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Help me get “No More Beautiful Dances” to the stage!
Both personally and politically, I endeavor to embrace the moment as a woman, mother and immigrant. I consider myself a worker in service of art and I feel it is an individual’s power and self knowledge that starts everything. You cannot take political action or be part of any community and be the change if you are not doing it yourself. This show is a testimony of all these changes and experiences as a specific woman in the performing arts.

Short Summary

My name is Anabella Lenzu and I’m a choreographer originally from Argentina, currently living and working in NYC since 2005.

I have over 27 years experience working in Argentina, Chile, Italy and the USA and  I am the Artistic Director of Anabella Lenzu/DanceDrama.

 Artist Statement:

  • Art is a political act.
  • Dance is discipline and revolt.
  • My body is my country.

I react to my environment and use the body as a receptacle and messenger of the multiple realities that we are immersed in.

My work reflects 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.

Performance is a conduit for examining cultural identity through form and content, as well as relationships between people and society.

Sharing my point of view of life with others is my duty and my pleasure.

As an independent choreographer with a dynamic company, it is a challenging and expensive venture to create work and perform in New York City,

In order to pursue a high quality experience for artists and audience alike, we have set a modest fundraising goal.

I invite you to participate in this goal and to share in the satisfaction of realizing a significant and meaningful process of exploration and discovery.

Thanks you in Advance! Anabella & Team

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Dear Dancers and Students,
  • Youtube is a great resource to expand knowledge about dance and artists. As a choreographer & dance history and dance criticism professor, I created a library on my page, which enables dancers to view and analyze historical and contemporary dance pieces. I created 70 playlists (with approximately 900 videos) organized by historical periods and choreographers. Please SUBSCRIBE to my youtube page.
  • Pinterest:  I created a board about METHODOLOGY of TEACHING DANCE.  Subscribe to see amazing images about anatomy, kinesiology, centers of energy to enhance your dance technique and get inspired by accurate imagery.
Have a wonderful Summer!
A hug, Anabella
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Exploring the importance of dance, community, choreography and dance pedagogy, Argentinean Choreographer Anabella Lenzu celebrates 20 years of teaching dance in a book of her writings in Spanish and English. Having opened her own dance school at 18, Lenzu recounts her experiences teaching in South America, Europe, and the US, as well as publishing an arts magazine and creating repertory for her dance company. Lenzu’s eloquent prose reveals reflections of a life devoted to dance performance and education.
Unveiling Motion and Emotion received an  Honorable Mention in the category of Best Art Book/ Spanish or Bilingual   from the International Latino Book Awards in San Francisco as part of the American Library Association Conference.
 

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Article by Julienne Rencher  (AL/DD Marketing Assistant)

Photos by Todd Carroll

I had the opportunity to discuss with Anabella Lenzu the revolutionary act of self examination, recognition and reframing yourself as a woman, dancer, and artist with her one woman show no more beautiful dances

J.R: How is “No more beautiful dances” different than your previous body of work?

A.L: This show is, I feel, completely different thematically from the past 11 years. I have been exploring choreography as a political act. Some shows were very political and talked about the society and the individual, some work was more about ritual and exploring the connection between performance and a ritual.

I feel that since my dad passed away in 2014, I have changed, partly because I did a show about him. I feel like life in New York City forced me to look internally to see what happened. This new show is like taking my vital signs to see where I am or who I am. I am not looking at themes outside of myself. It’s not about the socio-political, its not about ritual, its not about anthropological research, it’s about myself.

Also, I have arrived at a moment where I am 41 years old, I have two kids, my body has experienced a lot of changes psychologically, emotionally, and the show is about recognition, reframing myself one more time.

J.R: This a heavily political time in the United States, are you glad you are departing from politically themed work at this time.

A.L: As an artist, I consider myself as a worker in service of art and I feel that it’s an individual’s power and self knowledge that starts everything. You cannot take political action or be part of any community and be the change if you are not doing it yourself.

Over the years, I have found out things about myself in terms of how and to whom I give: as a mom I give to my kids, I give to my students, I give to my company members. Now I am looking inside myself something I have not done for a long time.

I feel that this show is a testimony of all these changes, all these experiences as a specific woman in the performing arts. Especially fighting with the idea of what a dancer needs to look like, because I am a trained ballerina. So just to examine your boobs and your belly… my body is a testimony to all these changes and to my whole life. It’s like when you see your wrinkles, it shows that time has passed and experiences passed.

I am interested in two things; the body as a container and the body as a tool.

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J.R: How did you use technology to more deeply explore themes of individuality and self recognition?

A.L: I use two cameras live, two projectors and two laptops. One camera is above and one below.

For me technology is like a magnifying glass, and I decided that I want the magnifying glass from above, and from underneath.

Because I feel that cameras are a portal to another dimension. The camera captures other dimensions that you can’t see in live performance. Even the eye cannot capture live so many details I really want to do this close up and this far away to show a different angle.

Basically I am choreographing a trio between the live performer that is myself and the two other images that you see from above and below. The technology is a way to frame myself. The camera shows another intention, another point of view in how it captures life and movement. I can offer the audience 3 different readings of myself.

