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Anabella and students, 1994

DanceDrama Labs Workshop Series Presents:

Methodology of Teaching Dance Workshop  (How to teach Dance)

MARCH 4 & 5, 2017 (Sat 3/4 from 1-5pm & Sun 3/5 from 1-5pm)

at CPR Center for Performance Research 

(361 Manhattan Ave, Williamsburg, Brooklyn)

FACULTY: ANABELLA LENZU

Class size is limited to 10 students for the workshop.

TO APPLY: Send resume to info@AnabellaLenzu.com

Learn how teach dance and provide a comprehensive dance education. This Laboratory is for artists and educators of all dance disciplines who want to learn how to increase their students’ creative ability by providing organized lesson plans aimed at solving educational problems using methodological tools of analysis. Promote artistic education and enhance the social and cultural community. Dance is a profound exploration of life.

We must improve how we teach Dance as a theoretical and practical discipline.

CONCLUSION:

It is an honor for me to be able to sustain and support dancers in the delicate task of cultivating their awareness of themselves as individual artists. As we become aware of our passions and strengths, we are able to wake the creative impulse in others.  I seek what is essential and want to connect or reconnect people with the joy of dance.

Wherever I go, I teach with a human and comprehensive pedagogy in which creativity, ethics and aesthetics are intertwined. – Anabella

For more info: http://www.anabellalenzu.com/workshops/

Gracias Danzahoy En Español por su reconocimiento y tan linda nota celebrando el 10 Aniversario de mi compania en Nueva York!
Gracias por valorar nuestro arduo trabajo y compromiso para con la Danza y el Arte!
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presents:

In Pursuit of Happiness

 by Anabella Lenzu/DanceDrama

Saturday, February 18th at 7:30pm
at Goddard Riverside Bernie Wohl Center
647 Columbus Avenue, New York, NY 10025
General Admission: $15
Limited seating! Click HERE for tickets
 
Choreography: Anabella Lenzu
Direction: Daniel Pettrow
Dancers: Lauren Ohmer & Anabella Lenzu
Music Landscape: Todd Carroll
Photo Projections: Anabella Lenzu
What does it mean to disappear?
In Pursuit is a dance-theater piece that explores the themes of death, memory and hope through a collage of juxtapositions.
“I want the happiness that comes from both remembering and from fighting against remembering. A happiness that includes the sadness, pain and injury of experience but also goes forward. Not memory that works like an anchor, but like a catapult. Not a memory that you just arrive at, but one that’s a launch pad.”
Eduardo Galeano
In Pursuit of Happiness is an ongoing daily memory trip to remember and honor Mrs. Lenzu’s father, Antonio, who served as her guide and scaffolding. From a vibrating silence emerges unexpected meaning, so profoundly personal that is anonymous and universally accessible.
**** To read about the creative process of
In Pursuit, read the blog posts by our collaborators!
Dear Dancers & Friends,
Happy, Healthy and Creative 2017!
I am so happy to announce 2017 NEW CLASSES and WORKSHOPS in NYC for this year!
A big hug, Anabella
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CLASS SCHEDULE STARTING JANUARY 19, 2017

BARRE A TERRE (Open Level)

at Peridance Center (126 East 13th Street, between 3rd and 4th Ave)
* WEDNESDAYS: 10am- 11:30am
* TUESDAYS: 7:30- 8:30pm
THURSDAYS: 7:30- 9pm
FRIDAYS: 10am- 11:30am
CLASS DESCRIPTION: Find your inner-strength; develop & improve alignment and technique; explore and learn how to efficiently use your body and your energy in a healthy way as instruments of your expression. Through this class, you can increase flexibility and strength, overcome physical difficulties and incorrect posture, and acquire physical awareness to help prevent injuries. Open to all levels of experience.
WHY STUDY BARRE A TERRE? To know more read Anabella’s Article

DANCEDRAMA LABORATORY WORKSHOP SERIES

 
FACULTY: ANABELLA LENZU

* February Lab: Choreography and Improvisation (Saturdays from 1-4pm: 2/11, 2/18 and 2/25)

* March Lab: Methodology of Teaching Dance (How to teach Dance)(Saturday 3/4 from 1-5pm & Sunday 3/5 from 1-5pm)

* April Lab:Choreography and Improvisation  (Saturdays from 10am-2pm: 4/1, 4/8, 4/15 and 4/22)

Class size is limited to 10 students for each workshop. 
The Workshops are held at CPR Center for Performance Research
(361 Manhattan Ave, Williamsburg, Brooklyn).
Cost for each workshop: $150
SPECIAL PROMOTION: 3 workshops for  $350
TO APPLY: Send resume to info@AnabellaLenzu.com
Once Accepted, please submit payment.
Please designate which workshop you are interested in.
For more info CLICK HERE

Gracias Agustina Lluma & Balletin Dance en Argentina

por celebrar mi década de Danza en Nueva York y por su apoyo permanente!!!!

