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Maria Eis
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Maria Eis (22 February 1896 – 18 December 1954) was an Austrian actress of stage and screen.
Key Information
Between 1918 and 1923, Eis performed on stage at the Neue Wiener Bühne (New Vienna stage), the Renaissancebühne (Renaissance stage) and the Kammerspielen. Later, she moved to Hamburg, where she played at the Thalia Theater and at the Deutschen Schauspielhaus until 1932. When she returned to Vienna, she joined an ensemble group at the Burgtheatre (City Theatre), where she played character and tragic roles up until her death. Her performances, such as Elizabeth I, Lady Macbeth, Sappho, Medea, and Iphigenia are considered noteworthy.
Eis also acted in a number of successful films after 1935.
A section of road in front of the former Karl Michael Ziehrer House has been renamed "Maria Eis Gasse" in her memory.
Partial filmography
[edit]- Episode (1935)
- Mirror of Life (1938)
- Love is Duty Free (1941)
- The Trial (1948)
- Mysterious Shadows (1949)
- Duel with Death (1949)
- We've Just Got Married (1949)
- Maria Theresa (1951)
- The Spendthrift (1953)
- Franz Schubert (1953)
- Anna Louise and Anton (1953)
- The Eternal Waltz (1954)
References
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Maria Eis
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Early life
Birth and family background
Maria Eis was born on February 22, 1896, in Prague, which was then part of the Austro-Hungarian Empire and is now the capital of the Czech Republic. [3] [1] She was the daughter of Blasius Eis, a coffee house owner in Prague, and his wife Maria Eis (née Lötsch), who was the daughter of an innkeeper. [1] [4] Her family resided in Prague during her early years, with her father's occupation reflecting a modest business-oriented background in the city's hospitality sector. [1]Acting training and early roles
Maria Eis's acting talent was discovered during a charity performance in Prague, prompting her to pursue formal training. [4] [1] She initially took lessons with Maximilian Wolff, an actor and director at the Prager Landestheater. [4] [5] In 1916 she relocated to Vienna and enrolled at the Akademie für Musik und darstellende Kunst, where she studied until 1918 while working as a secretary in the Burgtheater administration to support herself. [4] [1] [5] She began her professional acting career in September 1918 with her first engagement at the Neue Wiener Bühne under director Emil Geyer. [4] [1] During this early period she also performed at the Renaissancebühne and the Kammerspiele in Vienna. [4] [1] These engagements formed the foundation of her stage work until 1923. [1]Stage career
Entry into professional theater
Maria Eis joined the Burgtheater ensemble in 1932 after Austrian playwright Anton Wildgans, then director of the theater, saw her performance as Iphigenie in Hamburg in 1931 and invited her to Vienna.[1][3] This engagement marked her transition to the most prestigious stage in Austria, where she became a permanent member of the ensemble and remained until her death in 1954.[3] In her initial years at the Burgtheater, Eis specialized in character and tragic roles, leveraging her dramatic range and expressive intensity to establish herself as a valued contributor to the theater's classical repertoire. She focused on supporting and distinctive parts that highlighted her versatility, building on her prior successes in Hamburg without immediately taking on leading heroic roles.[6] Her presence added depth to ensemble productions, setting the foundation for her enduring association with the institution.[7]Long tenure at the Burgtheater
Maria Eis remained a dedicated member of the Burgtheater company from 1932 until her death on December 18, 1954, spanning over two decades of continuous service through the challenges of war, postwar reconstruction, and the theater's reopening. [4] [1] In 1946, Eis was awarded the prestigious title of Kammerschauspielerin, recognizing her stature as one of Austria's foremost stage performers. [4] [8] She was celebrated for her extraordinary versatility as a character actress and tragedian, simultaneously holding positions as the company's leading heroic actress, salon lady, and character interpreter. [8] Her performances combined intense passion, sharp irony, nuanced humor, and masterful command of language, allowing her to portray both tragic heroines and comic or eccentric figures with striking depth and personality. [1] [4] Among her most notable Burgtheater roles were Lady Macbeth in Shakespeare's Macbeth, Medea in Franz Grillparzer's Das goldene Vlies, Sappho in Grillparzer's Sappho (which she performed at the theater's reopening in the Ronacher in 1945), Elisabeth in Schiller's Maria Stuart, and her final appearance as Madame Alexandra in Jean Anouilh's Colombe, where she reached what critics regarded as the peak of her mature artistry. [4] [8] [1] During the Burgtheater's 1937 guest engagement in Paris, the French press acclaimed her as the "Queen of the Acting Art" for her compelling stage presence. [1] Her sustained excellence and artistic range made her one of the defining figures of Austrian theater during this era. [4]Film career
