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Online Workshop Coreografía para la Cámara en Chile
Dirijido por Anabella Lenzu (USA)
Organización: Francisco Sallato (Chile)

Sábados 10, 17 y 24 de Julio de 2021, via ZOOM
10am – 1pm, hora de Chile

Durante el workshop se ofrecerán herramientas para crear tus coreografías, explorando los elementos de la composición, tanto para el escenario como para realizar videos de danza. Examinaremos el proceso creativo aprendiendo a asumir riesgos y como tomar decisiones artísticas.Captura tus ideas en video y aprende cómo perfeccionar tu habilidad para fusionar los dos mundos creativos de la danza, teatro y el video.
Objetivos del Workshop: Comprender los elementos y el diseño coreográfico. 
Comprender la coreografía para la cámara y por la cámara.
Explorar cómo adaptar, extraer y crear el material coreográfico entre las composiciones de 3D a 2D.
Guiaremos a los participantes a través de ejercicios, discusiones y trabajos que analicen el papel de la interpretación y el uso del movimiento en la realización cinematográfica, asumiendo riesgos y limitaciones.

Temas:
– La pantalla como el escenario.
– Videoarte vs Videodance.
– Composición en 2D vs 3D
– Elementos de composición coreográfica
– Encuadre / Secuenciación / Duración
– Storyboarding
– Posiciones de la cámara y encuadres
– Historia, temas y motivos.

Destinado a: Bailarines, coreógrafos, actores, directores de teatro y videoastas.

TODAS LAS CLASES SON ONLINE Y A TRAVÉS DEL PROGRAMA ZOOM. DURANTE LOS WORKSHOPS SE GARANTIZA LA ATENCIÓN PERSONALIZADA Y SE INCLUIRÁ MATERIAL TEÓRICO.

PARA REGISTRARSE, ENVIAR EMAIL A: fcosallato@gmail.com

FECHA DE INSCRIPCIÓN: 10 de mayo al 5 de Julio, 2021.

CUPOS LIMITADOS.  

EL COSTO DEL WORKSHOP ES $75 USD POR PERSONA.

AL FINALIZAR EL WORKSHOP SE OTORGARÁ UN CERTIFICADO DE PARTICIPACIÓN.  

Biografia: Anabella Lenzu, bailarina, coreógrafa, escritora y maestra con más de 30 años de experiencia trabajando en Estados Unidos, Argentina e Italia. En Nueva York, Lenzu dirige su propia compañía, Anabella Lenzu / DanceDrama (ALDD), que desde 2006 ha presentado 390 presentaciones, creado 14 obras coreográficas de danza teatro y actuado en 100 lugares. 
Ha coreografiado en todo el mundo para ópera, programas de televisión, producciones teatrales y por muchas compañías de danza. Ha producido y dirigido varios cortometrajes de danza premiados  en más de 50 festivales tanto a nivel internacional, incluidos USA, Londres, Irlanda, Noruega, Suiza, Serbia, Portugal, Argentina, Brasil y México. Como educadora durante más de 30 años, ha estado enseñando en más de 50 instituciones, entre universidades, estudios profesionales de danza, empresas, festivales y simposios en Estados Unidos, Argentina, Brasil, Chile, Londres e Italia. Lenzu ha escrito para varias revistas de danza y arte. En 2013, publicó su primer libro Revelando Movimiento y Emoción ( bilingüe en Español e Inglés). El libro contiene escritos acerca de la creación coreografía y la pedagogía de la danza. Actualmente, Lenzu dicta clases en Nueva York en  NYU Gallatin, School of Visual Arts, Wagner College y Peridance Center.http://www.AnabellaLenzu.com

Ministrado por Anabella Lenzu

Organização: Fernanda Ermelindo

Local: Zoom

Data: sextas-feiras 11, 18 e 25 de junho, 2021 horário: 19:00 às 21:30 (horário de Brasília)

Investimento -até 12/05: $415 após 12/05 : R$470

O objetivo do curso é adquirir um conhecimento do coreografar para a câmera e a coreografia da própria câmera ao filmar dança para todos os formatos de tela.
Exploraremos como adaptar, extrair e enxergar materiais coreográficos transmutando do 3D para o 2D.
Os participantes serão guiados por exercícios, debates e trabalhos que analisam o papel da performance e o uso do movimento em filmes, abraçando riscos e limitações.
Pensaremos questões como: O que é coreografia? Como analisamos a dança hoje?