You as the audience decide what point of view you want to see and when.

J.R: So you take the audience with you on this journey of self-examination. Were you ever afraid of exposing yourself so revealingly?

A.L: When dealing with your self, sometimes you don’t want to see yourself and sometimes I’m tired of taking photos of myself but I keep going because I think there is something else beneath the surface – who I am, who I really am. As performers we have so many masks, so I try to peel them off and find the other Anabellas. It’s an examination of self recognition and all the goals we have in our head. It’s fun for me!

About twice a week I take photos of myself as a way to see where I am, who I am, what’s is going on with myself, what interests me to talk about.

The things that you want to hide when you dance – that’s what I am going to show!

So Art is a rebellion. Art is about authenticity and identity.

J.R: How did you discover the movement for “No more beautiful dances”?

A.L: Movement as a symbol, as a metaphor to another state of transformation -that’s what I feel. There are different motivations of the things that I do, but through improvisation I can find the perfect gesture to convey these ideas using metaphor.

J.R: Describe the role of your dancers Dina Denis, Salvatore Cataldo and Ambra Togliatti in shaping the material?

A.L: Here is my creative process: I go to the studio, I improvise by myself 6 to 8 hours, I look at the videos, I take notes on the movement material that I consider interesting. I call the dancers, I organize the material on their bodies because I need to be able to get distance to work on my craft -meaning space, time, energy, all the articulations. I organize the design. After that, I re-learn the choreography myself and I do it. And then dancers are on the outside. It’s as if I am an architect creating a house. The dancers come live inside the house, and I also then later move inside the house. We talk about the experience of living in this structure and I change the piece accordingly.

The dialogue I have with them is fascinating, dancer-to-dancer. I make certain choreographic choices to suit what I would want for a man or a woman. It starts out specific, but I arrive at a universal message.

J.R: What is the universal message?

A.L: For me it’s about embracing who I am. That’s the whole thing. Embrace who you are in the moment you are in.

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Anabella will present excerpts of “No more beautiful dances” during The Fall 2018 at:

* SATURDAY, OCTOBER 14th, 2017 at 7pm as part of HATCH Series at Jennifer Muller/The Works Studio (131 West 24th Street, 4th Floor, New York, NY 10011) Admission: $20/ Students $15. To purchase tickets CLICK HERE

* FRIDAY, OCTOBER 27th at 7:30pm as part of Kun-Yang Lin/Dancers’ InHalePerformance Series in Philadelphia (CHI Movement Arts Center, 1316 S 9th Street, Philadelphia, PA 19147). Tickets $10

* SATURDAY, NOVEMBER 18th from 7:30-8:45pm at Gibney Dance Center (280 Broadway, 2nd floor, NYC) Studio E. Suggested contribution $15. Limited Seating. RSVP Required: info@AnabellaLenzu.com

SUNDAY, NOVEMBER 19th at 3pm at MARIE-CHRISTINE GIORDANO Salon Series (220 25th St #202, Brooklyn, NY 11232) Admission: $15

“No more beautiful dances” wrestles with the ideas of exploration, introspection and reframing a woman after becoming a mother, and being an inmigrant.  Lenzu’s dancetheater piece uses spoken word and video projections to tell a personal vision of femininity, and what it means to be a woman today.

Choreographer and Dancer: Anabella Lenzu

Video Projection Design: Todd Carroll

Acting and Voice Coach: Daniel Pettrow

Costumes: Jennifer Johanos

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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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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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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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Hi Friends and Supporters,
Thanks for celebrating this 10th Anniversary year of Anabella Lenzu/DanceDrama and for being by my side!
Humble, Happy and over the moon to receive these amazing reviews of my work/performance last week at the Argentinean Consulate in NYC. Enjoy them!
1) Attitude: The Dancers’ Magazine . Article by Madeleine L. Dale
“Anabella Lenzu presented excerpts from her work of the ten years of her New York-based company, there was a love-fest among critics. We couldn’t help ourselves. We burst with the joy of having seen and experienced stirring, intelligent artistry. “
“..Her choreography’s dynamism is fueled by a revolving door of intensity, self-awareness, melodrama, and/or ritual. This holds true whether the movement is more theatric-based, modern, folk-inspired, or a fusion of many forms.”
“Lenzu has been described as an “Argentine firecracker” which nicely sums up her large, passionate nature as well as her intense commitment to the creative process. She has developed a beautifully integrated approach to dance and theater which will continue to serve her and her fine company going forward.”
SAVE THE DATE: 
Sunday, Nov 13 from 3-5pm, Williamsburg, Brooklyn
Come and support us!
Stepping Out,  Photographic Exhibition by Todd Carroll.
A new collection of photographs made while wandering about, seeking out quiet, when light trickles down, over and around leaves and trees, restlessly looking for still images.
During the opening there will be photographs for sale to benefit AnabellaLenzu/DanceDrama
FREE. Limited Admission.
RSVP required: info@anabellaLenzu.com

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