Pre-war film appearances
Maria Eis made her screen debut in 1935 with a supporting role as the Kammersängerin (chamber singer) in the Austrian film Episode, directed by Walter Reisch. [3] [9] [10] This marked her entry into film while she continued her established stage career at Vienna's Burgtheater. [1] Her pre-war and wartime film appearances remained limited, typically consisting of character parts in Austrian and German productions. [10] [11] In 1938 she portrayed Maud Musil in Spiegel des Lebens (Life's Mirror). [10] [11] In 1941 she appeared as Frau des Finanzministers (the finance minister's wife) in Liebe ist zollfrei and as Kaiserin Maria Theresia (Empress Maria Theresa) in Tanz mit dem Kaiser. [10] [1] These roles highlighted her versatility as a supporting actress, though her primary artistic focus remained on theater throughout the period. [1]Post-war film roles
Following the end of World War II, Maria Eis resumed her screen career with appearances in several Austrian and international co-productions during the late 1940s and early 1950s. [3] One of her prominent post-war roles came in the 1948 film Der Prozeß (The Trial), directed by Georg Wilhelm Pabst. [3] She continued with supporting parts in films such as Romanzo d'amore (also known as Toselli-Serenade, directed by Duilio Coletti, 1950), Asphalt (directed by Harald Röbbeling, 1951), Maria Theresia (directed by Emil E. Reinert, 1951), and Wienerinnen (also known as Wiener Mädeln, directed by Kurt Steinwendner, 1952). [3] Her final film appearance was in Weg in die Vergangenheit (directed by Karl Hartl, 1954). [3] These titles rank among her most successful cinematic works. [3] In addition to these, Eis featured in other productions during this period, including Pünktchen und Anton (1953), Franz Schubert (1953), Der Verschwender (1953), The Eternal Waltz (1954), and several more, contributing to a body of work that encompassed over a dozen credits in the post-war years. [2] Post-war, she was increasingly seen in comic and character roles across these films. [12] Although her film engagements grew in number after 1945, her primary commitment remained her ensemble position at the Burgtheater, where she continued performing until her death in 1954. [3]Personal life
Relationships and private life
Maria Eis was married four times during her life. Her first marriage was to Alfred Felgel von Farnholz and lasted from 1919 to 1921. She then married the actor Theo Goetz (real name Theophile Menu) in 1924; the marriage ended in divorce in 1936. Her third marriage was to the conductor and composer Robert Fanta (also known as Fantl), lasting from 1937 to 1946. Eis later entered a fourth marriage with the fashion designer Marcel André.[4] Eis was the mother of one son, the actor Heinrich Kilian Gereon Eis, known as Heiki. He was born in 1940 during her marriage to Robert Fanta and gained early recognition as a child actor after being discovered by Walter Firner. He appeared alongside Albert Bassermann at the Vienna Volkstheater and played opposite Attila Hörbiger in the film Gottes Engel sind überall (1947).[4][3] Her first two husbands were Jewish. During the Nazi regime, Eis was able to continue her work at the Burgtheater without interruption and was included in the list of the most important God-given artists. According to some sources, she hid the Jewish Burgtheater prompter Maximilian Blumenthal in her apartment, though he and his wife were deported to a concentration camp in 1941.[3]Death
Selected filmography
- 1935: Episode [2]
- 1938: Life's Mirror as Maud Musil [2]
- 1941: Tanz mit dem Kaiser as Kaiserin Maria Theresia [2]
- 1948: Der Prozeß as Witwe Solymosi [2]
- 1949: Mysterious Shadows [2]
- 1951: Maria Theresia as Fürstin Gollinsky [2]
- 1953: Franz Schubert as Madame Schechner [2]
- 1953: Pünktchen und Anton as Frau Übelmann [2]
- 1954: The Eternal Waltz as Fürstin Metternich [2]