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Open Level Barre à Terre
Originally from Argentina, Anabella Lenzu is a dancer, choreographer, writer and teacher with over 25 years experience working in Argentina, Chile, Italy, London and the USA.
Lenzu directs her own company, Anabella Lenzu/DanceDrama (ALDD), which since 2006 has presented 380 performances, created 14 choreographic works and performed at 100 venues, presenting thought provoking and historically conscious dance-theater in NYC.
ALDD’s work has been seen at La Mama, Baryshnikov Arts Center, Movement Research at Judson Church, 92nd Street Y, HERE Arts Center, Abrons Arts Center, DUO Multicultural Arts Center, Queens Museum, Bronx Museum, Gibney Dance, Center for Performance Research, Roulette, Chashama, Dixon Place, Sheen Center, The Consulate of Argentina in NYC, NYU/Casa Zerilli Marimo, University Settlement, Baruch Performing Arts Center, Snug Harbor Cultural Center, Instituto Cervantes, 3LD Center for Art & Technology, Kumble Theater/Long Island University, among many others. She has received grants from Brooklyn Arts Council, Puffin Foundation, Rockefeller Brothers Fund, Edwards Foundation, The Vermont Community Foundation, and the Independent Community Foundation.
She holds a MFA in Fine Arts (concentration in Choreography) from Wilson College, PA. Classically trained at the renowned Teatro Colòn in Buenos Aires, Lenzu studied the modern dance techniques of Humphrey/Limòn and Graham in New York. Her studies of Tango and the folkdances of Argentina, Spain, and Italy, further inform her work. Her choreography has been commissioned all over the world for opera, TV programs, theatre productions, and by many dance companies.
Lenzu founded her own dance school L’Atelier Centro Creativo de Danza in 1994 in Argentina, and has maintained an active teaching career ever since.
Lenzu has written for various dance and arts magazines, and published her first book in 2013, entitled Unveiling Motion and Emotion. The book contains writings in Spanish and English on the importance of dance, community, choreography, and dance pedagogy.
Her second book, Teaching Dance through Meaningful
Gestures, is expected in 2020, and explores
basic exercises, visualization exercises, active
artistic application. The book explores how
technique is a
philosophy and a theory, and how the
body is an instrument for expression.
Currently, Lenzu conducts classes at Peridance Capezio Center and NYU Gallatin, and is Artist-in- Residence at CUNY Dance Initiative, 2019-2020.
Barre à Terre 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.
Dance Theater Classes Description
“Motion creates Emotion and Emotion creates Emotion”
Expand your craft, technique and creativity in an exclusive, personalized, classes. This is an opportunity for dancers, actors and performers to develop their potential on both movement and theater performance skills and connect both to become more authentic, expressive performers.
This class explores the principle: Motion Creates Emotion /Emotion Creates Motion, and emphasizes the use of imagination, interpretation and body coordination and control.
DANCE TECHNIQUE Students develop alignment technique and an understanding of the dynamic in dance. Increase flexibility and strength as well as to develop muscular awareness in order to prevent injuries. Using phrases of repertory, students solve technical problems, using fundamentals of ballet and modern dance techniques. Proper technique is the foundation for learning to dance and control the body, showing how to use one’s muscles, achieve balance, and become aware of posture and placement.
REPERTORY Students experience and study Anabella Lenzu / DanceDrama repertory. The emphasis is on the journey rather than the destination, on understanding the impulses generated by movements and gestures. The search is for authentic and honest movement. Derived from our most basic impulses, these dance works use this principle to examine relationships between the individual and society, exploring communication, identity, memory, and spirituality, the relationship between people and their environment, the struggle for women’s identity and their role in society, and the nobility of the body as a temple for our mind, soul, and heart.
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