Originally from Miami, Yara Travieso is a Brooklyn writer, director, filmmaker, and choreographer. Her large-scale films and performances reclaim the mythical and cultural lens for women. Travieso’s works have been presented with NYC’s Park Avenue Armory’s Drill Hall, Lincoln Center, EMPAC, BRIC, PS122, Joe’s Pub, The High Line, and Vizcaya Museum. Her film works have been featured in SXSW, Film Society of Lincoln Center, Miami Film Festival, Museum of The Moving Image, and commissioned by Hermes of Paris, Glamour Magazine, GQ, among others. Travieso was awarded a Creative Capital grant and The NALAC Grant via The Ford Foundation for her original immersive musical, La Medea, presented by COIL Festival, Dance Films Associations and Twitch. In 2018 her production of EL Ciclón took over a Miami city block and in soon after her production of Sagittarius A. took over EMPAC’s concert hall in a 360 immersive film. She is a 2005 recipient of The YoungArts award. She is also the recipient of residencies such as: PS122 RAMP, LMCC, BRICLab, STREB, Tribeca Performing Arts, and Bessie Shonberg. In 2005, Travieso co-founded The Borscht Film Festival. She later received a BFA in Dance from The Juilliard School in 2009.
From the Journal
- Through Many Platforms, Yara Travieso Interprets Medea as Infinite January 13, 2017
Yara Travieso is a Brooklyn-based writer, director, filmmaker, and choreographer whose large-scale films and performances reclaim the mythical and cultural lens for women.Artist Bio
La Medea re-imagines Euripides’ violent tragedy into a dance-theater performance and feature film á la Latin-disco-pop variety show. Directed, performed, filmed, edited and streamed in real time, La Medea comes to life not only as a live performance in Brooklyn but also as a feature film for audiences watching and interacting online world-wide. Everyone becomes a performer, subject to the high-stakes immediacy and vulnerability of live TV, bringing theater to cinema and vice versa. Embracing the complexity of conflicting cultural lenses and point of views, La Medea reconsiders history’s own “bad woman” and “dangerous foreigner” and finds freedom within her multiplicity. La Medea demystifies Medea herself, and asks theater/cinema to look in the mirror and re-consider its gaze, exposing real chaos under the skin of a classic myth.
La Medea premiered at BRIC in Brooklyn, New York, in 2017.