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Journal articles on the topic 'Christoph Schlingensief'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

ANNUẞ, EVELYN. "Actionism's Afterlife: Christoph Schlingensief Revisited." Theatre Research International 50, no. 1 (2025): 5–17. https://doi.org/10.1017/s0307883324000373.

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The provocative work of German artist Christoph Schlingensief may seem to be not possible today. However, it developed an afterlife of its own. Against the backdrop of current discourse shifts and political developments my article historicizes this work from the early stage productions at the Berlin Volksbühne after the fall of the Wall to taking to the streets of Vienna at the turn of the millennium, when right-wing populism entered government politics in Europe. Determining the politicality of its fabrication of public tensions, the article calls for a closer consideration of concepts of aff

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2

Irmer, Thomas. "Theatre as Intervention: Christoph Schlingensief's Hamlet in Zürich and Berlin, 2001." New Theatre Quarterly 28, no. 4 (2012): 343–51. http://dx.doi.org/10.1017/s0266464x12000644.

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Christoph Schlingensief (1960–2010) was a filmmaker, theatre director, and performance artist. In his Hamlet at the Schauspielhaus in Zürich in 2001 – his only staging of a classic – Schlingensief deployed the strategies of intervention typical of his whole work. In this article Thomas Irmer focuses on the actors' troupe in the play, performed by former neo-Nazis. Schlingensief was asking whether an audience would accept the reintegration of people who were determined to leave this extremist group with the support of the German government. At the same time, Schlingensief referred to a historic

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3

Cornish, M. "Christoph Schlingensief (1961 - 2010)." Theater 41, no. 2 (2011): 3–5. http://dx.doi.org/10.1215/01610775-2010-030.

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4

Davis, Jack. "Christoph Schlingensief: Art Without Borders." Monatshefte 104, no. 2 (2012): 306–7. http://dx.doi.org/10.1353/mon.2012.0056.

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5

Koch, Lars. "Über artivistische Interventionen. Invektivität, Medien, Moral." Kulturwissenschaftliche Zeitschrift 6, no. 1 (2021): 247–66. http://dx.doi.org/10.2478/kwg-2021-0018.

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Abstract On the basis of two aesthetic interventions of Christoph Schlingensief and the Center for Political Beauty (ZPS) this article analyses the relationship between artivism and invectivity. In each case the underlying theatrical dispositifs are being discussed. With this, the article inquires into the respective procedures of disturbing the audience and the public. Whereas Schlingensief’s politics of form aims at creating a sphere of ambiguity, the ZPS is all about stimulating moral indignation. This also reflects the diametrically opposed capabilities of artivistic art: Controversy on th

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6

Pollock, Katherine. "Matter’s Performance in Christoph Schlingensief’s “Animatographische Editionen”." Studia Germanica Posnaniensia, no. 42 (August 1, 2023): 193–208. http://dx.doi.org/10.14746/sgp.2022.42.12.

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German director Christoph Schlingensief’s Animatographische Editionen (2004-06) included a series of three geographically-distinct labyrinthine walkthrough installations with a constellation of rooms and rotating platforms, leading to an Animatograph – a spinning carousel of material upon which videos were projected. Diverging from the current tendency in Schlingensief scholarship towards Niklas Luhmann’s systems theory, this paper focuses on the role of material in the Animatograph to show how it sympoietically enfolds autopoietic systems of communication. In particular, I investigate how hum

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7

Schmidt, Theron. "Christoph Schlingensief and the Bad Spectacle." Performance Research 16, no. 4 (2011): 27–33. http://dx.doi.org/10.1080/13528165.2011.606047.

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8

Arjomand, Minou. "Christoph Schlingensief and Richard Wagner #CheckTheirPrivilege." Opera Quarterly 32, no. 1 (2016): 94–102. http://dx.doi.org/10.1093/oq/kbw003.

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9

Baum, Constanze. "Werther-Spuren. : Exemplargeschichten aus den Archiven der Gegenwart." Zeitschrift für Germanistik 34, no. 2 (2024): 385–402. http://dx.doi.org/10.3726/92174_385.