* Além do seu crescimento pessoal, essa será uma oportunidade única de se conectar com outros artistas, trabalhando de maneira profunda e com uma forte visão.

PARA SE INSCREVER: POR FAVOR ENVIE SEU CV E UMA CARTA DE MOTIVAÇÃO EXPLICANDO SEU INTERESSE EM PARTICIPAR DO WORKSHOP PARA: fermelindo@gmail.com

**OBS.: UM CERTIFICADO DE CONCLUSÃO SERÁ ENTREGUE NO FIM DO WORKSHOP MEDIANTE SOLICITAÇÃO.

Tópicos abordados:

– O quadro como palco

– Video Arte X Screen dance 

– Composição em 2D e 3D

– Elementos de Dança

– Enquadramento/Sequência/Duração

– Começos e Finais

– Emotional beats

– Storyboarding

– Elementos Essenciais para História 

– Posições de Câmera e Shot List

Sobre Anabella Lenzu:  

Nascida na Argentina, Anabella Lenzu é bailarina, coreógrafa, escritora e professora com mais de 30 anos de experiência profissional na Argentina, Chile, Itália e EUA.  

Lenzu é diretora de sua companhia, Anabella Lenzu/DanceDrama (ALDD),  sediada em Nova York. Desde 2006 já criou 14 trabalhos coreográficos, 
performou 390 vezes e se apresentou em 100 locações distintas, trazendo aos palcos da cidade trabalhos de dança-teatro que provocam a mente e são histórica e socialmente engajados.

Como coreógrafa, Lenzu assinou trabalhos por todo o mundo para Ópera, TV, produções teatrais e inúmeras companhias de dança. Também produziu diversos videodanças premiados e exibiu seu trabalho em mais de 50 festivais pelos EUA e outros países, incluindo Inglaterra, Irlanda, Noruega, Suíça, Servia, Portugal, Argentina, Brasil e México. 

Fundou sua própria escola, L’Atelier Centro Creativo de Danza, em 1994, na Argentina. Com mais de 30 anos de experiência em educação, Anabella já lecionou em mais de 50 instituições, incluindo universidades, escolas profissionais de dança, companhias, festivais e simpósios nos EUA, Argentina, Brasil, Chile, e Itália. www.AnabellaLenzu.com

Dance Composition/ Choreography Workshop

Theme: Ritual & Performance

Saturdays, May 8, 15 & 22, 2021

Dance is union and communion with ourselves, with others, and with the environment.
During this workshop, we will explore the connection between performance and ritual by using movement, spoken word, sounds, music, and props as tools.
We will explore how memory and spirituality shape identity and how rituals can document intimacy.
Performance is a conduit for examining cultural identity through form and content, as well as relationships between people and society.
We will observe the creative impulses and essential ways we celebrate life (and death), and in so doing, help us guess the meaning of life.

ALL CLASSES VIA ZOOM. 

I WILL PROVIDE INDIVIDUAL ATTENTION, FEEDBACK, AND GUIDANCE FOR EACH INDIVIDUAL, WHICH IS WHY ALL PARTICIPANTS NEED TO BE PRE-REGISTERED. NO SINGLE CLASSES ARE ALLOWED. EACH PARTICIPANT NEEDS TO REGISTER FOR THE ENTIRE LENGTH OF THE COURSE, SO I WILL BE ABLE TO DEDICATE MYSELF INTENSIVELY TO THE PROGRESS OF EACH ARTIST. IN ADDITION TO THE SCHEDULED CLASS TIME, ALL PARTECIPANTS CAN HAVE A ONE-ON-ONE 30 MIN PRIVATE CONSULTATION. THEORETICAL MATERIAL IS INCLUDED. 

CLASS SIZE IS LIMITED TO 15 STUDENTS PER WORKSHOP.

TO APPLY: PLEASE SEND A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING AND YOUR RESUME TO **INFO@ANABELLALENZU.COM

Interview by Ashmita Biswas

Ashmita: What is your creative process?


