About Faye

FAYE DRISCOLL is a Bessie Award-winning choreographer and director whose work is rooted in an obsession with the problem of being ‘somebody’ in a world of other ‘somebodies’.  Her work has been commissioned by and presented at such venues as Walker Art Center, Wexner Center for the Arts, ICA/Boston, Danspace Project, HERE Arts Center, The Kitchen, Dance Theater Workshop, American Dance Festival, Fusebox Festival, UCLA, CounterPULSE, Brooklyn Academy of Music, and The Yard and she has toured internationally to Theatre de Vanves Festival Artdanthe, Theatre de Gennevilliers, Festival D’Automne a Paris, Croatian National Theatre in Zagreb, Centro de Arte Experimental UNSAM in Buenos Aires, Melbourne Festival, Belfast International Arts Festival, and Made-in-USA Festival through the Onassis Cultural Center in Athens. She has been an Artist-in-Residence at Baryshnikov Arts Center and Park Avenue Armory, and a choreographic fellow at MANCC. Driscoll has been funded by The MAP Fund, a Guggenheim Fellowship, a Creative Capital award, a French-US Exchange in Dance grant (FUSED), NYSCA, a Foundation for Contemporary Art grant, NEFA’ s National Dance Project production and touring award, The Jerome Foundation, Greenwall Foundation, and LMCC. Driscoll is a recipient of a 2016 Doris Duke Award and is a 2016 United States Artists Doris Duke Fellow.  Driscoll has collaborated with theater and performance artists including Young Jean Lee, Cynthia Hopkins, Taylor Mac, and Jennifer Miller. She was one of the only dance artists exhibited in YOUNGER THAN JESUS, the first in a series of triennials at New Museum, and her work was included in NYC Makers: The MAD Biennial, the first biennial at the Museum of Arts and Design. Her most recent work, Thank You For Coming: Play, premiered at the Wexner Center for the Arts and then BAM in Fall 2016 and is currently touring.

About the Work

I make dances that are mistaken for plays and load-in like installations. Sets are designed to break apart, musical scores are made from performers’ stomps and voices, props are worn, used and reused for fantasy, excess, and loss. Performers sing, fight, frolic and make love in bursts, like rapid fire flip-books of human emotion. Awkward virtuosic bodies teeter on the edge of high art and slapstick. A viewer feels a rollercoaster of joy, outrage, arousal and discomfort while performers hold a frank gaze that says, “You are me and I am you.” Embarrassment and exhilaration live side by side. I aim for an immersive world of sensorial complexity and perceptual disorientation. Through performers’ powerful exposure, heightened proximity, and at times physical connection with the audience, viewers feel their own culpability as co-creators of the performance. My work is a rigorously crafted group experience that comes off as improvised, chaotic and spontaneous.