Meet Eli Sibley 


An actor and theatre professional for over 20 years, Eli's credits include production, playwrighting, and movement direction.  She's worked nationally and internationally, most recently with Dramatic Adventure Theatre and West Virginia University for their Heart of Europe tour as Movement Director.  Her one woman movement, storytelling piece, Born of a Fairytale was produced both in DC and New York to great applause.  And the inaugural production of the company she founded with her husband, Vacant Lot Theatre Co, was privileged to work closely with renowned playwright, Erik Ehn, bringing Child's Drawing of a Monster to its world premier in New York. Along with her MFA and AmSat Alexander Technique certification, she is also a certified Laban Movement Analyst. She currently works with local theater companies and acting studios and teaches Alexander Technique classes geared towards different populations in the Twin Cities.  She gives private lessons and group classes in her home studio, Up&Back Alexander Technique and Performance Studio.  When she is not teaching, she is mommy-ing up a storm.


I was a dancer from a young age, in my living room, to the sounds of The Age of Aquarius, The Nutcracker Suite, and my mother on the piano with The Entertainer and The Spinning Song.  Although I attended a couple of one-off dance classes it wasn't something I actually pursued.  Why?  Idunno.  I also turned to writing for a short while, short stories and poetry.  That, too, was never seriously followed up.  Eventually I turned to acting as my artistic, and hopefully, lifetime endeavor.  This I pursued with actual degrees, internships, studies abroad, and continuing education.  This was how I was going to make it.  (Define: make it)

After attending Graduate School in DC, I almost immediately ventured forth to New York.  And worked tirelessly to get cast.  And then I worked tirelessly to earn money.  I admit, I was old for New York, or for just getting there and starting out.  And this was, like, my fourth starting out in a new city.  I had also just gotten married and wanted that settling down feeling rather than that never seeing my new husband, pounding the pavement, working late hours catering/serving feeling.  But we both persevered and made an honest go of it.  I made connections through classes and small off off off, I said OFF, Broadway productions and together we had our own theatre company.  And that was pretty good, actually.  But I knew, at this point in my life, I now needed more, something else, that next endeavor; I had pursued Acting long enough.

I ended following up on two programs that were also primary considerations for moving to New York.  I looked into doing the LIMS' Laban Movement Certification and The AmSAT Alexander Technique Certification at The Balance Arts Center.  Since I was already feeling old, I felt I should get on it and do them at the exact same time.  So I did.  I was still in love with dance/movement and over the years found myself consistently drawn to theatre pieces with "movement" attached to the audition notice.  When doing my study abroad, I was introduced to both techniques and felt an affinity towards each of them and how they could better me as a performer.   Which they totally do!  

So I got my certifications.  I also met some wonderful, amazing artists and practitioners and even collaborated with some of them and now I teach and direct movement.  Ta Da!  I've continued to pursue Acting but in small doses cause kids.  I also continue to write and completed a one woman story telling movement (of course) piece, have several more scripts on my desk, and love to collaborate and devise with movers and non alike. 

My teaching includes private and group lessons in my home and group classes through various organizations around the Twin Cities.  I love teaching the Alexander Technique, movement and acting.  I love it I love it I love it.  I work with athletes, seniors, beekeepers, and pre/post-natals as well as performers of all varieties.  At this point in my life, this is my making it and in one way or another, I will help others make it too.  

EliSibley -
It was refreshing to be led by someone with such a clear sense of the world (both physical and otherwise) of the production — (Eli) took control of our few sessions together in a way that made me feel absolute trust in her, both as a person and as an artist. Starting with “macro” concepts (i.e., hipster and restoration) allowed me to wade into Alceste’s physicality at just the right pace... the “macro” work led clearly and smoothly toward the more “micro,” specific movement work with the Misanthrope characters — the idea to have us play ourselves and then play other characters in the world was especially helpful, both because personal impressions were so integral to our world of the play and because finding extreme contrasts in movement helped break open my own ideas of how Alceste moved (and solidified some ideas I had been inkling around with).
— Matthew Ellis Murphy, actor