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 unter anderem 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. Ab der Spielzeit 2022/2023 ist sie festes Ensemblemitglied am Residenztheater.
Performing in
Lola Montez was one of the most dazzling female figures in the history of Bavaria and the city of Munich. When Lola – who was actually born Elizabeth Rosanna Gilbert – arrived in Munich in 1846, the immigration police recorded her as: «artist, dancer from Sevilla, Spain, 24 years old, Catholic, no passport.» A short time later she had become the lover of the Bavarian King Ludwig I. However, it would be too simple to reduce this fascinating woman to the scandals that were often no more than allegations against her: because in both her thinking and her actions she was centuries ahead of her time.
Lola M.
Seven years after her production of «Oedipus», the Slovenian director Mateja Koležnik now brings the next instalment of the Theban myths to the Resi stage: both a political thriller and an epic family drama.
Antigone
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)
«Peer, you’re lying!»: Henrik Ibsen immediately highlights the key theme of his dramatic poem in its opening line – the blurred boundary between illusion and reality. Because Peer, whose youth is shaped by the poverty of his farming background, continually reinvents himself with the aid of stories, lies and the arts of fabulation – as a cosmopolitan, a colonial master and even an Emperor.
Peer Gynt
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.
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