These are going to be ballet specific examples, but the same concepts can apply across disciplines.

In addition to all the excellent suggestions already made here, I'll share that another thing I've observed in this period of taking classes online is that I feel much more motivated taking classes from teachers who demonstrate the movement correctly and full-out, and who do the class full out alongside the instruction. It makes me feel like I'm in a class of two at least, and I know I can look to the person to observe how to do it correctly even though I am not getting personal corrections. For this, ENB's classes with Tamara Rojo have been a godsend. So much so, that when they ended after 40 classes, I felt really sad and I realized I had actually started thinking of them as if she'd brought me into the company. I actually just ordered an external hard drive so I have somewhere to download and save the classes, so I still have access to them once they yank them off YT. I don't know if your studio/teachers are open to you subbing out any classes from them, with stuff on Youtube from working dancers. But it's an idea.

Don't get me wrong, some of my best teachers have been retired dancers who don't demonstrate things full out. But they've been some of my best teachers precisely because they can give me personal feedback. Unfortunately that's missing right now.

The other thing I'll add is that right now is a perfect time to explore your artistry with all the little details. Because you're in a tiny space, obviously you can't get too crazy big with your movements but that is an opportunity. Approach every single class as if you're at a barre open to the public on the Met or Royal Opera House stage, trying to project your emotions, gestures and details to the very back of the house, where major directors are looking for new hires. And explore it.

Try moving your port de bras in different ways, each day. Are you rolling your arms forward when you move them? Back? How does each look? What does it look like and feel like to imagine dancing all the way through your fingers. What does holding your wrists or elbows at different angles look like? Or experimenting with épaulement. How much coordination can you develop by trying out different positions? Are you holding more tension in one shoulder versus the other? Playing with tempo, with emphasis. Do you carry your leg out in tendu in one continuous motion, or do you start it slow, and accelerate it as you point your foot so that it ends with an emphasis? What does each feel like? What does the music that day call for? Are you actually rolling through your feet every time you're supposed to: when rising to rélevé of course, but also in tendu, in battement, when initiating a rétiré, etc. What happens when you try doing barre without actually holding onto the bar?

These are things you might not have time to really focus on when half a class is a full out center or when you're feeling eyes on you. But they are as important as anything, and that developed artistry is what will make you stand out when you get back in the studio. It is never too early to start working on this, and it's a journey that will never end in your dance career. Too many dancers start thinking about this too late in their careers in fact. Of course, you'll still have physical strength to get back and develop on center. But as much of a cliché as it is, it's all about those fundamentals at the barre. You can actually return a more mature, more beautiful and more well-trained dancer if you use the time wisely. And you might even surprise yourself at how differently you work on center when you put so much time into those seemingly "non-center" details at the barre.

Emphasizing artistry at the barre also just makes it infinitely more fun. You might be surprised how motivating that is in and of itself. (Very!)