Elinor von Wallerstein

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Elinor von Wallerstein (born April 14, 1907 in Wels , Upper Austria , † April 21, 1985 in Munich ) was an Austrian actress .

Life

Elinor von Wallerstein, also Ellinor von Wallerstein , worked primarily as a theater actress . Her repertoire ranged from the classics to Hugo von Hofmannsthal , Johann Nestroy and Frank Wedekind to the modern . One of her brilliant roles was the woman Marthe in Urfaust and in Faust I , which she played in Munich in 1944 under the direction of Otto Falckenberg alongside Friedrich Domin as Mephisto . After the Second World War she played as a guest actress at the Theater der Jugend in Stuttgart .

From the 1948/49 season until the late 1970s, von Wallerstein appeared regularly at the Bavarian State Theater in Munich . Her roles there included: Frau Brigitte in Der zerbrochne Krug (October 1948, Theater am Brunnenhof), Queen in Undine (November 1948, Theater am Brunnenhof), Lina Beermann in Moral by Ludwig Thoma (September 1949, Theater am Brunnenhof) , Frau Linde in Nora or Ein Puppenheim (March 1950, Theater am Brunnenhof), Susie in All my sons by Arthur Miller (October 1950, Theater am Brunnenhof), Claudia Galotti in Emilia Galotti (December 1951, Residenztheater Munich), Baroness Pitard Veiguiolles in the play Das große Abc by Marcel Pagnol (January 1952, Residenztheater Munich), Duchess von Trémouille in Die heilige Johanna (April 1952, Residenztheater Munich), Prudencia in Bernarda Albas Haus (December 1952, Residenztheater Munich), Mrs. Maisie Madigan in the German premiere of the play Juno and the Peacock by Sean O'Casey (May 1953, Residenztheater Munich), the sutler Chispa in Der Richter von Zalamea (July 1953, Residenztheater Münche n), Madame Bischof in The Soldiers (September 1953, Residenztheater Munich), Frau Motes in Der Biberpelz (September 1962, Residenztheater Munich), Madame Storch in the Posse Das Mädl from the suburbs (January 1963, Residenztheater Munich), Lise in Cyrano de Bergerac (July 1963, Residenztheater Munich), Frau Bergmann in Spring Awakening (July 1964, Residenztheater Munich) and Signora Geltruda in Der Fächer by Carlo Goldoni (May 1970, Residenztheater Munich).

In 1965 she was Hero's mother in a production of Franz Grillparzer's play Des Meeres und der Liebe Wellen in Munich's Cuvilliés Theater. In the 1976/77 season she played Lady Macbeth's chambermaid in a new production by Macbeth in a production by Dietrich Haugk at the Bayerisches Staatsschauspiel in Munich . She had already played this role there in an earlier production (premiere: May 1964) by Axel von Ambesser .

From the mid-1950s, von Wallerstein could also be seen in a few movies and television productions . Her film career began with the fairy tale films dwarf nose and little red riding hood . In a television adaptation of the Bavarian Radio , she took on the role of Anna Andrejewna in the comedy Der Revisor in 1955 . In 1955 she played under the direction of Max Ophüls in his film Lola Montez in a smaller role as queen. In 1960 she was seen with Joachim Fuchsberger in the crime film Endstation Rote Laterne . From the mid-1960s, von Wallerstein devoted himself almost exclusively to television. In 1974 she starred in the episode The Forest Path , the very first episode of the crime series Derrick .

In addition to her work as an actress, she worked intensively as a speaker for radio plays at Bayerischer Rundfunk . Directed by Willy Purucker, she starred in the radio play version of The Adventures of the Good Soldier Schwejk in 1957 . In 1958 she took over the speaking role of Princess Božena Guddenstein zu Clumetz in a radio production of the operetta Countess Mariza in Munich . In 1959 she was heard in his production of the crime novel Paul Temple and the Conrad case (the only Paul Temple crime novel in the BR) by Francis Durbridge . In 1959 she took on the role of Mrs. Bennett in a radio play version of the novel Pride and Prejudice . In 1965 she worked as Mrs. Shounders in the detective radio play Drumming is Part of the Craft from the novel series Permit, my name is Cox with. In 1969 she took up the detective radio play Visit without registration from Arnold E. Ott for the Bavarian Radio . In 1971 she worked, again for Bayerischer Rundfunk, in the adventure radio play The Horse Thieves of Arkansas by Paul Alverdes based on the novel The Regulators in Arkansas by Friedrich Gerstäcker . In 1970 she recorded the radio play Maxine by Wolfgang Hildesheimer for Austrian radio .

Filmography

Web links

Individual evidence

  1. ^ Piet Hein Honig, Hanns-Georg Rodek : 100001. The show business encyclopedia of the 20th century. Showbiz-Data-Verlag, Villingen-Schwenningen 1992, ISBN 3-929009-01-5 , p. 1003. There the nationality is given as Austria.
  2. ^ The Munich film and cinema book by Sylvia Wolf / Ulrich Kurowski, 1988, p. 285 (excerpts from Google Books)
  3. Faust and Mephisto by Helmut Grosse / Bernd Vogelsang, 1983, p. 107 (excerpts from Google Books)
  4. Deutsches Bühnen-Jahrbuch Volume 56 (1948), p. 372
  5. ... then they played again. The Bavarian State Theater 1946–1986 . Munich 1986. ISBN 3-765-42059-X
  6. Hamlet dies tonight Münchner Theater-Tagebuch Residenztheater 1970-1977 (excerpts from Google Books)
  7. ^ The adventures of the good soldier Schwejk BR 1957, entry at HÖRDAT
  8. Countess Mariza occupation
  9. Paul Temple and the Conrad case ( Memento of the original from June 4, 2004 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. BR 1959; Entry at hoerspielkrimi.de  @1@ 2Template: Webachiv / IABot / www.hoerspielkrimi.de
  10. Pride and Prejudice Entry in criticism, radio plays and audio books
  11. Drumming is part of the class 1965, entry at HÖRDAT
  12. ^ Arnold E. Ott: Visit without registration ( Memento from September 13, 2011 in the Internet Archive ), BR 1969, directed by Walter Netzsch
  13. The Horse Thieves in Arkansas Entry in Audiobooks magazine
  14. Wolfgang Hildesheimer 1916 - 1991 by Franka Köpp / Sabine Wolf, p. 268 (excerpts from Google Books)