C A R L A   V A N N U C C H I

Dancer - Performer - Teacher - Choreographer


(based on Graham, Horton and Limòn principles)

The objectives of this class are to become aware of movement and connection of energy in all range according to the principles of modern-contemporary new forms of dance and to gain strong yet fluid movements from correctly aligned joints and properly used muscles. The technique work is rooted in the principles of anatomy and kinesiology and directed to teach the students how to explore their own body mechanics in order to be able to express themselves freely and emotionally in dance performance. The dance students will learn about their capabilities and also about physiological limitations without having style’s limitations. They will be lead to discover by their personal range of body/mind characteristics to be pure and honest in their performing quality, acquiring the big range of contemporary movements and principles of expression (also knowing what the main traditional techniques can give like high level in performing skills).

  • Floor work of 30/40 minutes to awake from relaxation the body sensation to move in the space, warming up the senses: weight, touch, breath feeling, body-mind connection, etc.; sense of space inside and connection outside. "Let the gravity to take your weight….and give a breath to the space inside and outside the body, feel the earth touching you to start to move from the center area/ power house": breathing – stretching – rolling – sliding – sitting – curving - lining - etc.
  • Spiral stretch to fourth. Side curve to sitting, rolling up down through the front of the spine, lengthen down to land the full weight.
  • Middle level or Sitting Floor according to principal elements of Graham technique about spiral, contraction, release, side strecthes, etc.
  • Standing spine and torso vocabulary exercises: curve, line, tilt, flat back, twist, spiral, contraction, release, bounce, suspension and fall and recover all directions. Plies – torso connection vocabulary. Leg connection exercises. Falls and recovers. (exercises from Graham and Horton and Limòn techniques).
  • Travelling in the space in directions forms, diagonals, lines, forward, backward, and in differents energy steps, walking, running, jumping, or mixed forms including floor entering and rising up to experiment and develop the principles learned in the warm-up.
  • Choreographic phrase with a specific music quality or an emotional theme or both to challenge the dance students to develop different approaches to musicality, rhythm and interpretation, using traditional techniques (Graham / Horton / Limòn) and sometimes also release.

Understanding an evolution of the consciousness of anatomy to move next step in the quality and in the style of movements and performances:

  • From 0% of vital energy (just breathing) to the 100% dancing in space with different rhythms in music and with various tools and needs in performing.
  • Clarify the architecture of the gesture in the body and in the space: torso language – spine – pelvis – arms – legs coordination. Use of the weight, change of weight, fall, recover, suspension and give elements and bases about ‘traditional’ techniques like Graham and Horton in order to let the students to approach other dance styles like modern jazz or other forms of contemporary movements.
  • Develop the freedom of motion from the clarity and honesty of the physical sensations.
  • Making the dance students aware about reaching a personal technique and train them to be strong from their center to prevent injuries in order to be able and ready for a longer and “safer” career (and in everyday life).


  • Clear understanding and emboding of dance by energy flow, clear vocabulary extensible to all styles, dancing with emotional sense.
  • Develop awareness of the self range of movement to be able to flow in all techniques without injuries (knowledge of body and training of the body to be “oriented” to find the access/approach to any style of new choreography).

My major influences are: Miguel Lopez, Milton Myers, Elsa Piperno, Alan Danielson, Lynn Simonson.


Moving from the knowledge of the principles of Enrico Cecchetti’s method – where the use of the weight is centered in terms of anatomy and gravity - the objectives of this class are to become aware of movement and the connection of energy in classical ballet and contemporary techniques and to gain strong yet fluid movements from correctly aligned joints and properly used muscles. This teaching style can reduce the chance of injury while improving movement quality in the artist.
This class starts on the floor with working exercises inspired to Pilates technique, Kniaseff, Rommett, Laban and Yoga principles, followed by a ballet barre with also "torso language" and ends with sequences of adagio, pirouette, small and big allegro, using both techniques of ballet and modern/contemporary connected together by musicality and energy.
All levels taught, preferably developing artists.
My major influences are: Ernie Pagnano (Lar Lubovich Company trainer), Maggie Black, Majorie Musmann, Igal Perry, Lar Lubovich, Joelle Mazet, Carla Calcaterra, Helène Diolot, Shirley Ann Osborne. 


The laboratory consists of three elements:

1) floor warm-up for body awareness (see "contemporary and new-dance");
2) technique class and learning short phrases for artist improvement (see "contemporary and new-dance");
3) improvisation by themes (emotional, phisical, structural, etc.) to help artists develop their own style and at the same time create their own choreography.


In this class contact improvisation and dance theatre techniques are combined to develop new qualities and colours in movement. The result is a class which drives the artist to explore not only new areas of dance but new emotions and new ways of communication as well. 
My major influences are: Dieter Heitkamp, Richard Haisma (Laban Faculty N.Y.).



The purpose of "Danza Integrata (DanceAbility)" is to encourage the evolution and performance of newdance and cultivate a "common ground" for creative expression of all people.
Danza Integrata attempts to eliminate the prejudice that inhibits cultural and artistic diversity through performance, communication and education.
The community movement classes/workshops are open to able bodied persons and people with phisical disabilities who want to explore movements, dance, self-expression.
No previous experience is necessary; all sessions are wheelchair accessible.
My major influences are: Kitty Lunn, Alito Alessi, Teresa Wysocka.


This class starts with the Lynn Simonson warm-up, which is the base for sharp, quick and clean movements and can support any style of jazz dance. Then the "choreography routine" will follow: this part of the class is set up by choosing elements, steps and movements from the different styles, like Mattox, Ailey, Coole, Simonson, etc.
 My major influences are: Bob Fosse, Roy Lozano, Lynn Simonsons