Gulda asks... Anna Carina Buchegger
Anna Carina Buchegger!
The world of musicals is a dazzling universe full of emotion, energy and passion. In the midst of these creative fireworks, Anna Carina Buchegger dances and sings on national and international stages. She is a successful Austrian musical actress whose talent and passion are conquering the stages of the musical world. With her impressive voice, expressiveness and stage presence, she has made a name for herself in the industry.
In an exclusive interview, she gives the Friedrich Gulda School of Music an insight into her fascinating world.
Anna Carina Buchegger discovered her love of music and theater at a young age. Since then, she has taken part in a large number of productions. Her versatile range allows her to embody a wide range of roles, from the enchanting heroine to the powerful antagonist. She was most recently seen in CATS as Rumpelteazer at the Ronacher and is currently in ROCK ME AMADEUS as Isabella.
We asked her 20 questions about her personal impressions, her training and her career in the world of musicals:
Was there a subject during your artistic training that you wish you had taught?
In general, I would have liked to have been better prepared for the profession - for example, in terms of setting boundaries, mental health and dealing with pressure.
How easy or difficult did you find the transition from theory to practice during and after your training?
I had jobs from time to time during the summer breaks, the leap into the long run was challenging and involved giving up many private events.
The most important, best or worst piece of advice or comment during your musical training (from colleagues or teachers)?
My training was a few years ago. I had my first professional job straight afterwards. I was severely underweight at the time and was highly praised for it by an artistic director. It was just a different time, nowadays things are handled more carefully. This incident left its mark on me back then because it just felt wrong.
On a scale of 1-10, how important do you think the subject of self-management is in musical education?
Certainly very useful. 10?
Is there a musical role that you have always dreamed of playing? If so, which one?
Sally Bowles, perhaps. Other than that, I'll be surprised what else comes my way.
How do you think musical theater has changed over the years and how do you think the industry will evolve in the future?
When I was a kid, I thought of musicals as wild, bold and raw. When it suddenly becomes your job, it's clear that there's a lot of work behind every production. I come from a generation that has learned to push boundaries. The show is the focus and you pull together for it. Unfortunately, that has changed. Ignoring signals from the body is bad in the long run. That's not what I mean. However, you can't expect to be equally fit every day if you're doing a long run. Future performers should be prepared for these eventualities and mentally strengthened so that they don't feel insecure if something doesn't go 100% right.
How do you come down after a performance? (not from the stage, but mentally)
Going straight home is very difficult and I often have to force myself to do it. My favorite thing to do after the show is to sit with my colleagues for a while.
How do you deal with stage fright?
Thank God this feeling is alien to me.
Which movie touches you?
I love the movie "the danish girl"
What advice would you give to young, aspiring musical performers who dream of having a successful career in musical theater?
I believe that the more self-reflective you are, the easier it is to assess yourself and set realistic goals.
Have you ever felt uncomfortable or harassed as a woman backstage or on stage during a production? How did you deal with it?
Not really.
Which song makes you cry? Which one makes you dream?
Colors by Black Pumas triggers a lot of emotions in me.
Do you love your body?
Unfortunately not. I try to be grateful for my health and the energy and I know that many people are not blessed with that. I'm unfortunately strict about this and I have quite severe body dysmorphia, so I don't see myself as I really am.
Should there be more mental health support at arts universities and schools?
100%.
Are the people in your family musically or artistically inclined?
Musically yes, but I'm the only one in the artistic profession.
Are you confronted with prejudices in your professional field?
Most people don't realize how much we have to work. We only don't play one day a week, we work when the others are off. I think the prejudice comes from the fact that we are in the entertainment industry. Our work is supposed to have a light effect on others, so that people can switch off and let themselves be entertained. So it's completely fine. I don't know anything about many professions, how are people supposed to know what happens backstage with us?
What do you think - is it easier to be underestimated or overestimated?
There are two kinds. Many people dazzle insanely well in auditions and can't maintain this level. I tend to be the other way around, as I feel completely uncomfortable in competitive situations. I prefer to be underestimated and in the best-case scenario I can convince someone, although you will certainly get better chances or positions if you are overestimated :)
How did you feel about your entrance exam?
As I said, I really don't feel comfortable in situations like that. I didn't know anyone and it was a foreign world for me. I had no stamina and even threw up after dancing. So I don't have very positive memories of those days, but the joy afterwards was all the greater.
How long do you think you can physically hold on to the job? And what comes afterwards? Do you have any plans?
I think that's very individual and depends on your own fitness and health. I would like to be on stage for a few more years. I don't know what will happen after that, but I can't imagine ever doing anything that has nothing to do with the stage.
Does every encounter have a purpose?
I believe in that.
©Photocredits Lisa Fokina/ IG: riiddzzaa
