On 9 March 1958,[1][2] Doll was born in Vienna.[3][4] When she was 19,[4] she took up German studies and theatre studies in Vienna.[2] Doll went on to enroll at the Max Reinhardt Seminar to train as an actress.[4] She did not require input dramaturge upon drawing upon world literature individuals.[5][clarification needed] Doll received her first professional theatrial engagement at the Salzburger Landestheater when she was aged 20,[4][6] and went on to portray roles at Vienna's Volkstheater.[3] She earned the Kainz Medal in 1992 for her performance of Libussa by Franz Grillparzer at the Volkstheater,[7][8] and the Karl Skraup Prize for her roles in the plays Nora and Hedda Gabler by Henrik Ibsen.[2] Doll played as Martha in Edward Albee's Wer hat Angst vor Virginia Woolf,[9] for which she received one of Austria's most prestigious theatre accolades,[6] the Nestroy Theatre Prize for best actress, in 2000.[7][8]
Doll was the lead role as a refugee called Anna in the 1998 film Suzie Washington directed by Florian Flicker.[2][3][5] She was Jude de Tutelles in the 1999 production Die Sekretärin des Weihnachtsmanns, Mamma and Bokcls Freundein in the 2000 Austrian films Ternitz, Tennessee and Hold-Up respectively. Doll played the part of Mutter in each of Mein Vater, meine Frau und meine Geliebte (2004), Out of Hand (2005), Frau Gamsjäger in Daniel Käfer – Die Schattenuhr (2006) and Karin Bolz in Tatort: Heile Welt (2007). She had roles in the television programmes Der Gorilla (1991), Ein Fall für zwei, Liebling Kreuzberg (1998), The Old Fox, Der letzte Zeuge (1999), Siska (1999 and 2001), Polizeiruf 110 (2001), Tatort (2004) and Fast Forward (2010).[10] Doll has also earned the Best Actress Award at the Fort Lauderdale International Film Festival and the Best Actress Award at the Karlovy Vary International Film Festival in 1980.[2][11]
Doll suffered a severe stroke and died of complications on 26 October 2015[6][9][7][8] at age 59.
Legacy
The correspondent of Der Spiegel wrote of Doll: "Birgit Doll had an extraordinary stage presence, which made the Viennese-born one of the most important figures on the Austrian theater scene."[6] Margarete Affenzeller, writing for Der Standard, said the actress "was never the Gretchen or Julia type as an actress. She was always drawn towards a Nora or Medea. She felt more connected to the strong female characters."[3]Die Presse's Barbara Petsch said of her "She was an intellectual, even if she appeared on stage and in films mostly as a woman with a strong soul."[5]
123456789Wiedergut, Arno (15 May 2012). "Schauspielerin Birgit Doll"[Actress Birgit Doll] (in German). Presseteam Austria. Archived from the original on 4 August 2021. Retrieved 4 August 2021.
