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Erika Pluhar is an Austrian actress, singer,[1] and author, born on 28 February 1939 in Vienna. She is the daughter of Anna and Dr Josef Pluhar. Pluhar's younger sister, Ingeborg G. Pluhar, is a painter and sculptor. Erika Pluhar is not related to Austrian musician Christina Pluhar.

Key Information

After finishing school in 1957 Pluhar studied at Max Reinhardt Seminar, the Viennese academy for music and the performing arts, graduating with distinction in 1959. She immediately went into acting at Burgtheater, the former imperial court theatre. She was a member of the Burgtheater acting troupe for forty years, until 1999.

At the beginning of the 1970s Erika Pluhar embarked on a singing and songwriting career. In 1981 the diarist's[2] first book length publication appeared. (The list below is incomplete.)

Erika Pluhar was married twice (to Udo Proksch, a businessman who was convicted of the murder of six people, and to André Heller, Austrian poet and all-rounder artist). She had a daughter, Anna (1961–1999), who died from asthma.

Literary works (German)

[edit]
  • Aus Tagebüchern (1981)
  • Über Leben : Lieder und ihre Geschichten (1982)
  • Lieder (1986)
  • Als gehörte eins zum anderen : eine Geschichte (1991)
  • Zwischen die Horizonte geschrieben : Lieder, Lyrik, kleine Prosa (1992)
  • Marisa : Rückblenden auf eine Freundschaft (1996), Hoffmann und Campe, ISBN 978-3-455-30105-2
  • Am Ende des Gartens : Erinnerungen an eine Jugend (1997)
  • Matildas Erfindungen (1999)
  • Der Fisch lernt fliegen : unterwegs durch die Jahre (2000)
  • Verzeihen Sie, ist das hier schon die Endstation? (2001)
  • Die Wahl (2003)
  • Erika Pluhar: Ein Bilderbuch (2004)
  • Die stille Zeit : Geschichten und Gedanken nicht nur zu Weihnachten (2004)
  • Reich der Verluste (2005)
  • Paar Weise. Geschichten und Betrachtungen zur Zweisamkeit, (Januar 2007), Residenz/Niederösterreichisches Pressehaus, ISBN 3-7017-1472-X, ISBN 978-3-7017-1472-8
  • Spätes Tagebuch. Roman (novel 2010, 9th ed. 2019),[3] audiobook in German (2011),[4] 4th paperback ed. 2023.[5]
  • Gitti (2023), the story of Brigitte King, Pluhar's elder sister.[6][7]

Records

[edit]
  • Erika Pluhar singt (1972)
  • So oder so ist das Leben (1974)
  • Die Liebeslieder der Erika Pluhar (1975)
  • Hier bin ich (1976)
  • Beziehungen (1978)
  • Vom Himmel auf die Erde falln sich die Engel tot: Pluhar singt Biermann (1979)
  • Narben (1981)
  • Über Leben (1982)
  • Liebende (1983)
  • Wiener Lieder
  • Bossa à la Marinoff (1989)
  • For ever
  • Ein Abend am Naschmarkt (1995)
  • Jahraus, jahrein (1998)
  • I geb net auf (1999)
  • Lieder vom Himmel und der Erde (2002)
  • Es war einmal (2004)
  • Wien. Lied. Wir. (2006)

Film appearances

[edit]

Awards

[edit]
  • The Josef Kainz Medal from the City of Vienna (1979)
  • The Robert Musil Medal from the city of Klagenfurt and the Robert Musil Archive (1984)
  • Chamber Actress of the Year (1986)
  • Honorary Medal of the City of Vienna, Gold (2000)

References

[edit]
[edit]
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Erika Pluhar

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Erika Pluhar is an Austrian actress, singer, and author known for her more than 40-year tenure as a leading performer at Vienna's Burgtheater, her distinctive work as a chansonnier and singer-songwriter, and her prolific output as a novelist and essayist. [1] [2] Born in 1939 in Vienna, where she continues to live and work, Pluhar established herself early in her career as a theater actress after training at the Max Reinhardt Seminar and became a defining presence at the Burgtheater, contributing to countless stage productions over four decades. [1] She also appeared in notable Austrian and German films, building a reputation across theater and screen. [1] Around the age of 40, Pluhar expanded her artistic focus to music, composing and performing her own chansons that blend sharp observation with musical expression, while simultaneously developing a significant literary career. [1] She has published numerous books, often drawing on autobiographical elements, including the recent novels Hedwig heißt man doch nicht mehr (2021), Gitti (2023), Trotzdem (2024), and Spät aber doch (2025), which explore themes of love, memory, and aging. [2] Throughout her career, Pluhar has been recognized for her sustained political and social engagement, frequently addressing contemporary issues through her art and public appearances. [1]

