Archive for the ‘Dance’ Category
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, dance book review, Dance Magazine, danza hoy en español, Education, In Pursuit of Happiness, Meaningful Gestures: Inner Thought and Outward Expression, Revelando Movimiento y Emoción, Uncategorized, Unveiling Motion and Emotion on January 30, 2017| Leave a Comment »
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Dance, Dance Magazine, Uncategorized, tagged Agustina Lluma, Balletin Dance, Coreografa Argentina en Nueva York, danza en Argentina, Danza en Nueva York, Un decada de danza, Una decada en Nueva York on January 18, 2017| Leave a Comment »
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”.
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, Teatro, tagged Argentinean Choreographer, choreograph for Opera, choreographer, Choreography, Contemporary Opera, HERE Arts Center, John Martin, Mary Anthony, Mary Wigman, Mata Hari, Mata Hari Opera, Matt Marks, modern dance, Opera, Paul Peers, Prototype Festival on November 17, 2016| Leave a Comment »
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.
So how do I negotiate the lyrics and the music in an opera with the movements that Mata Hari evokes in me?
- 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.
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
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Dance, In Pursuit of Happiness, Pachamama: Mother World, Revelando Movimiento y Emoción, Uncategorized, Unveiling Motion and Emotion, tagged ALDD, Anabella Lenzu, Anabella Lenzu?DanceDrama, Argentina, Brooklyn, Choreography, Dance in New York, Dance In NYC, DanceTheater, modern dance, repertory, The creative process, Todd Carroll on October 11, 2016| Leave a Comment »
ALDD 10th Anniversary Timeline
10 Years, 300 Performances, 12 Choreographic works in 80 Venues.
2016 DanceDrama 10th anniversary! Argentinean tour presenting Unveiling Motion and Emotion and premiering In Pursuit of Happiness with Lauren Ohmer in Buenos Aires and Bahia Blanca. Hosted the 3rd Annual DanceDrama Laboratory Workshop Series; Re-staging the full-length show Pachamama: Mother World; artist in residency at DUO Multicultural Art Center (DMAC); Anabella guest judges for xyz nyc at The Tank; book presentation at Figment Festival.
To all the supporters, family and friends for supporting us economically and emotionally. You make this company possible.
Thanks for trusting and for being my partner! Anabella
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Barre a Terre, Beyond the Barre, Dance, Education, Uncategorized, tagged Anabella Lenzu, Barre a Terre, barre a terre in NYC, Dance with Joy, Floor Barre, Peridance CApezio Center, Peridance Center, Professional dance experience on April 26, 2016| Leave a Comment »
Barre a Terre with Anabella
CLASS SCHEDULE STARTING May 4, 2016 / BARRE A TERRE (Open Level)
- TUESDAYS 7:30- 8:30pm
- WEDNESDAYS 10am- 11:30am
- THURSDAYS 7:30- 9pm
- FRIDAYS 10am- 11:30am
All Classes are held at Peridance Capezio Center (126 East 13th Street, between 3rd and 4th Ave)
Barre à Terre: In 2006, I began to systematically teach what I call Structural Barre à Terre. Thinking about what kind of complementary training dancers needed for strengthening, increasing flexibility and sensitivity, and educating their bodies, no matter their technique. My classes are for people who wish to explore and learn about the fundamentals of their bodies’ functionality, bring awareness to their movement and their dancing, learn to use their bodies in service of movement, and become receptive to changes.
On the floor, under the effect of gravity, you become aware of the conscious and unconscious uses of energy and musculature: You can isolate and explore the functions of different parts of the body and their proper use. It takes patience and consistency to achieve an honest and available body. Make the body available. The body is the means, not the end!
Actors, dancers, singers, musicians, painters – everybody can take my class. Although their reasons for taking my class may differ, they all have one reason in common: self-discovery.
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, dance book review, Dance Magazine, revelando movimiento y emocion, Unveiling Motion and Emotion, tagged CAMPADIDANZA dance magazine, Gabriella Stazio, Giornaledelladanza.com, http://www.campadidanza.it, Il giornale della Danza, Leonilde Zuccari, Movimento Danza, Nicola Campanelli, Performing Arts Group di Gabriella Stazio, Sara Zuccari on February 15, 2016| Leave a Comment »
Thanks for supporting the creation of Unveiling Motion and Emotion in 2011!
