Lisa Eckart is different. The woman who only wears vintage Gianni Versace dresses has had a remarkable career. The Austrian is just 27 years old but her power of speech and her pathetic demeanour make her exceptional in the German-speaking cabaret and literature scene. Like a puppeteer, she directs her audience through her universe. Every carefully calculated gesture of her hand with her long fingernails cracks like a whip.
As ruthless as she treats her audience, she is as merciless to herself. Since she first appeared on the scene, critics are unsure whether Lisa Eckart is a well-calculated stage personality or an authentic person. She gives herself bored of this speculation. Art is a dictatorship; lets it be reported and doesn’t think about giving in even a millimetre. Her pun and her razor-sharp analyzes meanwhile leave legions of critics horrified. But that only spurs the artist on even more.
German Studies In France
She demonstrated that she is unwilling to submit to the usual mechanisms by choosing her subject and location. The enthusiastic supporter of the German language studied German as an Austrian and that in Paris at the Sorbonne. After a short stop as a teacher in London, she then studied in Berlin. Her first master’s thesis with the sensational title Femininity and National Socialism, based on Joseph Goebbels’ diaries, was rejected. So Eckart then turned to the figure of the devil in German literature. Numerous auditions at drama schools later, the speech artist rose to the poetry slam scene.
In 2015 she became the second woman to win the Austrian Poetry Slam Championships. In Germany, however, she failed with the same number of points against the eventual winner by drawing lots. A little later, she started her second career as a cabaret artist. From the beginning, Eckart made it clear that she would only write four programs. Numerous prizes and TV appearances followed. In 2020 she published her first novel. With this, she has reached her goal, she said on the record. In the end, she just wanted to write. Slam poetry and cabaret would only have been preliminary stages to the ultimate career goal. The book stormed the bestseller lists in German-speaking countries.
A scandal surrounding reading in Hamburg that the organizer cancelled fueled her reputation as the most controversial artist on the scene. Eckart himself remains unaffected by this. According to her statements, she has cultivated the concept of social distance for a long time. Eckart flatly rejects authenticity; art has to go where it hurts. It is not about communication on an equal footing; she dictates her script to the audience. Her arrogance, mannerisms and dirty voice, shown on stage, are a little reminiscent of the Austrian pop star Falco. Lisa Eckart, on the other hand, continues to dedicate herself to the advantages of vice. She whistles with relish about political correctness and furthers storms of outrage. In doing so, she relies on the power of speech, style and expressiveness. A critic once described her as the never born daughter of Marlene Dietrich. Eckart differentiates herself from the rest of the scene in a ladylike, distant and evil way. Her motto was: I am not an artist; I am art.