We recently connected with Christoph Stocker and have shared our conversation below.
Christoph, thanks for joining us, excited to have you contributing your stories and insights. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
The most important feature an actor can have is incorporating RISK in their work. Taking risks in my choices on stage not only makes me as the actor slightly nervous, excited, and frees me but also gets the audience to the edge of their seats. Will the choice work and be a great one or will I utterly embarrass myself? These moments of risking are often the most interesting to watch because everyone is slightly uncertain of what’s going to happen next and are staying invested. I interpret a successful moment of risk as a melting point between the actor himself, the character, and the audience coming together. What isn’t more beautiful to watch than an emulsion of craft and life creating ‘Truth on stage’. I frequently catch myself thinking of Joan Rivers or Miriam Margolyes when talking about taking risks. Miriam Margolyes is one of the most outrageous and brilliant people in conversation I know and the number 1 risk-taker. You can just watch a clip of her on Graham Norton and you will instantly realize all she does is taking risks and therefore she is the most exciting person to watch in the room. The same goes for her on screen. That is why risking is so essential in dramatic arts, it makes people excited to watch you – you are creating something they haven’t seen before and you are contracepting going with the same old boring choices many actors have done before you. In the end, of course, the choice also has to make sense for the circumstance the play is in, the character’s motivation, etc. otherwise you will lose the audience.
When I am thinking about my career so far and where I am heading, taking risks in my business practice is also of high value. I noticed that if I don’t take risks, I will always stay in the same ballpark of job opportunities, and often other people around me who also didn’t dare to take them and are realizing they are stuck. For example, approaching successful actors, directors, producers, or other people who are involved in the entertainment industry is extremely valuable, because most of the time projects they have coming up aren’t listed on any casting site and are only distributed through agents, managers, or word of mouth. So it is essential that when you get the opportunity to talk to one of these people that you aren’t afraid to approach them and ask for advice or simply talk to them. They most often have been in the same place you are in now and are very willing to share experiences. Who knows, maybe you get along very well and it happens that you develop a relationship and get to exchange contact information and maybe meet for a coffee…
People are people, they may be miles ahead of you career-wise, but in so many instances are willing to support you. Just allow yourself to approach and be approachable because fear creates an aura around you that people do not want to be a part of and you need that to connect and risk. I am telling you if you risk something and it works out for you, it gives you the most pleasure and a high feeling of pride because you took the step and had the guts. Think about it this way: what’s the worst that can happen? A person giving you a cold shoulder, disinterest, or walks away – in that case, it’s very likely they won’t remember you anyways, till they need to do so. Risk! You’ve got nothing to lose really.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
I grew up in a very small but beautiful town in a rural part of Austria. I went to kindergarten there, then attended elementary school. Yet, before the third year of it ended, I was sitting by a public swimming pool reading the newspaper. On the front page was a photo of the Vienna Boys’ Choir, the most famous boys’ choir in the world. For some reason, I felt that I had to become part of them. My mother did not take me seriously at first, but after days of insisting, she made an audition appointment for me. I was accepted and from then on I started my professional artistic education. I was 9 years old. Becoming part of that choir was the first big decision I made, and one of the best. I had the opportunity to travel to Japan, South and North America, as well as Africa and, of course, through Europe. Highlights of those trips included me singing solo at Carnegie Hall, Tokyo Suntory Hall, and a 13-hour bus ride across Canada in the middle of nowhere when our bus heater gave up the ghost. Imagine sitting in a freezer for hours. Apart from travelling, I had the opportunity to play my first leading role in an opera in Vienna and I have been in several films. One of them, for example, takes place in the Masai Mara with Jane Goodall. The film is called ‘Good Shepherds’ and is currently available to watch for free on Amazon Prime (I am the soloist on the plane). After I finished my four years with the Vienna Boys’ Choir, I stayed at the institution, completed secondary High School, and graduated above other subjects in Vocal Performance. After that, I had the option of either continuing to study Vocal Arts in Vienna or studying acting at the American Academy of Dramatic Arts (AADA) in New York. After dedicating ten years of my life to one of my passions, the art of singing, I decided to deepen my understanding of my second passion, the art of acting. Just like when I was a little boy sitting by the pool reading the newspaper, I had the inspiration to move across the ocean and spend the next four years in America. It was the second big decision I made. I had the chance to learn a lot about acting, about the business of acting, about myself as a person, and about my awareness of being and living in this universe. In my first year at AADA I studied in New York City, in my second year I studied at home (online during the pandemic) and in my third year I studied at the Los Angeles campus. By choosing to study in both US locations, I was able to build a great network, get a good sense of how the business works in Hollywood and on Broadway, and gained so many new, valuable friendships. After graduating from AADA, I spent another year in the US working in the entertainment industry. I appeared in several shows on streaming networks, starred in several short films in LA, including one by Rayna Campbell that won “Best Outstanding Achievement Award for RomCom” at the LA Indie Short Fest, and had my Off-Broadway debut. After my twenty-second birthday this year, the opportunity presented itself for me to go back to Austria. I am excited to begin rehearsals for Jacques Offenbach’s comedic opera “Le Voyage Dans La Lune” in Austria’s Folk Opera House this fall. I will be giving my soloist debut there in the role of the King of the Moon Cosmos. I am also very much looking forward to exploring the European film industry. It is important to me to establish a strong work base on my home continent, in addition to the US, in order to pursue my goal of becoming an international actor. What I value most in other actors I look up to, and what I constantly strive for in my profession is to be truthful and authentic.
Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?
There are some aspects that non-creatives find difficult to comprehend about creatives. I find that some people are quick to assume that an actor who has a period of not getting jobs and having to take a day job means it did not work out for them. It is important to understand that, especially in the early stages of a career in the entertainment industry, a big part of an actor’s job is networking, building relationships with directors and producers, getting into the right rooms, and giving great auditions. Getting the job is another story, but making a great impression is half the battle. I have to say that even though I am still at the beginning of my career, I have come pretty far because I understand the reality of the business. A friend of mine and great journalist has always stressed to me the importance of looking at the reality of this industry, understanding it, and working from there. But of course there are periods of not getting to perform, which does not mean I do not do anything to advance my career. I once read in a book that I should do something every day to get closer to my dream – I have not stopped since. Last year in New York was a great experience to learn what it means to have a day job that I do not want to do for a living, but had to do. Luckily, I have a knack for making almost any job work for me and setting it up in a way that brings some level of creativity. Another important quality of a creative is their open-mindedness. It is essential for an actor to be open to ideas, stories, ideologies, and different personalities so that they can play any character they may get the opportunity to portray. We live in a time of hypersensitivity to certain social issues – I notice that many actors today are reluctant to play characters that are extremely flawed, extremely controversial, and that they believe they ‘should not’ be playing. Of course, in private life it is important to have your convictions and fight for what you believe is right. However, in acting it is crucial to confront these flawed characters and by doing so and making big choices, you show society how flawed these roles/people are and provoke society to deal with them instead of shutting them down. You can go back and argue that certain characters were written so that the actor and at the same time the audience can have a catharsis of the ugly sides of humanity, but I think nowadays it is even more valuable to portray certain characters so that the audience can learn from the performances and start a conversation. Artistic debate, instead of a ban and censorship. Art portrays ALL sides of humanity, and actors should not be afraid or criticized for playing certain roles – after all, it is fiction, not reality.
What’s the most rewarding aspect of being a creative in your experience?
The most beautiful gift is the appreciation of the audience, for example, their laughter, tears, and applause. The highest gift artists can receive is the affirmation that they have moved their audience and given them either a total catharsis or the possibility of an escape from everyday life. Also, after a performance, it is wonderful to hear the audience’s feedback and how they related to the play, film, or character. It is a great way to expand your understanding of people and maybe even spark ideas on how to develop the role further. Above all, but not limited to film, one of the most enriching experiences an actor can have is travelling to so many new places, shooting in locations one never would have thought of, and learning about new lifestyles, stories, and cultures. Exploring the world helps me better understand life, our problems and how to overcome them, as well as the direction we want our future to take. At the same time, it fuels my craft, my acting.
If nothing else, it is a rewarding aspect of being an actor to explore various aspects of life and to be in close touch with it and observe it. Finally, I am very grateful to be able to explore what it means to be human and not be trapped in the same daily routines, but have the opportunity to pause and take it all in. 
Contact Info:
- Website: https://www.christophstocker.com
- Instagram: christophxstocker
Image Credits
Dana Patrick Photography American Academy Of Dramatic Arts Christoph Stocker Still from The Spell That Backfired