Almost 3 years since the publication of my first book, Unveiling keeps getting amazing reviews
-and now International acclaim!
Two Italian dance publications reviewed Unveiling! Enjoy the critiques!
- GIORNALE DELLA DANZA
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Dance, dance book review, Dance Magazine, Education, immigrants, In Pursuit of Happiness, Revelando Movimiento y Emoción, Uncategorized, Unveiling Motion and Emotion, tagged Anabella Lenzu, Anabella Lenzu /DanceDrama, Anabella Lenzu DanceDrama Argentinean Tour, Argentina, Argentinean Choreographer, Argentinean Tour, Bahia Blanca, Bilingual Books, bilingual dance books, Centro Cultural Borges, Centro Historico y Cultural UNS, Dance Books, dance books in English, DanceDrama, Eric Crane, In Pursuit of Happiness, Lauren Ohmer, Museo de Arte Contemporaneo de Bahia Blanca, Museos de Arte: MBA-MAC, Todd Carroll, Unveiling Motion and Emotion on January 25, 2016| Leave a Comment »
Article by Courtney Kenyon (AL/DD Marketing Assistant)
Happy New Year!
As some of you may know, Anabella Lenzu/Dance Drama recently embarked on their Argentinian Tour! This tour took quite a bit of planning, especially since we were working internationally, but in the end this tour was not only rewarding artistically, but also personally for Anabella.
For starters, prior to this tour, Anabella had not been able to showcase her work in Argentina since 2005. To be able to share her work not only with friends and family, but also colleagues was extremely special. Many of Anabella’s past students and even their parents came to support AL/DD, and brought photos and shared fond memories of their days in the studio. As we spoke, Anabella told me that these encounters were some of Anabella’s favorite moments of the tour because they helped to remind her of who she was, and who she is. Living in New York, with everything going on, sometimes you forget the little things, and forget some special memories, but this tour helped all of Anabella’s worlds connect.
The tour started in Buenos Aires, which was the more ‘professional’ leg of the tour. Anabella had dancers, directors, press and more attending her presentation of In Pursuit of Happiness and her book Unveiling Motion and Emotion presentations at Centro Cultural Borges. Many dancers and directors mentioned that they were surprised to see something so avant garde as it is so different from usual Argentinian and European choreography. Anabella’s production is a melting pot, including media, dance and music, and Anabella even joins the piece at certain times. It is very evident that Anabella is inspired by many things and all her different surroundings whether it be in New York, Argentina, or Italy. Anabella’s work breaks boundaries all while having a strong message and keeping the language intact.
Bahia Blanca was a much more family oriented experience. Most of Anabella’s relatives have never seen her perform before, so it was wonderful to have them experience and understand her life. Anabella held her book presentation at Centro Historico y Cultural UNS, at Universidad del Sur. It was a very different experience to share her repertory while presenting because so much of her work has to do with Argentinian culture, and politics. Many locals and guests were surprised dancer Lauren Ohmer was able to understand the Argentine culture through dance and movement. The simple response; dance is a universal language. The book presentation as a whole ‘felt more like an inside joke’ Anabella said, because she knew everyone in the room, she was able to talk with the audience instead of reading her prompts because she was discussing something both she and the audience shared, which was a very gratifying experience. In Pursuit of Happiness was performed at Museo de Arte Contemporaneo Museos de Arte: MBA-MAC right in her hometown. Anabella is very open and was able to share a part of herself with many people she knew well, including some teachers from high school. Death is felt the same way universally, therefore the piece, in honor of her recently passed father was well received and appreciated by all.
Overall the tour was a great success. AL/DD received some wonderful coverage by local newspapers both in Bahia Blanca and Buenos Aires, and the trip exceeded many Anabella’s expectations. It was so wonderful to have her whole family, and resident dancer Lauren and her husband together in Anabella’s own hometown. Anabella has always felt as though she lived in three different worlds between Argentina, the U.S, and Italy, but having Lauren and husband Eric with her finally linked all her worlds into one, and for that, she is highly grateful.
CLICK this LINK to see photos from the Anabella Lenzu/DanceDrama Argentinean Tour 2015!
What the critics have said:
Thanks for being by our side all these years!