Christine Eixenberger about her satire show: “I’m starting to research in bed”

Many spectators know actress Christine Eixenberger (38) as commander of the Murnau volunteer fire brigade in the long-standing television series “Marie Feuer” (2016-2025). Now the native of Tegernsee returns to TV with her own satire show “After seating with Christine Eixenberger”. The new format starts on July 3 at 9 p.m. on BR television and in the ARD media library. The cabaret artist and actress tells what a typical working day looks like and how it deals with stage fright or criticism with stage fright or criticism.

Christine Eixenberger: Everything?! (laughs) With a fictional format, it is usually the case that you get a script and the role and its properties are stuck with a certain scope of interpretation. As a host to appear on a satire show, of course I give me significantly more freedom – stylistically and thematically.

Eixenberger: A studio and shortage of skilled workers in need of renovation, as is behind the camera. I also paint our players in real time with chalk on a board. Is there someone who wouldn’t want to turn on here? I do not think so. No, seriously: In “After -Sitting with Christine Eixenberger” it will be about socially critical and political issues – with great guests.

Specifically, we invite two prominent sizes from the cabaret and comedy scene on four Thursdays. And they in turn nominate two politicians or politicians, companies or public life, who have recently qualified for seating through particularly creative mistakes. And at the end of the show, the audience in the studio decides who should get the legendary “blue letter” for his faux pas.

Eixenberger: With “follow -up” we focus more on the often neglected area of ​​education. To focus on the educational cosmos and its permanent construction sites such as over-mutumed curricula, lack of digitization and the lack of teachers-or simply that some pupils in the school toilet as a Jackson-Pollock painting [Action Painting, Red.] is sold -I think that is urgently needed.

Eixenberger: New in the area of ​​the cabaret shows should be that the audience is involved in interactive. The spectators can vote live in the studio who should get the “blue letter”. In addition, everything is staged quite modern – we will turn a large LED wall that gives you the feeling of sitting in a real classroom – in one in which you feel comfortable.

Eixenberger: It is certainly political in part, that cannot be avoided at all, but also socially critical. For me, satire is exciting when it goes where it hurts: to the contradictions, to the power games, to the things in which you can also laugh in your throat. This can be on the political level, but we also start with ourselves. We are all human, too human, and that offers enormous humor potential.

Eixenberger: Linking personal experiences with observations on the political stage is definitely the art of cabaret. It is always important to ask: What does the behavior of the “large -headed” have to do with me personally, how does it affect me, what resistance does it arouse in me and why? And where can there be overlap points with the audience’s world of experience? I want to work out and bring it to the stage so that the audience says: Yes, it is. Or also: Ah, that’s it.

Eixenberger: coffee, turmeric-ginger tea, Katze-Kuh [Yoga-Übung für den Rücken]. That is the trinity of my morning routine. Well, admittedly, I neglect them far too often because I start researching my cell phone in bed. And yes, I know that this is not healthy – I work on it. I often try to think: “The world continues to turn, even if you don’t know what culinary delights Markus Söder has incorporated again or how the stand in the Rose War between Donald Trump and his tech pouring pigeon Elon Musk is.” May I never find such love.

Well, at least if I actually managed to get up an hour later, the topic of research continues to accompany me through the day. Broken back and forth of meetings, calls and emails with author Christina Schlag [“Browser Ballett”]Author Thomas Lienenlüke [Nockherberg-Singspiel] and the team of Constantin Entertainment. So a lot is spoken, written, spoken again, written … and then I give interviews. And of course very much.

Eixenberger: First: I find stage fright as something good per se. This makes you awake, concentrated and focused. And with regard to possible negative criticism, one would say in Bavaria: “Fuck nothing, then nothing.” I don’t try to worry too much about who expected what from me and what expectations I might not do justice to.

Eixenberger: Linguistically alone, my origin plays a role, because I speak Bavarian – that is part of my identity. Of course, I always adapt a bit of the area in which I appear. I don’t want people to think during the show: “What kind of strange language does this woman speak?” I also touch my Bavarian homeland on stage again and again: people love it when you don’t take yourself so seriously – especially when you come from Bavaria.