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Abstract Der Beitrag geht dem Versuch nach, exemplargeschichtliche Befunde an Einzelexemplaren von Goethes Werther in den Nachlassbibliotheken von Autoren und Autorinnen zu rekonstruieren. Dabei rücken Anna Seghers und Christoph Schlingensief in den Fokus der Betrachtung. Der Beitrag zeigt auf, wo Möglichkeiten und Grenzen einer solchen Exemplargeschichte liegen und liefert Perspektiven auf die Tradierung des Textes und seine Wertigkeit im literarischen Diskurs.This paper attempts to reconstruct the history of single book copies via case studies on copies of Goethes Werther in the libraries of

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10

Kubart, Tomáš. ""Avant-garde, Marmelade!" : Christoph Schlingensief a avantgarda." Theatralia, no. 2 (2023): 248–54. http://dx.doi.org/10.5817/ty2023-2-19.

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11

Schößler, Franziska. "Nationale Mythen und avantgardistischer Widerstand bei Christoph Schlingensief." Revue d’Allemagne et des pays de langue allemande 45, no. 2 (2013): 297–307. http://dx.doi.org/10.4000/allemagne.1489.

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12

Dauven-van Knippenberg, Carla. "Christoph Schlingensief und das Schauspiel des Mittelalters: Beobachtungen." European Medieval Drama 17 (January 2013): 141–61. http://dx.doi.org/10.1484/j.emd.5.110135.

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13

Cornish, Matt. "Art Is Magic/It Cannot Succeed: Christoph Schlingensief's Via Intolleranza II." TDR/The Drama Review 56, no. 2 (2012): 191–97. http://dx.doi.org/10.1162/dram_a_00175.

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“I want you to eat my dead body, digest me, and shit me out. I want you to spread the shit on plants as fertilizer, and nourish yourself again.” In his production Via Intolleranna II, German director Christoph Schlingensief becomes present to our present, despite his death in August 2010.

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14

Christner, Bettina. "When We Become Many: Diversity and Collective Responsibility in Christoph Schlingensief’s Chance 2000." Seminar 60, no. 4 (2024): 371–87. https://doi.org/10.3138/seminar.60.4.5.

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With the launch of his Chance 2000 political party and the accompanying performance during the German federal elections in 1998, Christoph Schlingensief reversed the understanding of responsibility from a help-yourself mentality to a collective attitude, giving marginalized groups political agency. What does it mean to become many; to act, move, and be perceived as a collective? Drawing on Judith Butler’s notions of connectedness, this article proposes a reconfiguration of collective responsibility and argues that performances like Chance 2000 can produce a consequential awareness of individua

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15

Currie, Janus C. "Disjointed Confessions: Adikia and Radical Deradicalization in Schlingensief’s Hamlet." Performance Philosophy 2, no. 2 (2017): 206. http://dx.doi.org/10.21476/pp.2017.2266.

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In 2001, in Zürich Switzerland, German director Christoph Schlingensief staged a version of Shakespeare’s Hamlet. In this version’s famous mousetrap scene, in which Hamlet wants to force his uncle to confess to fratricide, all the players of the mise en abyme are portrayed by a group of neo-Nazis endeavouring to separate themselves from the right–wing scene. In a dramatic break from Shakespeare’s text the group go on to share their own personal experiences with the audience. The production attempted to comment on and create debate about the ‘rottenness’ of the State, not just Switzerland, amid

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16

Davis, Jack. "“Tot sein hält jung!”: Recent Publications on Christoph Schlingensief." Monatshefte 116, no. 2 (2024): 312–32. http://dx.doi.org/10.3368/m.116.2.312.

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17

Pogoda, Sarah. "Formen des Kunstreligiösen. Peter Handke—Christoph Schlingensief by Lore Knapp." Forum Modernes Theater 32, no. 2 (2021): 308–10. http://dx.doi.org/10.1353/fmt.2021.0029.

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18

Kovacs, Teresa. "Formen des Kunstreligiösen. Peter Handke—Christoph Schlingensief by Lore Knapp." Journal of Austrian Studies 49, no. 3-4 (2016): 145–48. http://dx.doi.org/10.1353/oas.2016.0071.