Early life and education

Family background and childhood

Erika Pluhar was born on 28 February 1939 in Vienna as the middle of three daughters to Anna Götzer (1909–2000) and Josef Pluhar (1901–1995).[3] Her parents had married in Rio de Janeiro in 1931 and returned to Austria in the 1930s.[3] Her father came from Bohemian origins and settled in Vienna at the age of 18.[3] During World War II, Josef Pluhar held an administrative role in occupied Poland as adjutant to SS-Gruppenführer Otto Wächter.[4] As a child toward the end of the war, Pluhar spent time as a refugee in Pfaffstätt.[4] In the immediate post-war years, she resided with an aunt near Vienna.[4] She completed her Matura in 1957.[5]

Training and early career

After completing her Matura in 1957, Erika Pluhar began her formal acting training at the Max Reinhardt Seminar in Vienna, attending from 1957 to 1959. [6] [7] The Max Reinhardt Seminar, the acting department of the University of Music and Performing Arts Vienna (then known as the Musikakademie), provided her education in drama and related disciplines, culminating in a diploma earned with distinction in 1959. [6] [8] Immediately following her graduation, Pluhar joined the ensemble of the Burgtheater in Vienna at the start of the 1959/1960 season. [9] [9] This marked her entry into professional theater, leading to a permanent position at the institution that lasted until 1999. [9]

Stage career

Burgtheater tenure

Erika Pluhar was a permanent ensemble member of Vienna's Burgtheater from 1959 to 1999, spanning four decades as one of the theater's key actresses.[6] Her tenure included particularly successful periods under the direction of Achim Benning, during which she was frequently cast in prominent roles. The arrival of Claus Peymann as director in 1986 led to fewer roles for Pluhar, who increasingly devoted herself to writing. Her official farewell from the Burgtheater came on 28 February 1999 after a performance of Maxim Gorki's Kinder der Sonne. This marked the end of her long-standing affiliation with the institution where she had spent the majority of her stage career.[6] Pluhar returned to the stage in 2009 for her 70th birthday, performing in a theatrical adaptation by Werner Schneyder of her own novel Entschuldigen Sie, ist das schon die Endstation? at the Akademietheater in Vienna, as well as at the Radiokulturhaus and the Volkstheater.[6] Beyond her Burgtheater engagement, she accepted guest roles at other notable venues, including the Münchner Kammerspiele, the Bad Hersfelder Festspiele, and the Bregenzer Festspiele.

Notable stage roles

Erika Pluhar established herself as a prominent stage actress through her interpretations of diverse classical roles during her tenure at the Burgtheater from 1959 to 1999.[6] She excelled particularly in the works of Friedrich Schiller, William Shakespeare, and other canonical playwrights, bringing depth to both tragic and nuanced characters. Her notable early roles included Luzie in Hermann Bahr's Das Phantom in 1959, Ismene in Sophocles' Antigone in 1961, Doña Angela in Pedro Calderón de la Barca's Dame Kobold in 1964, and Amalia in Schiller's Die Räuber in 1965.[6] She followed these with Desdemona in Shakespeare's Othello in 1967 and the Queen in Franz Grillparzer's Die Jüdin von Toledo in 1968.[6] In the 1970s, Pluhar took on several leading roles in Schiller's dramas, portraying the Queen in Don Carlos in 1973, the title role in Maria Stuart in 1974, and Lady Milford in Kabale und Liebe in 1975.[6] In 1978, she performed the title role in Henrik Ibsen's Hedda Gabler and Helene in Hugo von Hofmannsthal's Der Schwierige.[6] Her later notable stage appearances featured Ljubow Andrejewna Ranjewskaja in Anton Chekhov's Der Kirschgarten in 1982 and Natalja in Ivan Turgenev's Ein Monat auf dem Lande in 1986.[6] These performances highlighted her range across European dramatic traditions, from ancient Greek tragedy to modern psychological realism.

