2020 Solo Artist: Adrienne Truscott
Adrienne Truscott’s work is hybrid and straddles lots of genres – choreography, stand-up comedy, drag/cabaret, writing and she’s half of The Wau Wau Sisters, a 15-year-long boundary-busting cabaret collaboration. She engages different forms of live performance that look, act, and intend differently and she consistently seeks out different environments/mandates for her work rather than relegating it to specific economic, social, aesthetic, or geographic contexts. She’s curious about how different modes of presentation (i.e., experimental, international, commercial, or illegal venues) interact with different forms (dance, cabaret, circus, comedy) and how that can upend assumptions that often accompany these forms and their target audiences, respectively. Her critically acclaimed Adrienne Truscott's Asking For: A One-Lady Rape About Comedy Starring Her Pussy and Little Else is considered a critical impetus to the evolving conversation about rape culture, continues to tour internationally and was recently filmed at Joe’s Pub for a documentary. She’s a Doris Duke Impact Award Artist (Dance) and a FCA grantee for Theater and Performance.
She’s been presented by or performed at Sydney Opera House, The Moth, The Roundhouse, CBGB’s, PS122, The Kitchen, Danspace, Judson Memorial Church, MoMa among others. She’s appeared in the work of choreographers Sarah Michelson, David Neumann and Deborah Hay among others as well as Half-Straddle Theater Company and John Cameron Mitchell’s experimental film Shortbus. She’s an occasional writer for The Guardian and her essays have been published in two Australian anthologies. Shows currently on tour are THIS (2018 Bessie Nominee for Outstanding Production, Wild Bore (Green Room Award (AU)), Adrienne Truscott’s A One-Trick Pony. She’s currently working on new work with Le Gateau Chocolat (UK/AU), Split Britches, brokentalkers (IR) and a new solo piece about genius. Truscott has taught at Wesleyan University, Barnard College, Bard College, Princeton University and NYU and regularly mentors other solo artists.
Excerpt from THIS
Adrienne Truscott made THIS - a dance about dance without any dance -which treats text as choreography while playing with the intersections of memory, narrative authority, truth, fiction, performance and memoir. THIS mines Truscott’s own pieces for material available for theft and repurposing in an artistic landscape of limited financial resources and energy. It investigates liminality and the experience and evaporation of time as it is parsed with memory and trauma - and allows the performance itself to be influenced by taking on these things in the midst of the current nationally (or internationally) traumatizing landscape - questioning making art while making it. THIS explores the role of the dancer — and the role of the female body — in the real world and recognizes that our personal narratives, like it or not, may be silently hidden in our bones and muscles; that performance itself might be memoir and suggests that this fact might be gross. THIS is a small or large or medium act of artistic survivalism and an inadequate attempt to reflect new context brought by the performance and climate at hand. THIS is a run-on sentence. THIS is a grift. THIS is a piece of cake.