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19

Hausbei, Kerstin. "Emblème interactif du commerce identitaire : « Bitte liebt Österreich » de Christoph Schlingensief." Revue d’Allemagne et des pays de langue allemande 45, no. 2 (2013): 283–96. http://dx.doi.org/10.4000/allemagne.1484.

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20

Zorn, Johanna. "Theatralität der Existenz. Ethik und Ästhetik bei Christoph Schlingensief by Sarah Ralfs." Forum Modernes Theater 33, no. 1-2 (2022): 231–32. http://dx.doi.org/10.1353/fmt.2022.0017.

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21

Preece, Julian. "Christoph Schlingensief und die Avantgarde by Lore Knapp Sven Lindholm Sarah Pogoda." Modern Language Review 115, no. 4 (2020): 939–40. http://dx.doi.org/10.1353/mlr.2020.0088.

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22

Schmidt, Theron. "Christoph Schlingensief: Art without Bordersedited by Tara Forrest and Anna Teresa Scheer." Contemporary Theatre Review 24, no. 1 (2014): 125–26. http://dx.doi.org/10.1080/10486801.2013.864064.

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23

Hughes, David. "Everything in Excess—Christoph Schlingensief and the Crisis of the German Left." Germanic Review: Literature, Culture, Theory 81, no. 4 (2006): 317–39. http://dx.doi.org/10.3200/gerr.81.4.317-339.

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24

Ralfs, Sarah. "Der Ausnahmezustand und die Metrik des Alltäglichen." Paragrana 26, no. 2 (2017): 97–106. http://dx.doi.org/10.1515/para-2017-0023.

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AbstractDer Beitrag widmet sich dem Tagebuch einer Krebserkrankung: So schön wie hier kanns im Himmel gar nicht sein! von 2009 des ein Jahr später verstorbenen Künstlers Christoph Schlingensief und untersucht dessen hiesige Alltagsdarstellung in der Ausnahmesituation der schweren Krankheit und der Konfrontation mit dem Tod. Die alltäglichen Notate oszillieren, so möchte ich zeigen, zwischen einer Emphase des Alltäglichen und den permanenten Einbrüchen der kleineren und größeren erlebten und empfundenen Katastrophen. Aus den Wechseln und Schwankungen zwischen Alltäglichkeit, Routine und deren U

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25

Stuhlmann, Andreas. "Christoph Schlingensief: Staging Chaos, Performing Politics and Theatrical Phantasmagoria by Anna Teresa Scheer." German Studies Review 42, no. 1 (2019): 197–98. http://dx.doi.org/10.1353/gsr.2019.0034.

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26

Pantenburg, Volker. "Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz." New German Critique 46, no. 3 (2019): 53–78. http://dx.doi.org/10.1215/0094033x-7727413.

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Abstract This article examines the work of Max Linz and Julian Radlmaier, two German directors born in the mid-1980s. It traces their academic and practical training in film studies and film directing and highlights their aesthetic and political approach as an attempt to counter the cinema of the Berlin School. Amalgamating various German and international influences, from Christoph Schlingensief, Alexander Kluge, and Rainer Werner Fassbinder (Linz) to Roberto Rossellini, Pier Paolo Pasolini, and the classical avant-gardes of the 1920s (Radlmaier), their student shorts and feature films combin

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27

Béhague, Emmanuel. "« Ich bin 1 Volk ». Chance 2000 : subversion et renaissance de l’espace public chez Christoph Schlingensief." Cahiers d’études germaniques 64, no. 64 (2013): 225–41. http://dx.doi.org/10.4000/ceg.8676.

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28

Zorn, Johanna. "Sarah Ralfs, Theatralität der Existenz. Ethik und Ästhetik bei Christoph Schlingensief, Bielefeld: transcript 2019, 344 Seiten." Forum Modernes Theater 33, no. 1-2 (2022): 231–32. http://dx.doi.org/10.24053/fmth-2022-0018.

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29

Hinz, Melanie, and Jens Christian Lauenstein Led. "Den ikke-professionelle skuespiller som dokument?" Peripeti 11, no. 21 (2014): 50–62. http://dx.doi.org/10.7146/peri.v11i21.109415.