Anabella: This pandemic changed all of us. Whatever creative process I  knew about, I threw it out the window. So what is my creative process now in contrast to the past? For 30 years I have choreographed for the stage non-stop and right now, because of the pandemic, I started creating dance films in my home because it is a place where I feel safe, even though the space is limited. I live in a small apartment in Williamsburg, Brooklyn. I have 2 kids, a husband, a dog, and many belongings. It requires a lot of planning but at the same time I am very interested in exploring this environment that I live in, and I try to pour my personal and artistic life into this new creation. Since the pandemic, I have been studying filmmaking and video art at the School of Visual Arts, and I have also been doing a lot of research. 

The pandemic forced us off the stage, and at this moment I can’t envision myself choreographing for the stage again! The stage isn’t the right fit for the ideas and images I’m working with now. The images are more cinematic in nature. In general, I’m a choreographer who uses strong images. Now I’m figuring out the length and how I frame these ideas. It also led me to frame the body in a different way. On stage I perform and show my entire body, but now I can just choreograph with my face or my shoulder or with my elbows, or just my hands. So it gives me more possibilities to reframe my body. I am also able to incorporate my private life into it. It’s not that my previous works were very different. At the beginning it was political, then it was more ritualistic, then more spectacular and the last couple of years I found my work to be more along the lines of an autobiography. More recently, I’ve been diving deeply into my identity as an immigrant and as a mother, so my creative process has changed drastically. 

Ashmita: 
How different was your creative process before the pandemic when you were doing it for the stage? How would you approach it then?

Anabella: Well let’s see…for the stage, I was thinking about the whole spectacle, what we call the physical space or the body in space. I did many site-specific outdoor performances but my love is in the theater, in the black box. So from the perspective of a theatre, the idea develops in a different way, and perhaps there is more experimentation about movement. Now I’m thinking more with the outside eye. In the case of dance films, while researching I have a flash of a visceral image that could be a metaphor for something that could have textures, like smells and shapes. My husband is a professional photographer. He is usually the one who films and I direct him. We talk and discuss how much we want to show in the frame. Usually I do several shoot “studies” with my phone first, and then Todd film’s it with a nicer camera. 

I look for different ways to capture the movement, the emotions.

Choreography for me is an “Apparatus of Capture”, it is a way to capture a moment in time, sensations… an intimacy that the stage can not provide me. It is another form of communication. 

For example, I can give you a news by calling you on your phone or send you an email or write you a letter, or in person. It’s the same news but a different medium of sharing or communicating it.  I’m excited about dance films because it forces me to work on my creativity in a different way. 

This week we shot for 3 days with my daughter. It’s about women passing the legacy from one generation to another. I know that I will only have 1-2 hour windows to film this, so I discuss with my husband which day we can work on which scene. Then we improvise in front of the camera. This is different for me because I’m not an improviser, I’m a choreographer. But I feel that if I establish the texture and the environment for the film, I have the freedom to improvise. Then the choreography will happen in the editing process of the film. Of course I don’t have this opportunity when I’m doing a live show. In a film I can have many different versions depending on how it’s edited. I’m the creative head and my husband handles the technology, because I still refuse to learn about some of that stuff. I can’t do so many things at the same time. The whole process is fun! 

Ashmita:
 You mentioned about the pandemic before and how it changed this whole process, so could you talk a little more about how the pandemic brought about a change in your views as an artist and how you adapted to this change?

Anabella:
Last year, in June 2020,  I was supposed to premiere a full length show that I was working on for two years (commissioned by La Mama) for La Mama Moves Dance Festival and when the show was canceled,  I said to myself “I’m not going to throw all of this out of the window.” 

