Faye Driscoll is currently in Stockholm, creating a new piece for Cullberg’s full ensemble of 15 dancers, titled “flesh chariot, chariot of flesh.” This marks her transition from independent projects in New York and Los Angeles to collaborating with a prominent European dance institution. During a video conversation, she humorously remarked about the numerous participants in the rehearsal space, likening it to managing a small corporation. However, Driscoll’s artistic approach remains far from corporate, rooted in profound, instinctual inquiries regarding dance, human relationships, perception, ecology, and community.
Since its debut in New York in 2023, Driscoll’s acclaimed performance “Weathering” has captivated audiences, garnering attention at festivals throughout Europe and beyond. Its upcoming UK premiere at Birmingham’s innovative Fierce festival is a significant achievement.
“Weathering” opens with a deliberate, slow tempo, featuring ten dancers in static poses on a rotating central platform, surrounded by an audience on all sides. The performance evolves into a striking blend of kinetic art and otherworldly ritual, incorporating themes of collective release, forgotten celebrations, and personal apocalypses. The initial calm gradually transforms into a frantic, intense display of group dynamics. Driscoll’s choreography is informed by both Butoh and performance art, creating a layered, impactful, and wordless commentary on contemporary global issues, climate change, and humanity’s complex relationship with the environment.
Driscoll’s path to choreography reflects a diverse array of influences and opportunities. She shared that her parents met as performers in an avant-garde musical in New York, which facilitated her early access to dance. After studying ballet and modern dance, she pursued formal training at a conservatory in New York. Immersion in the city’s vibrant performance scene, witnessing legends like Richard Foreman and collaborating with innovative artists such as playwright Young Jean Lee, significantly shaped her creative process. “Collaboration reshaped my work, pulling me away from the isolation that often accompanies solo projects,” she noted.
In “Weathering,” the performers represent a spectrum of ages, ethnicities, genders, and body types, appearing as if they were randomly selected from city streets, creating a sense of shared vulnerability on stage. The rotating platform itself serves multiple interpretations—functioning as a stage, a museum pedestal, a bed, or even a makeshift life raft—symbolizing the fragile and ever-evolving nature of human existence.
Interestingly, “Weathering” was conceived during the Covid pandemic, with Driscoll and her team conducting research remotely. “We were unable to physically connect or be in the same space, relying on textual exploration to develop concepts—drawing from fight scenes, erotic literature, and mixing diverse narratives like the Iliad with modern themes,” she explained. Although this material did not make it into the final performance, Driscoll emphasized its influence on her thinking about human connection and the intimate ways in which our boundaries blur in moments of physical interaction.
The work also engages with ecological themes, particularly the intricate relationship between humanity and the environment. “We are part of nature; we are not separate from the weather systems we attempt to control. Every aspect of our existence is intertwined with these systems,” Driscoll asserted. Additionally, she is intrigued by the malleability of imagery and the audience’s role in interpreting meaning. Her upcoming piece, “flesh chariot, chariot of flesh,” further explores issues of connectivity in today’s world, questioning how distant events resonate with us on a physical level, and how experiences filtered through screens can still evoke a sense of visceral trauma. “In ‘Weathering,’ the spinning platform reflects life’s complexity—audiences will never grasp the complete story, just as in reality, we often miss pieces of the puzzle,” she remarked.
Driscoll’s fascination with the audience is particularly profound. “For eight years, I engaged in a project examining how viewers sense their own involvement while watching a performance. This exploration delved deeply into audience participation, which initially terrified me.” Yet, this struggle unveiled her core desire: “How can I craft a sensory environment that conveys your intrinsic connection to everything? This concept is the essence of my work.”
As “Weathering” approaches its climax, it culminates in a visually and sonically staggering sequence marked by a shedding of layers—both literal and metaphorical. “There are hands exploring mouths, and a mix of intimacy and urgency permeates the scene,” Driscoll described. “At times, it may evoke imagery from art history or moments drawn from life, leading viewers to initially think they understand what they are witnessing. However, that certainty ultimately fades.” She paused thoughtfully before concluding, leaving the conversation open-ended.
