Martina Ebm: "Mondsee is coming home for me!"
While studying theatre, film and media studies in Vienna, she gained a foothold in the Austrian theatre scene and also landed more and more roles in film. Her breakthrough came in 2013 with the leading role in the Austrian cinema satire "Bad Fucking". Martina is currently filming the series "Vorstadtweiber" alongside Gerti Drassl, Maria Köstlinger, Nina Proll and Adina Vetter. She can be seen on stage from autumn in "Der Zerrissene" and "Eine dunkle Begierde".
In an interview, she talked to us about Mondsee, success, falling height, her doubts and doing nothing.
What role does Mondsee play in your life? What do you like here and how often do you visit the place where you spent your childhood and part of your youth?
Mondsee is still like coming home for me. I grew up there and associate the place with family, friends, down-to-earthness - and of course Kaspressknödel!
You imagine life as an actor to be incredibly exciting. How would you describe it? What do you love about it and what is less enjoyable?
It's the same with everything: if you do something with passion, then it usually turns out quite well; or at least you have nothing to reproach yourself for in the end. I love my job so much that I couldn't imagine doing anything else. It's the variety, the fact that you have to adapt to new moments, things and people. I find that so insanely exciting.
What's probably less enjoyable are the uncertainties that arise with every new production. I feel like I'm always starting from scratch. The only instrument I have is my body, my emotions. But at the end of the day, it's just a job that you try to do to the best of your ability and make a living with it.
Film and theatre are two completely different areas of acting. Is there one that you prefer or what are the most striking differences from an actress's point of view?
I really can't say which I prefer. I prefer to do both! At the moment, I'm very happy that I can work in both theatre and film.
It's just a certain kind of freedom for me not to be dependent on one thing. The main difference for me is that in theatre you live through a play emotionally from A to B. You get into the emotion through the process of acting.
In film, it can happen that you start with the last scene of the film and then shoot the first scene of the film immediately afterwards. When filming, you always have to know exactly where your character is emotionally and when.
Apart from that, I think theatre and film are quite similar, you have to know the character, take on the character and behave like the character. It's about being, not playing!
Do you have a favourite role or one that you would definitely like to play one day?
There is no one favourite role. Roles that appeal to me have to touch me emotionally. The stronger the character is, the more emotional, the bigger the fall, the better I think it is. It's also incredibly exciting when the role I'm playing is completely different to my own personality. You really immerse yourself in a different life that you've never experienced before. I like that.
Where can we see you soon?
I'm currently filming a new series, "Die Vorstadtweiber". It's about women who lack nothing materially, but who are unfortunately very unhappy and harbour many secrets - it can be seen on TV in 2015.
Otherwise, I'll be rehearsing at the Theater an der Josefstadt from August. I've been engaged there for two years and have the opportunity to take part in two great plays: Nestroy's "Der Zerrissene" premieres on 2 October and "Eine dunkle Begierde" in November. Christopher Hampton is directing and I'm playing a very challenging role for me, Sabina Spielrein. I'm really looking forward to it!
We often read in interviews about the limits you keep pushing. What are they, and what would you never do for a role?
It's about emotional and physical limits. You can equate boundaries here with challenges that you try to face. When you overcome these challenges or boundaries, you realise how many sides, how much there is in you, how much you have hidden within you. Of course, it's incredibly important to trust the director, the "playmaker". That is a basic requirement.
In no other profession do you deliberately reveal so much of yourself emotionally and physically - playing with emotions makes you vulnerable. You have to decide for yourself how much you are prepared to give. I don't know if I would never do certain things. I would definitely overcome myself to try. That also has a lot to do with "being ashamed"... and overcoming it.
Would you owe your success to this "overcoming of boundaries", among other things? Or why, apart from your talent, have you made it where countless people have only dreamed of their whole lives?
Overcoming boundaries always has to do with courage. I consider myself to be quite courageous in certain things. I try to accept things that come my way and happen to me and work on them. But in the end, it's all about having the courage not to play, but to be.
You've been described as the new star in the Austrian acting firmament. How does that feel? How do you deal with this celebrity? Are there people who treat you differently since your breakthrough than before?
Well, the "new star" thing is a bit strange for me, but of course I'm happy when people write that about me! At the same time, I also know how short-lived the industry can be and that you have to keep working because in the end ONLY your performance counts! An article from tomorrow can be forgotten the day after tomorrow. But your work will be remembered. For me, not much has actually changed because I worked on my roles before just as I do now, it's just that I pay more attention to it now.
The people I deal with treat me in exactly the same way as before. Thank God for that! Anything else would be bad.
Do you havetimefor a private life, for hobbies?
Yes, I also have time for my private life. I'm a master at chilling out and doing nothing. However, it feels much better when you know that you have the next job offer in sight.
If there is one: What is your motto in life?
It's only ever forward ...
by Andrea Vitzthum
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