selected Repetory

Sangre & Arena (Blood & Sand)

(2012) 42 mins - 3 dancers

"Sangre y Arena" (Blood and Sand) is a visceral piece of dance-theater that reconnects with the primal impulses that underlie ritual, juxtaposing intellect and instinct.In this interdisciplinary, multimedia production with projections, paints, water, and masks, Lenzu rediscovers ceremony and heritage.

In our fast-paced society, where technological "connectedness" too often replaces real interpersonal connection, "Sangre y Arena" calls for a return to ritual. In a move away from the purely spectacular and presentational side of dance, Lenzu reconnects choreographically with the primal impulses of art and creation.


The Grass is Always Greener

(2010) 48 minutes - 5 dancers

Immigration. Roots. Discrimination. Memory.

Conceived and directed by Argentinean choreographer Anabella Lenzu with photographic projections created by Todd Carroll, “The Grass is Always Greener…” is a gripping, polemical piece of dance theater that hashes the personal, practical, and political struggles of immigrants to the United States. The piece moves in between the turn of the twentieth century, during the great waves of immigration at Ellis Island, and modern day. In a non-linear approach, the work weaves in scenes from our current conflict on US immigration policy, bringing the contemporary debate into sharp relief against historical, forgotten experiences.


The Corral

(2009) 50 mins - 6 dancers

Community. Chaos. Revolt “The Corral” is a piece that explores the themes of homeland and patriotism. As a native Argentinean and a foreigner on United States soil, I often ask myself: which country is my “home”—the country where I was born or the country that nourishes me (financially/culturally) now? 

More specifically, “The Corral” processes the experience I had with “El Corralito”—the 2001 social-political uprising in Argentina when the government froze all bank accounts, essentially robbing the entire nation overnight. The word “Corralito” translates to corral, a holding pen for farm animals.  This is where I will incorporate symbolism from George Orwell’s novel, Animal Farm, and Gabriela Mistral’s poetry. These references will mix with the physical theatre and movement to explore different perspectives and investigate how governments trap citizens and create stereotypical characters. 

There is meaning disguised behind images of a knife, a pair of high heels, a red river, an open hand, or an embrace. For me, the question of "society" and personal identity are interwoven, and the work I want to develop centers around the destruction and subsequent rebuilding of that relationship. It tells the story of one specific country, but the message is global. The pages of history in any country are written with the same words: anger, power, joy, fear and hope.

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