Screen career

Film and television acting

Erika Pluhar began her screen career in the 1960s, with early television roles starting in 1961, transitioning from her established stage work at the Burgtheater to film and television roles. Her cinematic debut was in the Austrian drama Moos auf den Steinen (1968), directed by Georg Lhotzky, where she played Julia in this adaptation of Gerhard Fritsch's novel depicting postwar Viennese society. [10] [11] That same year, she appeared in the television film Bel Ami as Madeleine Forestier. [12] Throughout her career, Pluhar accumulated 59 acting credits in film and television, encompassing Austrian, German, and occasional international productions. [12] Notable early roles included appearances in Wim Wenders' Die Angst des Tormanns beim Elfmeter (1972), based on Peter Handke's novella, as well as Die Nacht von Lissabon (1971) and Reigen (1973). [13] [12] In the late 1970s, she featured in the multinational musical drama Schöner Gigolo, armer Gigolo (Just a Gigolo, 1978), portraying Eva alongside David Bowie in this depiction of Weimar-era Berlin. [12] Later highlights include her performance in Rosalinas Haus (1993), a project that also involved her behind the camera. [12] Her screen acting spanned several decades, often drawing on her versatility honed in theater while engaging with diverse directors and narratives in German-language cinema and television.

Directing projects

Erika Pluhar has worked as a director on four film projects, two of which she co-directed.[12] In 1993, she co-directed the film Rosalinas Haus.[12] In 2001, she co-directed the television movie Marafona.[14] Her third directing project was the 2012 documentary Sahara in mir, in which she accompanies her adopted grandson Ignaz Pluhar, then 26 years old, on a journey to Western Sahara, the country of his biological parents' origin.[15] Although Ignaz has no prior personal connection to the region, which remains occupied by Morocco, the film follows their encounters with the landscape, inhabitants, and difficult living conditions while conveying the profound beauty of the desert and its people.[15] In 2014, Pluhar directed the television movie Laguna.[16]

Music career

Chanson performances and recordings

Erika Pluhar began her singing career in the early 1970s, performing interpretations of Schlager from the 1920s and 1930s alongside songs by André Heller, Stephan Sulke, and Wolf Biermann. [17] [18] Early in her musical endeavors, she also included songs by her ex-husband André Heller in her repertoire. [17] From the early 1980s onward, Pluhar shifted to writing almost exclusively her own lyrics, establishing herself as a singer-songwriter in the chanson tradition. [19] She collaborated with notable accompanists such as António Victorino de Almeida, Peter Marinoff, and Klaus Trabitsch across various recordings and performances. [18] Her discography features key albums that document this progression, including Erika Pluhar singt (1972), Die Liebeslieder der Erika Pluhar (1975), Pluhar singt Biermann (1979), Narben (1981), Trotzdem (1985), Ein Abend am Naschmarkt (1996), I geb net auf (2000), Damals (2006), and Mehr denn je (2011). [18] These works highlight her transition from interpreter of others' material to creator of original chansons, often presented in intimate concert settings or studio recordings that emphasize lyrical depth and musical nuance. [17]

Literary career

Publications and themes

Erika Pluhar has been writing texts since her childhood, including keeping diaries from an early age, though she did not publish until later in life. [20] Her first book appeared in 1981 with Aus Tagebüchern, a selection of authentic diary excerpts published by Rowohlt Verlag. [21] Many of her subsequent prose works are autobiographical in character or draw directly from diary forms, often reflecting her personal experiences, inner states, and life reflections rather than external research. [21] Her publications frequently explore recurring themes such as ageing and isolation, late-life relationships, childhood and youth under traumatic conditions like war and postwar realities, family dynamics, loss, mortality, and the interplay between public visibility and private existence. [22] Several works blend fiction with reality to examine nonconformity to societal norms, personal failures, and the persistence of life despite adversity. [22] Among her notable books are Als gehörte eins zum andern (1991), Am Ende des Gartens (1997, recollections of her youth), Verzeihen Sie, ist das hier schon die Endstation? (2001), Reich der Verluste (2005), Er (2008), Spätes Tagebuch (2010), Im Schatten der Zeit (2012), Die öffentliche Frau (2013, a semi-autobiographical account oscillating between fiction and reality), Anna: eine Kindheit (2018), Hedwig heißt man doch nicht mehr (2021), Gitti (2023, a remembrance of her sister's traumatic wartime and postwar youth), and the announced Spät aber doch (2025). [22] [21] [23]

Personal life

Marriages, family, and losses

Erika Pluhar was first married to Udo Proksch (father of her daughter Anna). Their daughter Anna was born in 1962 and died in 1999 following an asthma attack at the age of 37. [24] This loss profoundly affected Pluhar, who described it as one of the heaviest blows in her life and noted that she felt compelled to endure for the sake of her then-15-year-old grandson. [24] Pluhar visited Proksch in prison after their marriage ended and expressed continued solidarity without debating his guilt or innocence in public. [24] Pluhar adopted her grandson Ignaz Pluhar, born in 1984 of Sahrawi origin, and he has lived with her in Grinzing since 1999. [25] [26] Her second marriage was to André Heller from 1970 to 1984; the couple remained friends afterward. [24] Pluhar was in a long-term relationship with actor Peter Vogel until his suicide in 1978, which she attributed to his inability to overcome addiction. [24]

