Vassilissa Reznikoff
Geboren und aufgewachsen in einem Pariser Vorort, der Teil der sogenannten «Banlieue» ist, absolvierte Vassilissa Reznikoff eine Bühnentanz-Ausbildung in Hamburg und an der Berliner Hochschule für Schauspielkunst «Ernst Busch» und anschließend ein Schauspielstudium am Mozarteum in Salzburg. Bereits während des Studiums war sie im Rahmen der Salzburger Festspiele zu sehen und arbeitete mit Herbert Fritsch und Volker Lösch. Ihr erstes Festengagement hatte sie direkt im Anschluss am Schauspielhaus Wien, wo sie u. a. in Inszenierungen von Marco Štorman, Lucia Bihler, Tomas Schweigen, Nele Stuhler und Falk Richter zu sehen war. Von 2019 bis 2022 war sie festes Ensemblemitglied am Nationaltheater Mannheim, wo sie unter anderem mit Claudia Bauer, Sapir Heller, Daniel Cremer und Ewelina Marciniak zusammenarbeitete. Seit der Spielzeit 2022/2023 ist sie festes Ensemblemitglied am Residenztheater.
Wie spielst du das, Vassilissa Reznikoff?
Im Gespräch mit Intendant Andreas Beck über aktuelle Premieren und Rollen, aber auch über Werdegang, Eigenarten und persönliche Erfahrungen.
Performing in
The legendary musical «Cabaret» entices us into the dazzling world of the Kit Kat Club in the 1930s. Every night the enigmatic Sally Bowles thrills the audience with her famous song «Life is a Cabaret», a celebration of decadence and diversity. The young American Clifford Bradshaw is caught up in this intensely sensual world. Yet, at the same time, something dark is becoming an ever-stronger presence in the daily lives of these exuberant fun-lovers.
Cabaret
One night a stranger named K. enters a village guest house. He is told that no one is allowed to stay in the village without permission from the authorities in the castle just outside it. K. identifies himself as a surveyor who has been hired by the castle only to be informed three days later that no surveyor is required and it is not even certain that one was ever sent for. For reasons that are unclear and against his wishes, K. is given the job of school caretaker, even though he also receives a letter from the castle confirming that his work as a surveyor was entirely satisfactory. While the castle administration operates in a dubious manner and the decisions of its officials appear arbitrary, the veracity of K.’s incoherent statements is equally subject to doubt.
Das Schloss (The Castle)
During the global economic crisis of the 1920s, a young woman tries out self-realization and yet ends up in a restrictive marriage, confronted with misogyny and male bonding as well as the rise of National Socialism. Elsa-Sophie Jach adapts Marieluise Fleisser's only novel for the stage.
Eine Zierde für den Verein (A credit to the club)
No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.
Das Käthchen von Heilbronn (Käthchen of Heilbronn)
In Stephan Kimmig's production, the boundaries between Shakespeare's fairy world and the harsh reality of the big city become blurred. Fuelled by Puck's magic, a summer night unfolds in which soon no one knows where love ends and obsession begins.
Ein Sommernachtstraum (A Midsummer Night's Dream)
Based on Oscar Wilde's famous one-act play, Polish director Ewelina Marciniak completely reinterprets the character of Salome. She is no longer a scandalised femme fatale, but a young woman who tries to free herself from the constraints of her surroundings by any means necessary.
Salome
Jovana Reisinger’s novel follows nine women from early spring to the summer of an unspecified year not far from the present. All of them live in or around Munich and they are all named after women’s magazines. They live and fail representatively, each of them alone and yet collectively, by the images and ideals of what it means to be a woman.
Spitzenreiterinnen
