It shouldn’t just be about the wheelchair – Markus Degenfeld

Four years on, one thing is clear: the journey they have undertaken together has enriched them all. In terms of training, collaboration – and what theatre is capable of: reaching people. For Markus Degenfeld himself, it was a period of intense self-examination: of his own body, of roles, of external expectations – and of the question of how one wants to be seen.

In the following conversation with Hanna Binder, he talks about his journey through training, about visibility beyond labels – and about what drives him in acting.

Markus, why acting? What do you love about it?

Slipping into a different role. Giving the audience a wonderful evening and encouraging them to reflect or rethink things. The bigger goal is to bring society together and create a sense of connection.

Film or theatre?

In the long term, I want to be on stage, as I want to feel the energy from the audience. Every now and then, I can also imagine standing in front of the camera.

Which roles did you play at the Mozarteum?

I particularly enjoyed playing the Earl of Gloster in William Shakespeare’s King Lear; Ophelia in Heiner Müller’s ‘Hamletmaschine’ and Bruscon in Thomas Bernhard’s ‘Theatermacher’ were a challenge and very enriching.

During your training, you didn’t want your wheelchair to be the focus of attention. What does your wheelchair mean to you?

At the start of my degree, I was offered interview opportunities but turned them down because they were solely about my disability. It’s important to know that I’m in a wheelchair. But I don’t want that to be the only focus. I’m one of the few people in the German-speaking world who, as a wheelchair user, is completing a state-funded acting training programme. That is certainly special, but I think it should become the norm. It’s good that it’s mentioned in a magazine article, but it shouldn’t be the main topic. 

How would you describe how people treat you here at uni?

Well, generally speaking, the experience here has been very good, because we agreed with all the lecturers that I’d attend every class at the start and we’d see how we could adapt things. And if it doesn’t make sense for either of us, then I don’t take part. For example, in acrobatics, I was there at the start, juggling and so on, and I still can’t do it. But when it came to lifts and building pyramids, it just wasn’t possible. And that was fine with me. That way, I could make better use of my time and didn’t have to sit and watch the class.

Do you think we did the right thing by treating you exactly the same as every other student, without saying, ‘But you have special needs and we’d actually have to create a separate class for you’?

Well, I don’t think there’s a right or wrong way – you only find that out by interacting with people, by talking to one another, and that was really good for me here. I liked the fact that you treated me normally, because that’s exactly how it should be. Everyone has their own individual abilities.

What’s your experience of the open job market now? What’s it like for outsiders who don’t know you?

Well, it bothers me that it’s often all about the wheelchair and why I’m in a wheelchair, rather than why I studied acting, or my skills, or where I want to work, or whether I’d rather do theatre or film or something like that.

Did you ever have doubts about becoming an actor whilst studying acting?

Well, I have sometimes wondered why I’m putting myself through all this effort, and whether I’ll be able to make a living from it in the future. Of course, there were those frustrating phases. But then I came to the conclusion – it might sound a bit trite – that I do it because I enjoy it. And because I also want to get other people thinking and, in that way, change the world a little bit. It’s at least an attempt.

Have you connected with other people with disabilities in the theatre?

I had a phone chat with an actress. She’s a freelancer and gave me some tips on how to get a foothold in the industry. She said something interesting: that acting is just a tough business, and if you stand out – no matter how – then you should go for it, and that sort of opened my eyes. Not changed them, but opened them. This wheelchair situation is part of who I am, and it can take centre stage, but it’s not the only thing.

If you look back now at the Markus who started studying here: how would you describe him?

Well, to the younger Markus I’d say that studying acting was one of the better decisions he made, because he’s learnt so much more about himself than in the ten years before, both physically and emotionally.

And how would Markus feel in ten years’ time if everything he wished for came true?

I’d be a bit prouder of myself, because I think it would be more normal for wheelchair users to be more visible and accepted in society as equals. And I think, even though it’s hard to say that now and without wanting to praise myself, but I and others are doing pioneering work in that regard.

Is there anything in particular that annoys you about being treated as an actor in a wheelchair?

This isn’t specifically about acting; it’s more about the wheelchair and the disability. It’s annoying that people talk to me as if I were a small child, because they think I can’t do anything. 

What advice would you give to first-year students?

Be brave, stick with it, don’t give up, even when you’re frustrated – and you will get frustrated. But after four years, you can be proud. I was annoyed at times and hoped it would be over soon. But it’s still the best thing ever.

Where would you like to perform? Or what roles would you like to take on?

I’ll be making a guest appearance at the Landestheater Niederösterreich; it would also be lovely to perform at the Schauspielhaus Salzburg. I don’t have a dream role. I want to stay flexible and play both villains and lovers.

Where do you see your greatest strengths?

Definitely in humour, tenacity and the ability to connect with people.

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