Dieter Borsche

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Dieter Borsche with Lotte Berger in The Complicity (1937)

Dieter Albert Eugen Rollomann Borsche (born October 25, 1909 in Hanover , † August 5, 1982 in Nuremberg ) was a German theater and film actor .

Beginnings and stage career

Borsche grew up in a family of artists: his father was the music teacher and conductor Willi Borsche , his mother an oratorio singer . After finishing school at a grammar school , which he left without a degree, he wanted to become a dancer and took dance lessons from Yvonne Georgi and Harald Kreutzberg . From 1930 to 1935 he was engaged as a ballet dancer at the City Opera in Hanover . He also took acting lessons at the Blech drama school and came to Weimar as a young lover . Further stages of his stage career were: 1935 Kiel , 1939 to 1942 Gdansk and 1942 to 1944 Breslau . As a member of the Breslau Theater , Borsche said he played

“Regularly in Auschwitz in front of the SS people . Then, after the theater, filled with around 1,000–2,000 SS spectators, they gave the actors a meal each time. And all colleagues, women and men in the ensemble, were delighted with the hospitality, the charm, the good behavior, the good food and the best French cognac - and raved about it the next day. They couldn't hurt a fly. "

- Dieter Borsche quoted from Erwin Piscator, March 1960

Ernst Klee describes these relationships as follows:

“Even in Auschwitz, sealed off from the outside world, actors, musicians and artists come and go. There must have been hundreds, but only one reported: the actor Dieter Borsche, known to the post-war audience as a performer in Edgar Wallace crime novels, was the director of the Breslau Municipal Theaters in 1943/44. After the war, Borsche told the Nazi documentarist Joseph Wulf that in the winter of 1943 he had 'played in front of the SS guards at the Auschwitz extermination camp' . Wulf recapitulates the conversation: 'The actors were lavishly entertained there, served by prisoners and also saw the prison columns with their own eyes. They were amazed that they only wore the striped convict smocks in winter; But the most important thing is that Dieter Borsche was able to report that he had heard from several SS men that various theater companies very often played for them within the concentration camp . "

- Ernst Klee: Happy hours in Auschwitz. In: The time . January 27, 2007. No. 5.

Borsche played until 1944 and was then drafted into the Wehrmacht . In the Eifel he was wounded and taken prisoner of war . In the Bavarian Forest , where he met his family again, he worked as a carpenter and toy manufacturer for some time .

In 1946, Bernhard Minetti made sure that Borsche came to the Kiel Theater . From now on he worked again as an actor and was also senior director there from 1947 to 1949 . Borsche had his breakthrough as a theater actor in the 1960s, when he was already a well-known film star. In 1963 he played Pope Pius XII at the Free Volksbühne Berlin . in Rolf Hochhuth's The Deputy , in 1964 the title role in Heinar Kipphardt's In the Case of J. Robert Oppenheimer and in 1965 in The Investigation of Peter Weiss .

Film actor

His film career began in 1935 with Alles weg'n dem Hund, a Weiß Ferdl film, albeit with moderate success. After the Second World War , the breakthrough came with the feature film Night Watch . His role as Imhoff's chaplain marked the turning point in his previously unsuccessful film acting life.

Borsche's great film career began, however, with the premiere of Rudolf Jugert's film It comes one day after Ernst Penzoldt's novella Korporal Mombur on October 17, 1950, through which Borsche and Maria Schell became one of the “film favorites”. Borsche became one of the most popular mimes of the post-war period in Germany and often played in films with, for example, Ruth Leuwerik , Maria Schell or Gisela Uhlen .

In the German cinema of the 1950s, Borsche was the ideal cast for honest, upright personalities such as princes ( Royal Highness ), officers (There is a day coming) or doctors ( Dr. Holl ) . Only in fanfares of love as an unemployed musician who gets a job in a women's band in women's clothes did he lose his role in this regard. In the 1960s, Borsche fought against this role cliché and preferred to play villains like in the Edgar Wallace film The Dead Eyes of London and in the Durbridge six-part The Scarf . He also appeared in the British-German television series Paul Temple on the side of the leading actors Francis Matthews and Ros Drinkwater in the double episode Murder in Munich . At the same time, he pursued his theater career.

In the case of borsche, the first signs of muscle wasting appeared as early as the 1930s . The disease became so acute over the years that he was forced to abstain from film and television roles in the 1970s. He moved his sphere of activity to work as a speaker for radio plays and readings on the radio. But he also appeared on stage in contemporary pieces until the early 1980s, although he was now dependent on a wheelchair . He played successfully in Equus by Peter Shaffer and Duet for a voice by Tom Kempinski .

Borsche was married three times. He married his first wife, the set designer Ursula Poser, for 23 years and had three sons with her, including the cameraman and director Kai Borsche . In 1960 he married a second time; from marriage there is a son. From 1970 until his death he was married to the actress Ulla Willick , with whom he lived in Nuremberg . Borsche was buried in the main cemetery Öjendorf in Hamburg in an anonymous grave on urn field 1.

His written estate is in the archive of the Academy of Arts in Berlin.

Filmography

Awards

  • 1951 Bambi as the most popular film star of the year
  • 1952 Bambi as the most popular film star of the year
  • 1974 Gold film tape for many years of outstanding work in German film
  • Federal Cross of Merit on Ribbon (January 5, 1979)

synchronization

As a voice actor, Borsche also lent his voice a. a. Gunnar Björnstrand ( Light in Winter ), David Niven ( Lady L ) and Max von Sydow ( The Exorcist ).

Radio play (selection)

literature

  • Walther Killy (Ed.): Deutsche Biographische Enzyklopädie , Vol. 2, p. 38
  • Rolf Aurich, Susanne Fuhrmann, Pamela Müller (Red.): Dreams of film. Cinema in Hanover 1896–1991. Catalog for the exhibition of the same name at Theater am Aegi from October 6 to November 24, 1991. Society for Film Studies, Hanover 1991, p. 150f.

Web links

Individual evidence

  1. ^ Letter from Erwin Piscator to Maria Ley , undated [March 1960], In: Erwin Piscator: Briefe. Volume 3.3: Federal Republic of Germany, 1960–1966 . Edited by Peter Diezel. B&S Siebenhaar, Berlin 2011, p. 53.
  2. ↑ see also: Alphabet of Shame. on: Zeit Online. March 6, 2007.
  3. ^ Alfred Paffenholz: cinema boom, theater crisis and boys' choir . In Sabine Hammer (Ed.): Opera in Hanover. 300 years of change in a city's music theater, ed. from the Lower Saxony Sparkasse Foundation, Hanover: Schlueter, 1990, ISBN 3-87706-298-9 , p. 96
  4. ^ The grave of Dieter Borsche. In: knerger.de. Klaus Nerger, accessed on September 8, 2019 .
  5. ↑ Dieter Borsche Archive Inventory overview on the website of the Academy of the Arts in Berlin.
  6. ↑ Information from the Office of the Federal President
  7. ↑ An unheard of game on Deutschlandradio
  8. ↑ Once everyone is on Deutschlandradio
  9. ↑ Alice in Wonderland on NDR
  10. ^ Another K. on Deutschlandradio
  11. ↑ Triptych on Deutschlandradio
  12. ^ The gates of paradise on Deutschlandradio
personal data
SURNAME Borsche, Dieter
ALTERNATIVE NAMES Borsche, Dieter Albert Eugen Rollomann (full name)
BRIEF DESCRIPTION German actor
DATE OF BIRTH October 25, 1909
PLACE OF BIRTH Hanover
DATE OF DEATH 5th August 1982
Place of death Nuremberg