Dr Yana Taylor is a performer-maker, educator, researcher and dramaturg. She has worked with the Helpmann Award-winning documentary theatre, version 1.0 Inc since 1999. Version 1.0’s works have toured Australia extensively since 2006 in curated performance programs in venues such as the Melbourne Arts Centre, Perth Theatre Company, Sydney’s CarriageWorks, The Performance Space and Queensland’s Judith Wright Centre for Contemporary Art. Several of version 1.0’s pivotal scripts are published as ‘Re-mixing Politics’ by Currency Press (2012). This collaborative theatre was awarded key organisation status as ‘creative explorers’ and triennial funding by the Australia Council for Arts in 2009. As a member of this company, Yana has directed and performed The Disappearances Project (2011- 13), was performer-deviser in The Table of Knowledge (2011-13), Deeply Offensive and Utterly Untrue (2007 & 09) and The Second Last Supper (2001); was deviser/production dramaturg on This Kind of Ruckus (2008-2010), performance dramaturg on The Wages of Spin, (2005-06) and CMI (A Certain Maritime Incident) (2003-4). She is currently one of version 1.0’s joint artistic directors. Yana has recently returned from The Disappearances Project season that opened UK’s Brighton International Arts Festival to critical and popular acclaim.
She has worked as a dramaturg to esteemed director, Ros Horin on the verbatim Baulkham Hills African Ladies Troupe with a tenacious group of émigré women who have experienced abuse in war that returned to Belvoir St Theatre in September, 2013. In 2011, Yana was dramaturg with aerial physical theatre, Strings Attached on their huge multi-media piece, A Return to the Trees at CarriageWorks.
After chairing the board of the community-engaged key organisation, Urban Theatre Projects for five years, she returned to perform in their 2008 Sydney Festival site-specific work, The Last Highway.
Previously, Yana lectured in theatre making and movement at the University of Western Sydney, Nepean’s nationally recognized performance degree, was head of program for several years and has lectured at Australian Film, Television and Radio School, Wollongong, Macquarie and Flinders universities. Consistent with her interests in supporting the development of the next generation of theatre-makers, she been a mentor with the Australia Council’s JUMP scheme and Shopfront Theatre’s 2011 &’12 Arts Lab emerging artists. As a policy and funding advisor, Yana was a member of in the multi-disciplinary Western Sydney Arts Strategy and dance committees for Arts NSW and has advised in artist residency program of Critical Path Research Centre. Her doctoral research (Usyd) was on the relationship between the embodied actor training method of Tadashi Suzuki and collective devising practices of Sydney’s first wave of cross-disciplinary contemporary performance practitioners.