Breeanne Camille Saxton

they/she

Breeanne Camille Saxton (they/she) is a choreographer, trouble and music maker, teacher, curator and writer based in Berlin.

They are known for high-physicality, wit, and radically imaginative mischievous work.

Their work moves between embodied research, performance-making, and textual practice, with a focus on movement and play as modes of inquiry, knowledge production, and relational thinking.

Across choreography, performing, writing, and teaching, their practice explores embodiment as both material and epistemological framework. A core component of their research is concerned with developing accessible methods of embodiment and imaginative play in performative, educational, and healing settings. 

Fields of study which influence and guide their work are phenomenology, Tibetan Buddhism, performance art, and contemporary dance; Breeanne composes along the intersections of these spheres translating into both stage-based, educational, and textual formats. 

After completing a Bachelor of Fine Arts in Modern Dance at the University of Utah (2015), they worked internationally as a performer with the Ririe Woodbury Dance Company, performing original works and repertory by numerous artists such as Ann Carlson, Raja Feather-Kelly, Joanne Kotze, Doug Varone, Daniel Charon, Adam Barruch, and Alwin Nikolais (with Alberto Del Saz / Murray Louis Foundation).

They have since 2019 collaborated as a performer with artists across Europe including Matthias Schönfeldt (Atze Musik Theater), The Farm (Junges Tanzhaus Berlin), Marion Sparber, Jasmine Ellis, Alica Minar, Saar Magal, Phillip DeChamps, Stefan Winter, LajaMartin, Yael Cibulski, Daniél Desnoyers, Molly Heller, and others.

Prizes and nominations for Breeanne’s performance and choreographic work include:

Die Maus im Porzelanladen (2025) Ikarus Nominierung
Das Experiment (2025) Augenblick Mal! (preselection)
legaxy xx (2020) Solotanz Theater Stuttgart 3 preis, Masdanza 3 Preis Choreography

Their choreographic and research-led projects often function as hybrid formats, performative interventions, workshops, lecture performances, and symposia, where dance is used as a tool for investigating social, political, and psychological structures.

Their work as a teacher foregrounds play, non-hierarchical relationality, and embodied inquiry as methodological principles, alongside a growing engagement with therapeutic frameworks and ecological thinking.

They are currently in training in Integrative Dance Therapy, alongside continued development in clowning, meditation and buddhist practices, and ecological psychology.

Breeanne is involved in an eternal process of unknowing, unfolding, mis and understanding:

You are invited along.