Heidemarie Hatheyer

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Heidemarie Hatheyer (born April 8, 1918 in Villach , Austria-Hungary , † May 11, 1990 in Zollikon, Switzerland) was an Austrian actress.


Heidemarie Hatheyer, born for reasons of discretion in a Villach sanatorium as Heide Marie Pia Nechansky, the child of an extramarital union of the Klagenfurt-based parents Helene Maria Nechansky nee. Feucht and Paul Hatheyer, grew up as the “adopted daughter” of their parents who were later married to each other in the “Hatheyer House” on Heuplatz in Klagenfurt next to the soap factory founded by grandfather Paul Hatheyer.

Instead of embarking on the originally intended career as a journalist after graduation, she took acting lessons with Anna Kainz in Vienna and began her stage career at a Viennese cabaret on the Naschmarkt after she had already sniffed theater air as a child in a dwarf role in the nearby city ​​theater in Klagenfurt . An extraordinary acting career began with a small role as a Moor at the side of Zarah Leander in Ralph Benatzky's operetta Axel an der Himmelstür at the nearby Theater an der Wien . In the following year Otto Falckenberg brought her to the Münchner Kammerspiele , where she had great success as Anuschka in Richard Billinger's play The Gigant and as Johanna in George Bernard Shaw's Heiliger Johanna . In 1942 she was engaged by Gustaf Gründgens at the Prussian State Theater in Berlin .

Hatheyer was discovered for the film by Luis Trenker for his film about the Matterhorn first ascent Der Berg ruft (1938). It then followed, especially in 1940 Die Geierwally , as which she became famous, and The Great Shadow (1942), in which she embodied a pregnant theatrical innocence.

Hatheyer's involvement in the Nazi propaganda film Ich klage an (1941), in which she played the role of the hopelessly ill Hanna Heyt, became problematic for Hatheyer . In the film Wolfgang Liebeneiner is a more than two hours long, treacherous-infamous because very suggestive staged plea for disguised as humane euthanasia euthanasia , which provided, with the predicates "artistically particularly valuable" and "people making" mass appeal the " Destruction of life unworthy of life " propagated as useful for the " national community ". Hatheyer's game was designed in such a way that the viewer, touched by her suffering, could identify with her death wish or at least agree to it out of pity. This also made her husband's killing understandable. After 1945 Hatheyer was banned from filming for 4 years by the Allied Military Commission , as they were accused of “indirect complicity” in the mass murders of the Third Reich . After her declaration that she had been forced to play the role of the terminally ill, she was not completely banned from professions: she was allowed to continue working at the theater, followed by leading roles in the Bavarian State Theater and the Little Comedy in Munich, as well as engagements at the Thalia Theater in Hamburg , to the Renaissance Theater in Berlin and from 1952 to guest performances at the Berlin Schillertheater . While Liebeneiner, the director of the film, which is still not generally accessible, was denazified without any conditions as early as 1947, Heidemarie Hatheyer's shooting ban was only lifted two years later.

In the 1950s and 1960s she was able to build on her earlier cinematic successes, for example in Boleslaw Barlog's post-war rubble film Where the Trains go , as the title heroine in the film adaptation of Theodor Fontane's posthumous novel Mathilde Möhring under the title Experience a great Love (also known as My Heart Belongs to You , 1950) or next to Ewald Balser in Sauerbruch - That Was My Life (1954) and especially as Anna John in Robert Siodmak's film adaptation of the naturalistic tragic comedy Die Ratten by Gerhart Hauptmann alongside Curd Jürgens and Maria Schell .

First and foremost, however, Hatheyer was a great actress on stage. From 1955 until 1983 she was a permanent member of the Zürcher Schauspielhaus and excelled in the world premiere of William Faulkner's Requiem for a Nun . The novel had been dramatized by Albert Camus as Requiem pour une nunne , and with the Zurich premiere on October 20, 1955, the German translation of the piece was staged earlier than the French original version. Hatheyer also played the mother Courage again with Gustaf Gründgens , now in Düsseldorf, where she belonged to the ensemble until 1957, she worked after 1965 in Hamburg at the Deutsches Schauspielhaus with Oscar Fritz Schuh and played Medea and Lady Macbeth at the Vienna Burgtheater , in which she played repeatedly from 1960 to 1968 and appeared again as a guest in 1984.

Heidemarie Hatheyer's grave

The stage actress was awarded the Vienna Josef-Kainz-Medal and the Austrian Grillparzer-Ring as well as the appointment as state actress by the Berlin Senate; The film actress received the German Film Band in Gold of the German Film Prize ("Federal Film Prize") for "many years of outstanding work in German film" and again in 1989 in the "Performing Achievements" category as best actress in Martha Jellneck (1988) after a good twenty years' absence from the big screen, an absence in the years of the "new German film", for which her audience not only through her extensive acting activities on tours and at festivals such as in Salzburg , Bad Hersfeld or Recklinghausen in the Ruhr area, but also through her work for the television was compensated, where she was also in a number of demanding TV productions - Grillparzer's Medea directed by Leopold Lindtberg (1962), the Elektra von Sophokles (ORF 1963) like that of Jean Giraudoux (ZDF 1964), Max Frisch's Andorra ( NDR 1964), Carl Zuckmayers Kranichtanz (SF 1967) or Tankred Dorsts Auf dem Chimborazo (WDR 1976) - could be seen.