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This article examines in theory and by the analysis of three productions whether a non-professional cast, quite often seen in contemporary documetary theatre today, could be considered and described as documents. The study includes an examination of documentary theatre in the sixties especially as defined by Peter Weiss. It also draws on recent theoretical studies such as works by Steyerl. It reaches the conclusion that documentary theatre of the sixties felt a strong belief in the veracity of the written document, where as contemporary documentary theatre oscillate between doubt and faith. Th

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30

Orozco, Lourdes. "Christoph Schlingensief: Art without Borders. Edited by Tara Forrest and Anna Teresa Scheer. Bristol: Intellect, 2010. Pp. vi + 223. £22.50 Pb." Theatre Research International 37, no. 1 (2012): 86–87. http://dx.doi.org/10.1017/s0307883311000605.

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31

Schmidt, Theron. "Anna Teresa Scheer Christoph Schlingensief: Staging Chaos, Performing Politics, and Theatrical Phantasmagoria London: Bloomsbury, 2018. 296 p. £75.00. ISBN: 978-1-350-00105-3." New Theatre Quarterly 35, no. 02 (2019): 192. http://dx.doi.org/10.1017/s0266464x19000198.

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32

Scmidt, Theron. "Anna Teresa Scheer Christoph Schlingensief: Staging Chaos, Performing Politics, and Theatrical Phantasmagoria London: Bloomsbury Methuen Drama, 2018. 296 p. £75.00. ISBN: 978-1-350-00105-3." New Theatre Quarterly 35, no. 1 (2019): 95. http://dx.doi.org/10.1017/s0266464x18000702.

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33

Knapp, L., and S. Pogoda. "Christoph Schlingensiefs Grenzüberschreitungen." Germanistische Mitteilungen 41, no. 1 (2015): 75–89. http://dx.doi.org/10.33675/gm/2015/1/6.

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34

Koch, Lars. "Christoph Schlingensiefs Bilderstörungsmaschine." Zeitschrift für Literaturwissenschaft und Linguistik 44, no. 1 (2014): 116–34. http://dx.doi.org/10.1007/bf03379708.

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35

Gade, Solveig. "At spille på den store scene." Peripeti 5, no. 9 (2021): 29–42. http://dx.doi.org/10.7146/peri.v5i9.107653.

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In »Acting on the big stage« Gade demonstrates the analytical gains in applying both a theory of performativity and a theory of theatricality to describe two different levels of staging and their interaction in Christoph Schlingensiefs performance Bitte liebt Österreich – Auslander Raus (2000).

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36

Kovacs, Teresa. "Götterdämmerung im Ruhrgebiet: Christoph Schlingensiefs Wagner-Rallye." German Studies Review 46, no. 1 (2023): 77–96. http://dx.doi.org/10.1353/gsr.2023.0004.

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37

Forrest, Tara. "A Realism of Protest: Christoph Schlingensief's Television Experiments." Germanic Review: Literature, Culture, Theory 87, no. 4 (2012): 325–44. http://dx.doi.org/10.1080/00168890.2012.734753.

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38

Gandhi, Tanay. "TOWARDS AN AESTHETICS OF THE CROWD: PUBLICS, POLITICS AND THE DEMOCRATIC SELF IN SCHLINGENSIEFʼS PLEASE LOVE AUSTRIA (2000)". Друштво и политика 2, № 2 (2023): 175–95. https://doi.org/10.7251/fpndp2102175g.

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This paper aims to develop an account of the political consequences and operation of public art in Christoph Schlingensief’s performance artwork, Bitte Liebt Österreich. What, if any, are the possibilities to conceive of public art in a distinctly democratic manner, that is, as enabling a certain democratic – or pluralising – movement? How are we to account for the (perhaps democratic) experience of an encounter with a work of public art, in this case, with Bitte Liebt Österreich? Ultimately, what is the central ‘operation’ of public art that activates its political possibilities? This paper d

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39

Matzke, Christine. "Art of Wagnis: Christoph Schlingensief’s crossing of Wagner and Africa." Studies in Theatre and Performance 39, no. 3 (2018): 308–10. http://dx.doi.org/10.1080/14682761.2017.1421409.

