Oren Lazovski
Choreographer / Director
More than twenty years of work across dance and opera stages in Israel and Germany. Most recently, he was ballet master and rehearsal director of the Kamea Dance Company.
Currently based in Berlin
About
Twenty years of work across dance and opera, and a practice built where movement, music, and breath meet.
Oren Lazovski spent five years as ballet master and rehearsal director of the Kamea Dance Company in Israel, responsible for daily training and an ensemble of up to twenty-six dancers, alongside his own choreographic work within the company. Based in Berlin, his work spans dance and opera — movement direction for Verdi's La Traviata at the Komische Oper Berlin, and an ongoing relationship with the Deutsche Oper Berlin, teaching its Opernballett, leading workshops with its orchestra, and creating choreographic work for its Tischlerei stage. His research practice, Strange Tools, began with Überich, Saudade — a solo for dancer and accordion performed at La Biennale di Venezia — and grew through workshops with musicians and dancers exploring the relationship between movement, instrument, and body; it now runs through most of what he makes, including two current projects, BREATH and O.RE.FO., described below. He holds a Master of Arts in Dance Pedagogy from the Palucca Hochschule für Tanz Dresden, and trained in classical and contemporary dance in Israel at Bat-Dor, Studio Ballet Haifa, and WIZO School of Arts.
- BasedBerlin
- Performing career1999 – 2020
- Ballet master, Kamea Dance Company2021 – 2026
- EducationMA Dance Pedagogy, Palucca Hochschule Dresden
- LanguagesHebrew, German, English
- InstrumentsAccordion, piano
Current Work
Two projects in development, both growing out of the Strange Tools research practice.
Breath
A choreographic work built around the relationship between breath, sound, and movement, made with accordionists performing live among the dancers rather than in a pit. Dancers work directly with bellows — objects that make breath visible and audible — turning it into concrete choreographic material: rhythm, tension, endurance, and the quality of a movement all traced back to how a body breathes.
O.RE.FO.
A dance and music-theatre reworking of the Orpheus myth, begun while Lazovski was working on Orphée et Eurydice at the Staatsoper Berlin. On a treadmill facing a cemetery through the gym's glass wall — motion on one side of the street, stillness on the other — he found the image at the center of this piece: a person trying to outrun grief, moving constantly while getting nowhere. The work brings together dance, opera voice, and video to build that contradiction on stage.
Selected Works
Choreography, performance, and movement direction, 2012 – 2026.
Teaching
Workshops and teaching engagements alongside his choreographic work.
Strange Tools
An artistic method developed in workshops with musicians and dancers, researching the relationship between movement, musical instruments, and the body — first with musicians of the Deutsche Oper Berlin's orchestra, later internationally. The subject of Lazovski's Master's thesis in Dance Pedagogy at the Palucca Hochschule für Tanz Dresden.
Watch the filmCompanies & institutions
He has taught for the Kamea Dance Company, Staatstheater Hannover, Landestheater Linz, Staatstheater Braunschweig, and Volkstheater Rostock, and for the Opernballett of the Deutsche Oper Berlin, where he also led a guest workshop with the orchestra.
Gallery
Production and rehearsal photographs, organized by work.
Breath is not only a subject — it is choreographic material: rhythm, tension, endurance, and the quality of a movement.
Get in touch
Open to choreographic commissions, movement direction for opera and theatre, guest teaching, and artistic leadership positions.