Heidemarie Hatheyer was her first marriage to the director, editor and author Wilfried Feldhütter and from 1952 her second marriage to the writer and journalist Curt Riess , who “the woman with the hundred faces” with his “Requiem for Heidemarie Hatheyer” is a permanent memorial sat. She had two daughters from her first marriage, Veronika and Regine Feldhütter (†), who also worked as an actress as Regine Felden and with whom she also stood in front of the camera , for example as mother and daughter in the movie Glücksritter (1957). Her granddaughter is also an actress.

She rests at the Enzenbühl cemetery (FG 81093) in Zurich at the side of her second husband.


Awards and honors

  • 1961: Josef Kainz Medal of the City of Vienna for her services to the theater through her portrayal of Medea in the Grillparzer trilogy Das goldene Vlies at the Burgtheater
  • 1963: Appointment as state actress by the Berlin Senate
  • 1967: Grillparzer-Ring of the Austrian Federal Minister for Education and Art
  • 1984: Filmband in gold for many years of outstanding work in German film
  • 1989: Filmband in Gold (Category: Performing Achievements) for Martha Jellneck
  • In 2008 she appeared on a list of people in her hometown of Klagenfurt who were certified by a commission for the denazification of street names that they were “more than just followers of the Nazi regime of terror”, but streets named after them do not have to be renamed.


  • Friedemann Beyer: The faces of UFA, star portraits of an era . Heyne-Filmbibliothek 175, Heyne, Munich 1992, ISBN 3-453-05971-9 Translated by Friederike Blendinger. Schüren Presseverlag, Marburg 2001, ISBN 978-3-89472-374-3
  • Thomas Blubacher : Heidemarie Hatheyer . In: Andreas Kotte (Ed.): Theater Lexikon der Schweiz . Volume 2, Chronos, Zurich 2005, ISBN 3-0340-0715-9 , p. 802.
  • Adolf Heinzlmeier, Berndt Schulz: Lexicon of German film and TV stars . Lexikon-Imprint, Berlin 2000, ISBN 978-3-89602-229-5 .
  • Ulrich Liebe (Ed.): From Adorf to Ziemann, The Bibliography of Actor Biographies 1900–2000. Germany, Austria, Switzerland. Publishing house culture and criticism, Schöppenstedt 2004, ISBN 978-3-9809683-0-0 .
  • Friederike Mat (ed.): Our film favorites, a picture book . Vienna u. a. 1956
  • Ingeborg Reisner: Cabaret as a theater workshop: literary cabaret in Vienna before the Second World War. Theodor Kramer Society, Vienna, 2004, ISBN 3-901602-15-1 .
  • Curt Riess : The woman with the hundred faces - Requiem for Heidemarie Hatheyer . Droste, Düsseldorf 1991, ISBN 978-3-7700-0955-8 .
  • Cinzia Romani: The film divas of the Third Reich: Stars between cult and terror . Translated by Friederike Blendinger. Schüren Presseverlag, Marburg 2001, ISBN 978-3-89472-374-3 .
  • Helga and Karlheinz Wendtland: Beloved Kintopp, Complete German Feature Films from 1929–1945 - Artist Biographies AK . Publisher Medium Film K. Wendtland, Berlin 1994, ISBN 978-3-926945-12-9 .
  • Anita Wolfartsberger: The "middle piece" in the 'Wiener Werkel'. Small art in the Third Reich between adaptation and resistance. (Diploma thesis) Vienna, 2004.

Web links

Individual evidence

  1. ^ The Historical Lexicon of Switzerland indicates Zollikon as the place of death, see Hansruedi Lerch: Heidemarie Hatheyer. In: Historical Lexicon of Switzerland . October 10, 2007 , accessed May 19, 2010 .
    The Italian version even explicitly says "Zollikon (e non Scheuren com. Maur)", i.e. i. Zollikon (and not Scheuren, municipality of Maur)
    The entry on Heidemarie Hatheyer in the Austria Forum  (in the AEIOU Austria Lexicon ) mentions “Zollikon near Zurich (Switzerland)”.
    Older sources, however, still mention Scheuren near Forch , Zurich
  2. Hansruedi Lerch: Heidemarie Hatheyer. In: Historical Lexicon of Switzerland . October 10, 2007 , accessed May 19, 2010 .
  3. steffi-line.de , accessed May 19, 2010
  4. Press release of the Saxon State Medical Association from September 2009 on a film showing with discussion on the subject of I KLAGE AN (1941) - Euthanasia in National Socialist films (accessed April 4, 2016)
  5. chroniknet.de (accessed on May 20, 2010)
  6. German Film Prize - Filmband in Gold
  7. Carl Riess: The woman with the hundred faces - Requiem for Heidemarie Hatheyer . Droste, Düsseldorf 1991
  8. Weitblick No. 85, June 2008  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (accessed April 4, 2016)@1@ 2Template: Toter Link / volksherrschaft.info