign but exciting all of this information was. And then remembering when a concept all of a sudden "clicked" to the extent I could actually feel neurons in my brain igniting. Then I knew, we are privy to some incredible information.
Yes, we have gained "knowledge," however, I believe we did more than that. I felt us start to grow together, question not only what we were learning, but also how it fit into our lives. We depended on each other for guidance and security as we traveled deeper into uncharted waters, and I believe we have transformed. I know I have.
In fact exactly one year ago, I wrote in my journal for class:
"I feel like right now I'm absorbing all of this information but anxious as to how it will play out in the future. I see glimpses of its infusion in my life eventually. Right now I'm along for the ride."
And now? Yes, Laban is infused in my life. But I've come to realize this "along for the ride" mentality will be an ongoing process with this kind of knowledge.
But even now, the FUTURE, post- program, out in the world with this certificate, what is that supposed to be?! This question is something we as a class have struggled with in the final months of our program. Well, I would like to turn to Rudolf Laban himself for some understanding. In 1912, directly after a "major life crisis" Laban wrote:
"My self-confidence wore away from the top down. Genius, strength, character? No trace! Persistence, talent, practical sense? Nothing, nothing! Can you think, talk? Can you stand, walk, speak, breathe? Feel, wish, want? Not to mention can? Can you do any of these things? No, I have to answer myself. No, you are a living sketch, a shadow. A shadow, that wants to have some kind of effect, that wants to fill space."
I think we can all see that Laban, the man we have come to admire, love, hate, be in awe of, and confused by,had insecurities and doubted his work and talent, but still knew there more out there for him to do and become.
20 years later in Nazi Germany, after a meteoric rise to fame and subsequent crash into failure, Laban reflected on his life up to this point and wrote:
"to the right and left lie the sacrifices, the mistakes, the moments of desperation; instead of friends, opponents even enemies; instead of love, death. Persons, things, years, myself, shattered, broken...If I had not had my powerful intellect, that understands how to reconcile the most unbelievable things, I would have gone crazy or died long ago. But it is my lot to live, because I am one of those people who have something to accomplish and who stubbornly remain loyal to their ideals."
I wanted to share these sentiments today because I know how often we have expressed uncertainty, fear, and confusion as to how we will proceed with this work after we have left the bubble we created with each other once a month for 14 months. How can we hold this knowledge close, keep it fresh and relevant to ourselves, but also share it with the populations we work with and care for? I share Laban's words with you to remind us that even the man who gave us our foundation of knowledge, he too was human who faced fear and failure (often). But he stuck to his core beliefs and ideals. THAT is hat we need to remember as we begin our journeys as GL-CMAs.
Thank you for sharing your lives for the past 14 months. Thank you to our incredible professors for also becoming a part of our lives and sharing their experiences with us. All the best of luck to us in our pursuit of education and healing people through movement.
With my incredible parents who came to visit and support me. |
Thursday, October 20, 2011
Thoughts After the First 2 Classes
Well friends, I have now officially taught two movement for actors classes and let me tell you, I absolutely love it. My first class was more of a private session and the second class had three students. Now, I will point out that so far these students have been personal friends who support me and have been interested in my studies during the GL-CMA program. It is so wonderful to be able to share my knowledge with them and I think there is a level of trust there on both ends. It did get me thinking how exciting and different the experience will be once I begin teaching people I don't know personally.
This evening I am musing about what a movement class entails for both the teacher and the student. First and foremost, there is a certain level of vulnerability one may experience in a movement class. I find that my class in particular, because it has the goal of enhancing an actor's personal knowledge of their body, requires a lot of inward reflection, assessment, and letting go of the body. And by letting go, I mean that one is allowed to move in a way without judgment and tapping in to natural responses and connective patterns of the body.
I am currently teaching from Peggy Hackney's book "Making Connections", and introducing the patterns of connectivity in the body which not only make movement efficient, but also emphasize how the more we are connected inwardly to ourselves, the more we can connect outwardly in our world. I find this to be an incredible resource for actors.
To do this kind of body level work, it does take courage on the part of the student participating. I realize that I am in a privileged position to be leading people into uncharted territory with their bodies and I take that seriously. I cannot speak on behalf of the students I have had so far, but by the end of class, the awareness that I see in them, the look on their faces as they assess how their body feels, the changes they went through in the past hour, the way they carry themselves, shows me that I am on the right track. It shows me that they have opened themselves up to a new experience, they have let go of something (whatever that may be on an individual basis), and they are now grounded and in touch with not only themselves, but also have an acute external awareness, as well.
It has been a lovely start to this journey and thank you to the individuals who have kicked this off. I look forward to the upcoming 2 weeks of classes, hopefully with some familiar and some new faces.
This evening I am musing about what a movement class entails for both the teacher and the student. First and foremost, there is a certain level of vulnerability one may experience in a movement class. I find that my class in particular, because it has the goal of enhancing an actor's personal knowledge of their body, requires a lot of inward reflection, assessment, and letting go of the body. And by letting go, I mean that one is allowed to move in a way without judgment and tapping in to natural responses and connective patterns of the body.
I am currently teaching from Peggy Hackney's book "Making Connections", and introducing the patterns of connectivity in the body which not only make movement efficient, but also emphasize how the more we are connected inwardly to ourselves, the more we can connect outwardly in our world. I find this to be an incredible resource for actors.
To do this kind of body level work, it does take courage on the part of the student participating. I realize that I am in a privileged position to be leading people into uncharted territory with their bodies and I take that seriously. I cannot speak on behalf of the students I have had so far, but by the end of class, the awareness that I see in them, the look on their faces as they assess how their body feels, the changes they went through in the past hour, the way they carry themselves, shows me that I am on the right track. It shows me that they have opened themselves up to a new experience, they have let go of something (whatever that may be on an individual basis), and they are now grounded and in touch with not only themselves, but also have an acute external awareness, as well.
It has been a lovely start to this journey and thank you to the individuals who have kicked this off. I look forward to the upcoming 2 weeks of classes, hopefully with some familiar and some new faces.
Wednesday, October 19, 2011
Tuesday, October 11, 2011
a quick note
Hey Readers!
Just a quick note that I welcome any comments or questions you might have for me!
Nothing like a good dialogue on movement to get me excited!
Thanks for reading!
Ashley
Just a quick note that I welcome any comments or questions you might have for me!
Nothing like a good dialogue on movement to get me excited!
Thanks for reading!
Ashley
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