

Alexandria Nunweiler is a movement artist, space-maker, joke writer, experience-sharer, collaborator, and curious human being. She is rooted in somatic practices that utilize improvisation, functional awareness, and yogic philosophy to form, and sometimes answer, large life questions. Alexandria’s work tackles formative beliefs, guilty pleasures, and the fine line between darkness and humor through her independent choreographic project, NunweilerTanz, which equips contemporary dance with comedic theater and performance art structures to weave together truth, lore, and spectacle into immersive, thought-provoking performances.
A lifelong learner, Alexandria holds a BA in Dance (Winthrop University, Rock Hill, SC), MSc in International Business (Hult International Business School, Boston, MA & Shanghai, China) and 200 hour RYT certification (Jenny Lane Yoga, Beverly, MA). Recently she has been a part of Company One’s CoLab as a dramaturg (2024/25), a recipient of the Next Steps for Boston Dance grant (2024/25), an artist in residence at The Rensing Center in Borseda, Italy (2022), and supported by NEFA, SC Arts Commission, Mass Cultural Council, and Alternate Roots.
Driven by experimentation, Alexandria’s work has been featured up and down the east coast in Philadelphia Fringe, BOOM Charlotte, Piccolo Spoleto, ArtBeat, and the inaugeral Boston Fringe Festival, among others. In the studio, she creates spaces for all beings to move, process, and be heard without hierarchy, and believes in the village it takes to raise new ideas. She integrates these ideals in her roles as an Adjunct Professor at Worcester Polytechnic Institute, as the Director for Artistic Planning and Development at Dance Theatre of Greenville, and as a Founding Member of The Click.
Growing up in a private non-denominational Christian school in South Carolina has left me with some questions: What makes a good person? What is my role in society and in relationships? Why do I still remember the VeggieTales theme song? What happened to my pregnant abstinence teacher? Is God real? These questions and more are the basis of SALVAGE, a dance/theatre show that deconstructs the funny, ridiculous, harmful, and beautiful practices, beliefs, and creeds of American Christianity.
Structured as a megachurch service that is often derailed by deep reflection, farces, and fights, SALVAGE creates a macro world out of the microexperiences found in true stories, sacred and secular texts, Christian school handbooks, and Bible parables. It blends contemporary dance, theater, and song to amalgamate complicated relationships to past selves, present community, and an eternal God — toeing the lines of blasphemy and salvation while carefully maintaining a reverence for the divine and the ability to laugh at diametrically opposed messages. Throughout the show, we probe the sexism, capitalism, nationalism, and fundamentalism present in the faith structures in order to better understand how we study, vote, and worship. SALVAGE’s closing benediction ultimately provides solace through love, selflessness, and empathy for Christians, ex-believers, and those like me who are somewhere in between.