Two years of research and I thought “What am I going to do with the show…do I wait for this pandemic to be over?” So in the spur of the moment, I decided to make a dance film. I immediately had a talk with my director Daniel Petrow, my dramaturge Naoko Maeshiba & the photographer/ filmmaker Todd Carroll, and I said we’re going to keep rehearsing through zoom and we’re going to make a dance film. I decided to shoot this film in one shot, instead of editing it, in order to keep the feel of a live performance. We made a 28-minute non-stop film without editing. I had to record it several times as I had many props,  and the spacing was complicated. What the pandemic taught me is that we artists survive like cockroaches. No matter what happens, it is necessary for us to create and express ourselves and process life through art. If I don’t do that I would feel miserable and my body would feel crippled. I have to move and I have to choreograph in order to process reality. The pandemic taught us to be adaptive and because I have something that I want to share I find different mediums through which I can convey it. So I can write you an email or do a dance film, or I can perform live in the middle of the park. I don’t ask If, I ask How am I going to do it? I keep creating. Also the pandemic gave me a little more time because I wasn’t traveling like crazy all over New York for work and family. Last year, I had more time to do my research and read a lot of books. I had bought so many books over the last 10 years and stored them for exactly this time, it turns out. I feel that investing this extra time in reading gives my work a deeper meaning. 

Ashmita:
 Well it was so insightful to hear from a prominent artist like you and how you adapted to this whole situation in a positive manner and how you see a silver lining instead of being like “oh no everything is ruined”.

Anabella:
I feel that’s how we learn to survive and thrive and of course I cannot say that everything is rosy. There have been moments that I’ve been very depressed, but what kept me going is to wake up every morning and have something to learn and to create and that makes me start the day with enthusiasm. Even though I am at home and we don’t go out as much, there are not enough hours in a day for me to achieve everything that I want to do. Even when I have more time, it’s not enough, because it’s a constant hunger and thirst for knowledge, and that’s why I do Art.

Ashmita: Wow that’s really inspiring, thank you so much for sharing your knowledge.

*** Anabella’s Upcoming Events: https://www.anabellalenzu.com/news

***Anabella’s Upcoming Workshops: https://www.anabellalenzu.com/workshops


Ashmita Biswas, from Kolkata, started dancing Indian classical forms (Kathak and Bharatnatyam) at the age of five. While graduating in Business Administration (St. Xavier’s college), she completed a diploma course in Movement Arts from Rhythmosaic Dance Institute where she studied Ballet, Jazz, Contemporary, Tap and Kathak from Ronnie Ghosh and Dr. Mitul Sengupta. She then joined a Latin Dance company Vive La Salsa, Kolkata for three years where she trained, performed and taught Salsa, Bachata, Kizomba and Afro-Cuban Rumba under Aditya Upadhya.

In 2016, she joined The Danceworx, Mumbai where she trained in Ballet, Jazz and Contemporary. She was trained in ballet by ballet master Yehuda Maor from Israel.

In 2017, she moved to New York City to study Ballet, Contemporary and Salsa in the Peridance Center. She graduated from Peridance in 2020 majoring in Salsa. She is currently training, performing and teaching with a prestigious salsa company, Baila Society, New York (Directed by Ahtoy Wonpat Borja). Salsa Congress(Mexico), Boston Salsa Festival, New York International Salsa Congress, Connecticut Salsa Congress, etc are some of the festivals and events where she has performed. She has also studied and performed under renowned contemporary artists such as Anabella Lenzu, Apollonia Holzer and Martha Chapman. Being a Teaching Artist in Notes In Motion, she has had the privilege of teaching children(Pre-K to 12) in Public schools. Recently she taught Creative Movement and Salsa to children and adults in India through remote learning. 

from JUN 14 – JUL 26, 2021

Monday  6:00-8:00 PM (EST)  6 sessions

To REGISTER

https://sva.edu/academics/continuing-education/art-activism/courses/my-body-my-country-composition-in-2d-and-3d-21-cu-vsc-2253-ol

In a time where feeling disconnected from our bodies is the new normal, this course helps students explore their own body and presence by conjuring body images and physical gestures. We will explore issues of identity, social relationships and agency, through study and the shared creative process. Students will become familiar with key ideas in performance, as well as important artists like Trisha Brown, Anna Halprin, Carolee Schneemann, the Gutai Group, Ana Mendieta, and Tony Orrico. Inspired by these figures, we will engage in a set of vigorous and liberating creative exercises using the Body Mapping technique, where texts, drawings and movement will be employed to share the stories of our bodies and experience. Participants will create 2D (drawing, photography, video, collage and mixed media), and later 3D compositions (site-specific, installations, dance, theater and performance art), to expand their artistic vocabulary. This course is ideal for visual artists looking to expand their work in performance, as well as anyone looking to get back in touch with their body and art. No background in performance required. 
NOTE: This course is fully online and offered through a combination of synchronous as well as asynchronous lectures and discussions. Students are invited to attend regularly scheduled online sessions during the listed course hours.

