Oliver Rossol
Oliver Rossol wurde 1987 in Nürnberg geboren und ist als Autorenfilmer, Kameramann und Videokünstler tätig. Er studierte Kunst an der Hochschule für Gestaltung Offenbach am Main bei Rotraut Pape. Am Schauspiel Frankfurt realisierte Rossol Videoarbeiten für Ersan Mondtag, Mizgin Bilmen, Bernadette Sonnenbichler, Roger Vontobel und Angel Krastev. In der langjährigen Zusammenarbeit mit dem Regisseur Alexander Eisenach entstanden u. a. die Inszenierungen »Fauser, mon Amour« und »Der kalte Hauch des Geldes« am Schauspiel Frankfurt, »Der Kaiser von Kalifornien« und »Anthropos Tyrann (Ödipus )« an der Volksbühne Berlin und »Einer gegen Alle« am Residenztheater München. Für das Live-Video in »Der kalte Hauch des Geldes« von Alexander Eisenach erhielt er den Hessischen Theaterpreis 2017 in der Kategorie »Sehen«. Mit dem Schauspieler Viktor Tremmel drehte Rossol 2014 den mit einem Prädikat »besonders wertvoll« ausgezeichneten Kurzfilm »Der reflektierende Käfer«. In der litauischen Verfilmung von Franz Kafkas »Das Schloss« unter der Regie von Nikolas Darnstädt übernahm Oliver Rossol die Position des Director of Photography. Für das Schauspiel Frankfurt realisierte Oliver Rossol als Regisseur und Kameramann die Filmadaption des Theaterstücks »Eternal Peace« von Alexander Eisenach. Sein Spielfilmdebüt »Grün ist eine unmenschliche Farbe« mit Alexej Lochmann und Lisa Birke Balzer wird 2022 erscheinen.
In der Spielzeit 2021/2022 ist Oliver Rossol als Videokünstler bei der Uraufführung von «Der Schiffbruch der Fregatte Medusa» im Marstall tätig.
Productions
In June 1816 the «Medusa», the fastest frigate of its time, sets to sea. Its destination is Saint-Louis in Senegal. There are two hundred and forty people on board – besides the sailors, most of them are soldiers, but they also include the colony’s Governor and his family together with priests, teachers, doctors and engineers. Two days’ journey from their destination the ship runs aground on a sandbank and splits. As there is not enough room for everyone in the lifeboats, a raft is cobbled together for the lifeboats to tow on shore. But as soon as they set off, the rudderless and heavily overloaded raft is left behind by the boats on which the dignitaries are rescuing themselves. Of one hundred and seventeen men only fifteen will survive. Many of them will fall victim to their own comrades because the few goods they were able to save – barrels of wine, sodden biscuits, a few weapons and valuables – are as heavily fought over as the power the make decisions about possible rescue measures.
Der Schiffbruch der Fregatte Medusa (The shipwreck of the frigate Medusa)
When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18th century drama had been using up to that point.
Götz von Berlichingen
A prince of fashion and a fairy-tale king. A bird of paradise and a cult figure. A Munich original and a philanthropist. During the course of his lifetime, Rudolph Moshammer was given countless of these nicknames and soubriquets. Everyone recognized him as an eccentric with his dog Daisy on his arm, a talk show guest and man of society. Like his role model, Bavaria’s fairy-tale king Ludwig II, he loved glamour, opulence, and excess. In his appearances as an actor and in advertisements, as a singer in the preliminary round for the Eurovision Song Contest and with books like «Mama und ich» (Mama and Me), he became a cult figure and his fashion boutique «Carnaval de Venise» in Maximilianstraße became a cult address and place of pilgrimage for Mosi fans.
MOSI - The Bavarian Dream
