Six people, some blurred in motion, move around a man in black standing still at the center. The scene is dynamic and intense, with dramatic body language against a dark background.
Four people are intertwined closely, their arms and legs overlapping, with intense, contemplative expressions. The scene is dramatic, with contrasting clothing and a dark background, highlighting their physical connection.
Three dancers intertwine on a dark stage, their limbs and bodies dynamically entwined. Their movement and intense expressions convey energy and emotion, with visible muscles and bare feet highlighted against the dark background.

Cullberg / Faye Driscoll: flesh chariot, chariot of flesh

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ABOUT

Fifteen bodies bleed into one another like wet paint. They collide, merge, tremble, and come apart, a single shifting human mass that never holds one shape for long. flesh chariot, chariot of flesh is Faye Driscoll’s largest work yet, made with Sweden’s Cullberg company, and it turns a stage full of dancers into one restless, breathing organism.

Driscoll is one of the most singular artists working in dance today, an American iconoclast who pushes movement, theater, and visual art into forms that feel raw, unstable, and intensely alive. In flesh chariot, chariot of flesh, she brings that restless imagination to Cullberg, one of Europe’s most adventurous dance companies, working at a scale her own pieces have never before reached. With this North American premiere, the collision arrives here.

Three reasons to go

COLLABORATION IN ACTION – A meeting of two formidable forces: an iconoclastic American choreographer and one of Europe’s most storied contemporary companies.

SPECTACULAR – A large-cast spectacle of fifteen dancers, scaled up from the intimate, body-driven works that made Driscoll’s name.

HOT OFF THE PRESSES – The North American premiere of a new commission, seen here close to its world debut.

THE ARTISTS

Faye Driscoll

Faye Driscoll

CULLBERG

CULLBERG

CREATIVE CREDITS

Choreography by: Faye Driscoll
Set Design: Jake Margolin, Nick Vaughan
Costume: Irene Ip
Sound Design: Julia Giertz
Light Design: Mira Svanberg

Dramaturg: Dages Juvelier Keates
Choreographic Assistant: Amy Gernux
Rehearsal Director: Eva Mohn

Production: Cullberg

GALLERY

SUPPORT

NYU Skirball’s programs are made possible in part with support from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and the Howard Gilman Foundation; Dance Reflections by Van Cleef & Arpels; Culture Ireland; The Shubert Foundation; Collins Building Services; General Delegation of the Government of Flanders to the USA; Goethe Institut New York with support from the Foreign Office of the Federal Republic of Germany; Norwegian Ministry of Foreign Affairs; Gladys Krieble Delmas Foundation; Fan Fox & Leslie R. Samuels Foundation; New England Foundation for the Arts; Harkness Foundation for Dance; and Marta Heflin Foundation; as well as our valued donors through memberships, commissioning, and Allies for Arts Access Fund support.

This project is made possible in part with support from the Harkness Foundation for Dance.

A silhouette of a dancer with leafy branches for feet, holding an open book, is next to the text “HARKNESS FOUNDATION FOR DANCE.”.