Breeanne Camille Saxton

April 4. – 8.
9:30 Uhr – 11:00 Uhr / local training exchange
12:00Uhr – 17:00Uhr / research project

Breeanne Camille Saxton is a choreographer, music maker, dance teacher, and performer currently based in Berlin. After receiving her BFA in modern dance from the University of Utah in 2015, she has divided her time evenly between choreography, performance, and teaching; the three practices cyclically influence one other. Her most recent work legaxy xx was awarded 3rd prize in choreography at the 2021 Stuttgart Solo Dance Theater Festival and 3rd prize in solo contest at the Masdanza Int. Festival. She is interested in cultivating comprehensive performative bodies which can make the theatrical highly physical. 

The Imaginative Body practice is a theatrical dance class that utilizes the mind’s ability to visualize, create, and project worlds and scenarios into the space in concert with the body’s execution of fixed material. With a varied training background including gymnastics, Horton-Limon, release technique, and contemporary floor work techniques, Saxton’s classes train the muscles to take care of the skeleton through efficiency, alignment, and intelligent utilization of physics of motion. Students will encounter rhythmic, spatial, and sequential challenges individually and as a group, preparing them for rehearsal, creation, and daily living.

We approach our alignment and strengthening with the curiosity of a child, learning our bodies anew each time and rejecting any shame that comes from “false” execution. The class is a laboratory for methods of completion. The health and longevity of the body are priorities in this work. As the class progresses through Saxton’s athletic and complex physical movement language, the phrase work is imbued with meaning and theatrical purpose. In this way, we are able to make the theatrical highly physical. Working through improvisational and choreographic worlds, we will develop the specific and authentic coordination between the emotional, physical, and imaginative bodies.

Breath, voice, and performative techniques are additionally trained in this practice, breaking down the boundaries between performing as an actor and as a dancer. Throughout this practice, movement is generated from a quality and task-based plane generating a proficiency in precise intention-based physicality. The eyes and hands garner special attention in this practice as our most familiar tool to see, visualize, understand, and navigate worlds. At the same time, the practice works towards breaking down the hierarchy of the body and discovering new ways of seeing, knowing, and representing the worlds we move through.

professional training/training exchange
: Monday – Friday 9:30Uhr – 11:00Uhr
Price: 5, – € per class or 20, – € for the whole week.
LocationT29 – dance space / Thorwaldsenstraße 29 80335 München, Germany

Current Covid Rules are 2G+
** you must pre-register for class here **
• space limited
­• present vaccination proof
­• present a negative Antigen-Schnelltest less than 24hrs old ( no self-test allowed)
­• If you reserve a spot and don’t cancel 48hr beforehand, you are obliged to pay, even if you don’t attend. As you have taken a spot that could have been used by someone else.

Research Lab / April 4.- 8. 2022 
Breeanne Saxton is looking for multifaceted professional dance theatre artists to join her in the early stages of research on a new duet with the working title, subdominion. Subdominion is a dance theater work for which explores the physicality, social leverage, and implications of the textures of submission. From an anti-capitalistic intersectional feminist point of view we will look into the ways our bodies have been subject to imperial white supremacist patriarchy (hooks) and also how our behaviour may have been a passive, submissive, or complicit support of patriarchal systems. We will question how the narrative of power has been told and by whom. Tearing apart our internalized definitions of domination, submission, control, and helplessness, we will research possible ways to create a subjunctive performative modality where a new dynamic positional logic of power and powerlessness emerges. What lies within the acceptance of powerlessness not as helplessness? By weaving personal stories with critical writing by thinkers like Harding (Sciences from Below: Feminisms, Postcolonialities, and Modernities), Hooks (The Will to Change), Foucault (Power, Discipline and Punish), Derrida (Force of Law: The Mystical Foundation of Authority), we will reconsider what kind of work is possible in submission and what kind of force remains in our modern bodies. The research will incorporate multiplicitous and numerous “bodies” into the work. We understand “bodies” to have an expanded definition, one that includes societal structural forces, sonic environments, and non and organic matter. By expanding our ensemble to include material outside of the human body, we make space to de-construct the ego-centrism of dance performance. Through working with non-sentient materials, the performer has a chance to experience a small ego-death. Though we will not be working explicitly with puppets, we will approach materials with a certain sensitivity and reverence for the inherent knowledge and perspective of each material we approach. The materials we are interested in experimenting with include heavy metals in liquid and solid form, slime, and reflective silk. Working with our various materials as dance and music partners will reveal the relative strengths and weaknesses of the performers and materials. Performers should be interested and comfortable with dynamic physicalities, partnering, theatrical voice/ text work, and partial to full nudity. Experience working on stage with materials, puppets, and/or objects will be beneficial to this process. Individuals with a strong personal movement practice and performative voice are encouraged to apply. While Saxton’s background is in contemporary dance, gymnastics, and theater, professional dance practitioners of all backgrounds are encouraged to apply.

Research Lab with Breeanne Saxton
April  4th 12:00 – 17:00 Uhr
April  5th 12:00 – 17:00 Uhr
April  6th 12:00 – 17:00 Uhr
April  7th 12:00 – 17:00 Uhr
April  8th 12:00 – 17:00 Uhr

APPLY: * Deadline Feb 28th 2022
*If you are interested and can commit to all the days.  Send an e-mail subject: Research Breeanne Saxton – to with your CV, a video (5 min max) and please write three sentences about what is important to you in a working/ movement research environment and a joke.

Previous classes with Bad Lemons Project:
Sept 19. – 23. 2020