Alexandra Beller (MFA, CMA (Certified Movement Analyst), Artistic Director of Alexandra Beller/Dances (2002-present) was a Bill T. Jones/Arnie Zane Dance Company member from 1995-2001. Alexandra has created 40 Dance Theatre works, presented at theatres in Korea, Hong Kong, Oslo, Cyprus,  and the US.  She has created dance theater works for over 50 Universities throughout the US, including Barnard, SUNY Purchase, Rutgers, Princeton, UCSB, U of MI (Ann Arbor), Ohio University, and The New School. 

Alexandra currently choreographs predominantly for Theatre. Credits: Off Broadway: Sense and Sensibility (Judson Gym, Folger Shakespeare, A.R.T., Portland Center Stage), (Helen Hayes Award, Lortel Nomination, IRNE Best Choreography), The Mad Ones, How to transcend a happy marriage (Lincoln Center Theatre), Regional: Two Gentlemen of Verona and As You Like It  (Hudson Valley Shakespeare Festival, Folger Shakespeare Library), The Young Ladies of… (Taylor Mac), Antonio’s Song (Milwaukee Rep, Goodman), Fandango for Butterflies (and Coyotes) (La MaMa, La Jolla), Directing/Choreographing Macbeth. She wrote and directed an adaptation of A Midsummer Night’s Dream for 92Y.

She was on faculty at Princeton 2015-2022 and teaches at The Laban Institute for Movement Studies, HB Studios, UWM grad program.  She teaches residencies and master classes at Universities internationally. She has two books releasing soon: The Embodied Conductor: A Somatic Approach to Conducting with Laban and Bartenieff is being published by Meredith Music in December 2025, and The Anatomy of Art: Unlocking the Creative Process for Theater and Dance by Bloomsbury, launching in May 2026. For more info: www.alexandrabellerdances.org. 

I am committed to revealing myself: as a woman, an artist, and an American. I make art because I want to find out where I mesh with and where I challenge my community. I use the creative process to develop compassion for that which is foreign to me. I want my work to trigger memory, emotion and heightened awareness through images that are electric, disarming and provocative. As a member of a sometimes-oppressed gender, an oppressive race, and a country that has exhibited questionable human values, I am fascinated by issues of morality, compassion, greed, manipulation, victim-hood, power, and absolution. The work traffics through the dangerous territory of homophobia, sexism and emotional isolationism.

My form of Dance Theater is truly a democratic use of movement and words, a series of artistic collisions where bodies, words, objects and sound function as characters in a human narrative. I believe that creation should be an act of survival. I invite the performers to go to their own danger, where they speak because they are personally compelled to reveal themselves, move because words cannot express the depth of their meaning. Their stories, intimate and unique, will hopefully etch a picture of our shared space.