“Diez años en Nueva York, marcan un intenso período de mi vida (de mis 30 a 40 años). Me mudé a Nueva York hace 11 años, me convertí en mamá, profesora en diferentes universidades y cumplí mi sueño de crear una compañía de baile en Estados Unidos (la primera que dirigí fue L’Atelier Ballet Contemporaneo en Argentina (1994-2000) y la segunda en Roma (2002-2005)”, recordó. “Vivir en Nueva York es gratificante, difícil e inspirador. Trabajar con bailarines de todo el mundo y con un público tan internacional, es el fuego que purifica mis ideas coreográficas”, finalizó la argentina que asegura encontrarse “feliz y orgullosa”.

http://balletindance.com/2017/01/10/una-decada/

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Reconocimiento

Feliz y Agradecida por el reconocimiento de la ‪#LaNuevaProvincia‬, acerca de mi trabajo en #NuevaYork, celebrando el 10 Aniversario de mi compania de Danza‬! http://m.lanueva.com/aplausos-impresa/886008/anabella-lenzu–diez-anos-de-exitos-en-eeuu.html

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Being a guest Choreographer for the Mata Hari Opera Production in NY, 2017

Mata Hari (World Premiere)

January 5th-7th, and 11th-14th, at 7 PM and January 8th at 2 PM

at HERE Arts Center, New York City

part of Prototype Festival

Composer: Matt Marks
Librettist/Director: Paul Peers

It has been a journey of exploration and self-analysis being the guest choreographer for Mata Hari Opera production, sharing my creative process, inspiration, and artistic quest.

With the magic of giving shape to an idea, an emotion, or an opinion comes great responsibility. Sharing my work with others provides the ultimate fulfillment, allowing me to broaden my search and crystallize my views on whatever moves me deeply.

Like an artisan, with each choreographic section I refine and explore ideas through movement and examine how to communicate.

This is not the first time that I have choreographed an opera. Previously, I created dances for “Il Pagliacci” by the opera director Guy Ariel Kruh (Paris/France) in Buenos Aires, Argentina in 1998. Later that same year I choreographed “Cavalleria Rusticana”  by Bahia Blanca Symphonic Orchestra under the direction of Eugenia Gallego in Bahia Blanca, Argentina.

I also choreographed the “Notre dame de Paris” musical in Sardegna, Italy in 2003, as well as being guest choreographer for many theater productions, TV programs, and dance companies in Argentina, Italy and USA.

In this article I would like to talk about the relationship between Dance and Music. As a choreographer and maker of metaphoric images and sensations, I understand the power of dance as a language.

How does one balance the meaning of the lyrics in the song when there is powerful movement and visual effects at the same time? Words are specific, movement is subjective.

As an audience member, there is a choice to make with your attention. Imagine someone massaging you when to are eating a piece of steak while smelling roses at the same time.

I remember my choreography teacher Mary Anthony talking about using music without lyrics, because words are your direct intellectual competitor.

What about when the lyrics are in a foreign language for that audience? Alternately, what is the effect if the lyrics and audience speak the same language?

Like husband and wife, music and dance share the same bed but are two different people choosing to live together.

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So how do I negotiate the lyrics and the music in an opera with the movements that Mata Hari evokes in me?

John Martin, in his book Modern Dance, offers some help in his thoughts about some of the relationships between music and dance.

  • Music interpretation: This is a contradictory formula, how can a dancer interpret Bach or Beethoven? The composer expresses himself sufficiently in musical form, not needing a dancing or gestural commentary. The dancer’s intention is to translate his own emotion, his own personal reaction to a determinate music. Another choice is interpreting the content of the music.
  • Transposition: visualize merely its form, translating sound patterns into movement patterns. The most tragic experience was Rite of Spring by Nijinsky, applying eurhythmics from Jacques Dalcroze.  Nijinsky divided the dancers in groups representing the different instruments of the orchestra and attributed a corresponding movement to each note.
  • Contrapuntal background:  placing movement patterns against music patterns. This is a compromise between interpretative and transposition. The music is the background and the movements are a visual counterpoint.
  • Music should merely mark the tempo and phrasing of what a choreographer wants to do using ready-made music or a specially make composition.
  • Mary Wigman, a German dancer, choreographer and notable as the pioneer of expressionist dance, proposed that the solution to this problem was that the music must be created at the same time as the dance, in a mutual collaboration between choreographer and composer.  To respect the specificity of dance, the music must be born from live movements like the dance.

For the Opera Mata Hari, music composed by Matt Marks and directed by Paul Peers, I decide to explore Contrapuntal background, as well as Music interpretation.

Transmitting my ideas as a guest choreographer working with a company for a short period of time is a delicate process. Precision, clarity of ideas, and effective synthesis help new dancers grasp my work and find the focus of their creative and interpretive search.

Working as a guest choreographer allows me to keep an open mind and heart because every company and group has its own particular architecture, ethos, and psychology. My job is to make the creative process accessible, exciting, and rewarding for both parties.

  • To Purchase tickets for Mata Hari  Opera Production CLICK HERE

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