Rotem Levi is a graduate of the School of Visual Theater in Jerusalem and the annual workshop at Performance Stage, Shelter 209, led by Tamar Raban. Rotem has presented her works in the Marathon and the Finale at the School of Visual Theater in Jerusalem, as well as independently at the Once More Festival, Spectrum Events at the Jerusalem Municipality, and at Barbur Gallery. Levi has extensive production experience, including her roles as a producer for “The Opposite of Living” by Michal Vaknin and Ilanit Ben Yaakov at the Interdisciplinary Arena (2022), associate producer for “Evacuation” by Omer Krieger, producer for “ah” by Oded Komemi, and rehearsal manager and performer in “Fields” by Oded Komemi.

​

As a lighting designer, she has contributed to various stage works, including Pompeii by Uri Duvdevani at the Diver Festival (2024), Video Games by Shani Erez (2024), and Jeefot by Judy Adini at the Acco Festival (2022). Additionally, Levi designed lighting for the “Threads of Life” exhibition at Muslala (2024) and the Hazikuk Festival (2024).

​

My work revolves around creating performative environments that blend movement, objects, and spatial elements, exploring the interaction between body, place, and time. I view the stage as a dynamic space- not just a platform for performance, but an active present where all participants, including the audience, form a tapestry of shifting realities.

In my practice, I incorporate ready-made elements—everyday objects such as fluorescent lights or personal items—alongside symbols and elements from popular culture. Each item takes on new meaning in the context of its placement in time and space. I explore movement not only as a physical phenomenon but as a flow of thought, emotion, and time. I am drawn to the ambiguous moments between action and rest, to subtle or powerful gestures that signify change, revelation, or a threshold.

​

The performative environments I create allow movement to be an ongoing process, an infinite flow between states of existence, silence and action, life and death—raising questions about how these states influence our perception of the world around us. I see the stage as a space of encounter, where every presence feels like a participant in the moment’s existence, inviting the audience not just to observe but to become part of a new reality presented to them. My work seeks the moments where routine blends with the extraordinary, and the familiar merges with the uncanny to form a surprising and novel narrative.