Fascinating a new audience with technicalities is no mean achievement. Bella Lewitzky, whose choreography has been seen more often in New York and her home town of Los Angeles than here, concerns herself with achieving maximum continuty as well as variety with a type of movement that is unexceptional as raw material. Yesterday, in the second and final program of her company's visit to Kennedy Center, Lewitzky succeeded in dramatizing this kinetic problem.

The dancers moved fluently, with no inherent contrasts such as contractions or thrusts. In "Greening," Lewitzky created diversion in this plasticity by pitting a group of six, joyous as angels, against one woman who yearns and learns. Impulses originated in the torso when members of the group danced, making them seem younger than the soloist. The source of her motion was at the base of the limbs; her trunk retained a mature dignity as she realized that her own youth has fled like an autumn leaf.

"Recesses" was a true original. Basically one solo, danced in three variations it achieved continuity despite isolations, interruptions and seeming irrelevancies -- hurdles purposely placed in its path. Lewitzky highlighted these impediments by exemplifying them with motions from athletics, autoerotics, anxiety attacks, thinking bouts and dance itself. Circularity was the key direction which unified the different building blocks. cThe temperaments of the characters -- Sean Greene's sensuality, Loretta Livingston's hesitancy, Amy Ernst's rashness -- gave each variation its unique cast, though Greene's section was the most vivid.

Without dramatic overtones, as in "Game Plan" (which replaced "Kinaesonata" at the evening performance), Lewitzky's problem-solving was dry.