Belinda Mello is a movement specialist with expertise in communication, presentation, and the performing arts.
Often her help is sought out to resolve issues with chronic tension or anxiousness as well as balance and movement coordination. Her students gain a sense of well-being that comes with living dynamically and comfortably in your own skin.
Belinda Mello is a senior level Alexander Technique teacher and movement specialist in practice since 1989. In addition to her ongoing classes and lessons at ATMOTION, she currently teaches at The Barrow Group, SITI Conservatory, and as a guest at other acting programs — now looking forward to offering classes the Terry Knickerbocker Studio soon. For fifteen years she was an adjunct Assistant Professor in the Brooklyn College/CUNY Theater Department where she taught the BFA Movement, Mask and BA Acting, directed (THE CATARACT, AL TAKES A BRIDE) and served as movement coach (CAMINO REAL, JUNE MOON, ROUGH MAGIC). She has been a teaching artist at the Tom Todoroff Conservatory, Ted Bardy Studio, Larry Singer Studio, Muhlenberg College, The Actor’s Movement Studio, the New Actor’s Workshop, NYU's Musical Theater Workshop, The Shakespeare Lab in NYC, Jean Cocteau Rep, Aching Dogs and offered masterclasses for the SITI Company and in Toronto, Colorado Springs. Belinda was both a director and actor in the Obie Award-winning production (Peculiar Works OFF-STAGE FRAGMENTS).
With Ann Rodiger, she co-produces the annual Freedom to Act Conference in NYC and is on faculty at the summer Alexander Residential Workshops in Spokane and Columbus. In collaboration with Monika Gross of the Poise Project, she created the curriculum of the first AT based course for care partners of people with Parkinson’s Disease: Partnering with Poise. She has taught continuing education courses to Licensed Massage Therapists and presented at the National Verbatim Reporters Convention. In addition to giving presentations, she coaches executives and lawyers, helping them shape and tell their story with confidence.
Belinda draws on her background in movement and theater for her weekly classes for actors, and in her presentation coaching. She works individually with actors and dancers preparing roles on and off B'way and Lincoln Center (TORCH SONG, WINTERS TALE, HAMLET, AMERICAN BALLET THEATER). Belinda was both a director and actor in the Peculiar Works Obie Award-winning production (OFF-STAGE FRAGMENTS).and has worked on theater productions with The Women’s Project (CROOKED), Prospect Theater Company (DARK NIGHTS PROJECT)
Belinda earned her BA at Hampshire College and is a graduate, cum laude and Joel Zwick scholarship awardee, of the MFA directing program at Brooklyn College/CUNY. She is a member of the Margolis Method professor certification group. In her early performance experience she was fortunate to work with Anne Bogart (HISTORY AN AMERICAN DREAM, SEHNSUCHT, SMALL TOWN BIG DREAMS, SPRING AWAKENING), Tony Kushner (LAST GASP AT THE CATARACT, BRIGHT ROOM CALLED DAY), Wendy Woodson (VISITING HOURS), Eva Dean Dance Company, and twice as an artist in residence at The Yard. In 2006, she performed at the International Theater Festival in Istanbul (BEWARE OF DOG). Belinda was both a director and actor in the Peculiar Works Obie Award-winning production (OFF-STAGE FRAGMENTS) and has worked as movement specialist and as a director/devisor on theater productions with The Women’s Project (CROOKED), Prospect Theater Company (DARK NIGHTS PROJECT), Tribeca Center for the Performing Arts (PARLOR SONG), Sulai Lopez’s one woman show (CULTURE OF COMPUNCTION;THE ARCHETYPES OF AMERICAN NEUROSIS).
Her movement experience is grounded in contact improvisation, ideokinesis, modern dance, yoga and Body-Mind Centering. She has been tutored in mask by Per Brahe and studied Rasaboxes with Paula Murray Cole. Her Alexander Technique training began at The Alexander Foundation in Philadelphia including study with the late Marjorie Barstow, first generation teacher. She continues to study with master teachers and completed a post-graduate training in the Carrington approach and Dart procedures. She has been published as a BACKSTAGE Expert and co-authored (2012): Cultivating a lively use of tension: the synergy between acting and the Alexander Technique, Theatre, Dance and Performance Training, 3:1, 27-40.