Jack Ferver is a choreographer, writer, performer and teacher based in New York City. His work has been presented at PS 122 (NYC), The New Museum (NYC),Danspace Project (NYC), Abrons Art Center (NYC), Dixon Place (NYC), and Théâtre de Vanves (France). Shorter and solo works have been presented at Dance New Amsterdam (NYC), LaMaMa E.T.C. (NYC), The Culture Project (NYC), and NP Gallery (NYC). His work has been written about in The New York Times, The Financial Times, The New Yorker, Artforum, Modern Painters, and Dance Magazine.

Ferver premiered his last work, Rumble Ghost at PS 122. Ferver’s A Movie Star Needs A Movie was commissioned by The New Museum in fall 2009. It was also presented in American Realness at Abrons Art Center and at Théâtre de Vanves in France. He was the first choreographer to be presented at The New Museum with I Am Trying to Hear Myself in 2008. He remounted the work at PS 122 in 2009. In 2009 he also premiered his evening length work Death is Certain to sold out audiences at Danspace Project. Death is Certain was workshopped through the Dance Theater Workshop space grant, Studio Series. Ferver was also an artist in residence from 2008-2009 at Chez Bushwick. In 2008 Ferver premiered MEAT, his second Mondo Cané! commission from Dixon Place. Ferver’s first Mondo Cané! commission was in 2007 for his first full length work: When We Were Young And Filled With Fear. Ferver’s solo performance works include Why Can’t Condi Sleep (BRIC and Makor), Cliterature and Camille vs. Karen (HERE, The Culture Project, BRIC, and The Oni Gallery), Bad Dating (The Oni Gallery), and The Ophelia Project (The Culture Project). As an actor, credits include Strangers With Candy (Comedy Central), Christopher Durang’s Betty’s Summer Vacation (Off-Broadway), and numerous other film and theatre projects. His writing has been published in the magazine Novembre.

Jack Ferver’s work has been described as “restless, visceral, and often painful… as sympathetic as it is bitingly corrosive” by Claudia LaRocco of the New York Times. His relentless hunt for the truths about the human psyche are worked out in his performances that use high octane, often violent choreography and exacting scripts moving from confessional monologues to “hyper-real” dialogues. His exploration of the twists and turns of the mind, are explored from the macro, with his continual study of psychology, to the micro, as he draws from his own persona and that of his performers. Through this, the flimsy membrane between the performer and the character they play gives way in front of the audience, as Ferver shows us what we are all capable of with an unflinching eye.