Margit Carstensen
| Margit Carstensen | |
|---|---|
| Born |
Margit Carstensen 29 February 1940 Kiel, Germany |
| Occupation | theatre and film actress |
| Awards |
German Film Award (Gold) – Best Actress 2002 Scherbentanz |
German Film Award (Gold) – Best Actress
1973 The Bitter Tears of Petra von Kant
Margit Carstensen (born 29 February 1940) is a German theatre and film actress, best known outside Germany for roles in the works of film director Rainer Werner Fassbinder.
Carstensen, the daughter of a physician, was born and raised in the north-German city of Kiel. Upon graduation from the local high school in 1958, she studied acting at the Hochschule für Musik und Theater Hamburg. This education led to her first stage appearances in Kleve, Heilbronn, Münster and Braunschweig. In 1965 Margit Carstensen received a four-year engagement with the Deutsches Schauspielhaus (German Playhouse) in Hamburg. There she played leading roles in plays by John Osborne and the classical Spanish playwright Lope de Vega.
In 1969 she gained a local profile for her work in the Theater am Goetheplatz in Bremen, where she first met director Rainer Werner Fassbinder. She then worked under his direction in a comedy by the 18th-century Venetian Carlo Goldoni The Coffee Shop (which was recorded for television in 1970), bringing her national attention in West Germany. She subsequently played the role of serial murderess Geesche Gottfried in the premiere of Fassbinder’s own play Bremen Freedom (also televised, in 1972), and then in the title role of his Henrik Ibsen adaptation Nora Helmer (televised in 1974) derived from A Doll's House.
From 1973 to 1976 Carstensen held a steady acting engagement in Darmstadt, and the next year worked once again in Hamburg. In 1977 she moved to what was then West Berlin where she performed on the highly regarded Staatliche Schauspielbühnen. In 1982 she moved to Stuttgart in order to work with director Hansgünther Heyme, where she appeared in a series of plays directed by him. Over the years she also performed in many smaller roles on the most important of the German-language stages, for example making several appearances in the Munich Kammerspiele.
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