Choreography for the Camera Workshop

by Anabella Lenzu

Saturdays, April 10, 17 & 24, 2021

11-2pm (EDT) NYC Time

https://www.anabellalenzu.com/workshops

  • This three-day workshop will be led by choreographer Anabella Lenzu and photographer Todd Carroll.The objective of the course is to gain an understanding of choreographing for the camera and the choreography of the camera when recording dance for all screens. Explore how to adapt, extract and see choreographic material transform from 3D to 2D.We will lead participants through exercises, discussions, and works that look at therole of performance and the use of movement in filmmaking, embracing risks and limitations.I invite participants to explore questions like: What is Choreography? How do we read dance now?  What is performancefor you now during the pandemic? For Filmmakers, directors, choreographers anddancers interested in dance film collaborations. 

ALL CLASSES VIA ZOOM. 
I WILL PROVIDE INDIVIDUAL ATTENTION, FEEDBACK, AND GUIDANCE FOR EACH INDIVIDUAL, WHICH IS WHY ALL PARTICIPANTS NEED TO BE PRE-REGISTERED. NO SINGLE CLASSES ARE ALLOWED. EACH PARTICIPANT NEEDS TO REGISTER FOR THE ENTIRE LENGTH OF THE COURSE, SO I WILL BE ABLE TO DEDICATE MYSELF INTENSIVELY TO THE PROGRESS OF EACH ARTIST. IN ADDITION TO THE SCHEDULED CLASS TIME, ALL PARTECIPANTS CAN HAVE A ONE-ON-ONE 30 MIN PRIVATE CONSULTATION. THEORETICAL MATERIAL IS INCLUDED. 
CLASS SIZE IS LIMITED TO 15 STUDENTS PER WORKSHOP.

TO APPLY: PLEASE SEND A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING AND YOUR RESUME TO **INFO@ANABELLALENZU.COM. PLEASE DESIGNATE WHAT WORKSHOP YOU ARE INTERESTED IN.

THE COST FOR ONE WORKSHOP IS $200 PER PERSON.
**NOTE: AT THE END OF EACH WORKSHOP YOU WILL RECEIVE A CERTIFICATE OF COMPLETION UPON REQUEST.
1-ON-1 CHOREOGRAPHIC MENTORSHIP PROGRAM
Go deeper, Get advice!
Artistic Support for aspiring and professional choreographers 
https://www.anabellalenzu.com/new-page

This mentorship consists of 5 private online sessions Via Skype or Zoom, designed for a single artist.
Each session lasts 90 minutes and includes: Focused time on development and experimentation with different techniques of Choreography, exploration and examination of the individual creative process, artistic brainstorming, feedback on the previous choreography, advice on topics such as writing about your work, as well collaborating with another artists and designers. By exploring different choreographic methodologies (for live performances as well as for an online audience) the artist will work on a new creation expanding their creative toolbox.Supplemental material: In addition to guided choreographic studies, participants will also be provided with personalized links to a wide range of publications and books, as well as video performances and lectures about Dance and Choreography to research.
Participation Fee: The total program cost for 5 online mentorship sessions (7.5 hours total) is $500.
TO APPLY: PLEASE SEND YOUR RESUME and A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATINGTO: INFO@ANABELLALENZU.COM
***Please provide suitable dates/times for the 1-on-1 Mentorship sessions

Dance Composition/ Choreography Workshop
Focus: Music and Dance Relationship
Saturdays, March 6, 13 & 20, 2021
11-2pm (EDT) NYC Time

https://www.anabellalenzu.com/workshops

As choreographers, how do we deal with the relationship and overlapping layers so that dance, music, and the poetry of the lyrics intertwine to create the multifaceted and profoundly human characters you see on stage?
I believe that music acts as a partner to dance. 
Music influences the dancer, the choreographer, and the audience, building a unique atmosphere around the stage, facilitating kinesthetic empathy.
During this three day workshop, we will explore the different relationships between Music, Movement, and Lyrics, stimulating your creativity.