Political views and later years

Pluhar has long been associated with left-leaning political positions and is considered close to the Social Democratic Party of Austria (SPÖ), though she has never held formal membership or office in the party.[27] In her work and public statements, she has emphasized social justice, tolerance, and opposition to xenophobia and authoritarian tendencies. In 2010, she was among the prominent signatories of an open letter protesting Barbara Rosenkranz's candidacy for the Austrian presidency, highlighting Rosenkranz's and her husband's connections to far-right and neo-Nazi circles, describing the candidacy as a threat to democratic values and expressing deep concern for Austria's international reputation. Pluhar has maintained an active creative life into her later years, continuing to publish books, perform chansons, and give readings and interviews well into the 2020s, with her work often reflecting themes of memory, social critique, and personal reflection. Her ongoing engagement has included new literary releases and occasional public appearances, underscoring her enduring role as a cultural voice in Austria.

Awards and honours

Major recognitions

Erika Pluhar has been honored with several prestigious awards and titles recognizing her significant contributions to Austrian theater, literature, and cultural life across her multifaceted career. In 1979, she received the Josef-Kainz-Medaille from the City of Vienna. In 1986, she was bestowed the professional title of Kammerschauspielerin. [28] She was awarded the Ehrenmedaille der Bundeshauptstadt Wien in Gold in 2000. [29] In 2009, she received the Ehrenpreis des österreichischen Buchhandels für Toleranz in Denken und Handeln. [30] Further honours include the Großes Goldenes Ehrenzeichen für Verdienste um das Bundesland Niederösterreich in 2014 and the Platin-Romy for lifetime achievement in 2019. [31]

References

  1. https://www.diewasnerin.at/aktuelles/erika-pluhar/
  2. https://www.literaturhaus-salzburg.at/veranstaltungen/spaet-aber-doch/
  3. https://contextxxi.org/_erika-pluhar_.html
  4. https://austria-forum.org/af/AustriaWiki/Erika_Pluhar
  5. https://www.news.at/menschen/erika-pluhar
  6. https://www.geschichtewiki.wien.gv.at/Erika_Pluhar
  7. http://www.steffi-line.de/archiv_text/nost_buehne/15p_pluhar.htm
  8. https://mugi.hfmt-hamburg.de/receive/mugi_person_00000638
  9. https://www.musiklexikon.ac.at/ml/musik_P/pluhar_Erika.xml
  10. https://www.imdb.com/title/tt0290009/
  11. https://nonstopkino.at/en/movies/moos-auf-den-steinen-2/
  12. https://www.imdb.com/name/nm0687546/
  13. https://letterboxd.com/film/the-goalies-anxiety-at-the-penalty-kick/
  14. https://www.imdb.com/title/tt0328111/
  15. https://info.filmarchiv.at/program/film/sahara-in-mir/
  16. https://www.crew-united.com/en/Laguna__182170.html
  17. https://musicbrainz.org/artist/fc5e875f-e6cc-4bbd-a7b9-e998e6680b2f
  18. https://www.discogs.com/artist/1298013-Erika-Pluhar
  19. https://www.erikapluhar.net/
  20. https://www.nordbayern.de/kultur/erika-pluhar-liest-aus-neuem-roman-1.2404287
  21. https://www.wienerzeitung.at/h/erika-pluhar
  22. https://www.residenzverlag.com/buecher/verzeichnis?book_search%5Bauthor%5D=Erika%20Pluhar
  23. https://oe1.orf.at/programm/20240225/750318/Erika-Pluhar-zum-85-Geburtstag
  24. https://www.nachrichten.at/kultur/ich-haette-mich-gerne-davongemacht;art16,3105864
  25. https://www.youtube.com/watch?v=DDGwzbk3Qog
  26. https://www.kleinezeitung.at/kaernten/feldkirchen/3940444/Interview-mit-Erika-Pluhar_Vom-grossen-Erlebnis-Wueste
  27. https://www.degruyter.com/document/doi/10.1515/9781789200478-005/html
  28. https://www.vr-elibrary.de/doi/pdf/10.7767/boehlau.9783205792352.631
  29. https://presse.wien.gv.at/2000/02/24/ehrung-fuer-erika-pluhar-und-friederike-mayroecker
  30. https://www.melleragency.com/autoren/pluhar/
  31. https://cineuropa.org/en/newsdetail/370895/
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