A testimonial from Garth Williams, an actor/writer/film director, who has participated in numerous worksessions of Sourcing Within held in Liverpool, Manchester, Umbria, Tuscany, Dublin and Aberdeen since 2007

 

—Garth Williams (Manchester, U.K.) wrote in October 2007

Gey Pin Ang was able to cut through knots rather than become tangled up in them, herself doubtlessly capable of the heights of inspiration and expression she brought out in others.  Her manner of working was incredibly direct and yet nurturing.

…It is at the same time, and typically, very hard to communicate the sense of what the work did, as it encompasses a different plane of existence and experience which is at a very deep and fundamental level.

…It is Gey Pin Ang’s own heritage and cultural and physical understanding, as well as her undoubtable prowess as a performer which informs the work.

…It was the best experience I have had as an actor, or in a workshop, or with a director, and I have been planning and working towards being an actor for nearly twenty years.  It made me realise that there is a real way to becoming what I have dreamed of for so long, that there is still a path to follow and create.  It was an extremely meaningful experience for me, and a great learning experience, and one I hope to extend by working with you again in the future.  I will definitely be seeking to work with you again in the future.  You are such a good inspiration.

—–

The Bird of Paradise, Garth Williams, at Emergency ’09, photo courtesy of Garth Williams

 

 

 

 

-Garth wrote again in February 2012,

• Gey Pin Ang has had an instrumental role in my work over the last few years.    Her encouragement has influenced many aspects of my work, from my leading childrenʼs drama workshops (to also engage the child in me), to further investigating the world of the silent clown, and the clarity of intention of Buster Keaton for example, which led me into the world of clowning.

• Having first worked with Ang for a one week masterclass in 2007, I knew that working with her was my way forward as an actor and as an artist.    Since training at Drama School, where Tai Chi was part of the syllabus, I have continued in my search to combine the training in Tai Chi with the art of the actor.    It has to do with flow, with continuous movement, with interlinking intentions, attention to detail, and the moment, without becoming static or stuck.    It concerns the training of the body and the mind, with empty and full, renewal of attention, and the opening of the internal channels – to the flow.

Gey Pin Angʼs work has to do with this flow, and yet she also has the experience of having worked intensively at the Workcenter of Jerzy Grotowski and Thomas Richards.    And therefore has a thorough and comprehensive background in working on Stanislavskiʼs Physical Action and on the actorʼs craft and technique. There is a possibility of flow in action and text, which can reach depths of resonance, and transcendence not normally possible within the confines of the commercial model of theatre. Text and song are in essence tools on yourself as an actor in action. Song is but a form of meditative prayer in and of itself, used to summon deeper elements in our bodies and souls.

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