Participation Fee: $200.
TO APPLY: PLEASE SEND YOUR RESUME and A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATINGTO: INFO@ANABELLALENZU.COM

THE DIVISION OF CONTINUING EDUCATION, School of Visual Arts SVA PRESENTS
PERFORMANCE AND BODY MAPPING WORKSHOP BY ANABELLA LENZU

(ONLINE EVENT) FREE
WED, FEBRUARY 10, 2021 FROM 7:00 PM – 8:00 PM EST

Body Mapping is an intergenerational dialogue tool helping people of different generations to talk to each other. The experience builds trust and deepens people’s understanding of how their lives are all connected with each other.

Join us for this Body Mapping Workshop led by artistic director, choreographer, and performer Anabella Lenzu, during which participants will use texts and drawings to share their own stories of their bodies. We will begin by viewing an excerpt from Lenzu’s No More Beautiful Dances – a dance-theater piece using spoken word and drawings to tell a personal vision of femininity and what it means to be a woman today. The performance also challenges the viewer to think about how they view bodies. Through discussion and participation, we will develop fresh insights, find new directions and explore identity and social relationships.

Suggested: Before the workshop please be prepared with paper to draw on (the bigger the better), crayons, and drawing implements. Comfortable clothes that allow movement are recommended.
https://www.eventbrite.com/e/performance-and-body-mapping-workshop-tickets-138336146137

Dance Film Premiere

THE NIGHT THAT YOU STOPPED ACTING/LA NOCHE QUE DEJASTE DE ACTUAR
BY ANABELLA LENZU

LA MAMA MOVES! DANCE FESTIVAL PRESENTS Tuesday, JANUARY 19 Wednesday, JANUARY 20 AT 7PM (EDT- NYC Time) ONLINE
HTTP://LAMAMA.ORG/MOVES/ 

THE EXPONENTIAL FESTIVAL
 PRESENTS Friday, JANUARY 29 @ 9PM (EDT- NYC Time) ONLINE
https://www.theexponentialfestival.org/thenightthatyoustoppedacting

The night that you stopped acting/ La noche que dejaste de actuar, confronts the absurdity and irony of life, while being an artist and a spectator in today’s world. ​Choreographer and Dancer: Anabella LenzuDirection: Daniel PettrowVideographer and Technology advisor: Todd CarrollDramaturgy: Naoko Maeshiba​The work reflects Anabella Lenzu’s my experience as a Latina/European artist living in New York and comes from a deep examination of my motivations as a woman, mother, and immigrant. ​

UPCOMING EVENTS FOR 2021: https://www.anabellalenzu.com/news
Connect with us www.AnabellaLenzu.com

Go deeper, Get advice!

Support for aspiring and professional choreographers to find your voice as artists!

1-ON-1 Choreographic Mentorship is a unique program that offers a personally tailored opportunity for aspiring and professional choreographers. 
The program is guided by Anabella Lenzu, a choreographer and educator with more than 30 years of experience investigating the interior logic of performance and the role of a dancer and choreographer in our culture today.
This mentorship consists of 5 private online sessions Via Skype or Zoom, designed for a single artist.
Each session lasts 90 minutes and includes: Focused time on development and experimentation with different techniques of Choreography, exploration and examination of the individual creative process, artistic brainstorming, feedback on the previous choreography, advice on topics such as writing about your work, as well collaborating with another artists and designers. By exploring different choreographic methodologies (for live performances as well as for an online audience) the artist will work on a new creation expanding their creative toolbox.
Supplemental material: In addition to guided choreographic studies, participants will also be provided with personalized links to a wide range of publications and books, as well as video performances and lectures about Dance and Choreography to research.

Participation Fee: The total program cost for 5 online mentorship sessions (7.5 hours total) is $500.
TO APPLY: PLEASE SEND YOUR RESUME and A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING TO: INFO@ANABELLALENZU.COM

***Please provide suitable dates/times for the 1-on-1 Mentorship sessions

UPCOMING EVENTS FOR 2021:https://www.anabellalenzu.com/news
Connect with uswww.AnabellaLenzu.com