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40

Tautz, Birgit. "Paul Poet transforms Christoph Schlingensief’s Container Project: Performance into Image." South Central Review 36, no. 3 (2019): 50–67. http://dx.doi.org/10.1353/scr.2019.0024.

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41

Knapp, Lore. "Sterben lernen: Christoph Schlingensiefs autobiotheatrale Selbstmodellierung im Angesicht des Todes by Johanna Zorn." Forum Modernes Theater 31, no. 1-2 (2020): 212–14. http://dx.doi.org/10.1353/fmt.2020.0019.

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42

Anfang, Günther. "Die Kunst der Welt." merz | medien + erziehung 66, no. 5 (2022): 83–85. http://dx.doi.org/10.21240/merz/2022.5.19.

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Den Anspruch, die Kunst der Welt zu präsentieren, teilen sich Kassel und Venedig: Die alle fünf Jahre stattfindende documenta in Kassel wie auch die im Zweijahresrhythmus durchgeführte Biennale in Venedig sind Weltkunstausstellungen, die den Stand der gegenwärtigen Kunst dokumentieren. Daneben gibt es nur noch die Art Basel, die als größte Kunstmesse des internationalen Kunstmarktes gilt, und vor allem den Verkauf gegenwärtiger Kunst zum Ziel hat. Aber zurück zu Kassel und Venedig. Wenn man die Wahl zwischen den beiden hat, ist man zunächst geneigt, das Ticket nach Venedig zu lösen, denn das e

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43

Schoene, Janneke. "Within a Labyrinth of Gazes: Exhibiting Christoph Schlingensief." Stedelijk Studies Journal 1 (2018). http://dx.doi.org/10.54533/stedstud.vol007.art10.

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Some voices questioned if it would be possible to exhibit Christoph Schlingensief’s work without him, following his death in 2010, due to its performativity and the artist’s role. Indeed, the German Pavilion at the 2011 Venice Biennale became more of a memorial to the artist. Its design was finished without Schlingensief, and instead of setting up an African wellness center, the abandoned set of The Church of Fear of the Stranger in Me (Die Kirche der Angst vor dem Fremden in mir, 2008) was installed, accompanied by films and other documents on Schlingensief’s Opera Village Africa in Burkina F

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44

Gaspar, M. "Kirche der Angst – Christoph Schlingensief." Zeitschrift für Palliativmedizin 11, no. 05 (2010). http://dx.doi.org/10.1055/s-0030-1265302.

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45

Lestringant, Hélisenne. "L’art comme organisme vivant : l’œuvre de Christoph Schlingensief." Trajectoires, no. 15 (June 20, 2022). http://dx.doi.org/10.4000/trajectoires.7861.

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46

Boyle, Michael Shane. "Christoph Schlingensief: staging Chaos, performing politics and theatrical phantasmagoria." Studies in Theatre and Performance, September 27, 2018, 1–2. http://dx.doi.org/10.1080/14682761.2018.1525930.

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47

Holloway, Ron. "Berlinale 2009." Kinema: A Journal for Film and Audiovisual Media, April 10, 2009. http://dx.doi.org/10.15353/kinema.vi.1205.

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BERLINALE (2009) Festival PoliticsAsked whether the Berlinale has fostered an image as a "political" film festival, Christoph Schlingensief, the German jury member at the 59th Berlin International Film Festival (5-15 February 2009), blurted out: "A competition entry here scarcely stands a chance otherwise." Schlingensief, a highly motivated political filmmaker in his own right, hit the nail right on the head. You only have to look back at the past Golden Bear winners. In 2007, the Grand Prix went to Wang Quan'an's fiction-documentary Tu ya de hun shi (Tuya's Marriage, China). Set in rural Mong

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48

Forrest, Tara. "From Information to Experience: Christoph Schlingensief's Quiz 3000." Cultural Studies Review 20, no. 1 (2014). http://dx.doi.org/10.5130/csr.v20i1.3388.

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When German artist Christoph Schlingensief died in 2010 he had amassed an impressive body of work spanning a diverse range of fields, including film, television, theatre, art, radio, activism, and opera. Although he gained a certain notoriety for his early film and performance work, it was through his politically engaged re-enactment of a series of reality television programs that his public profile in Germany was cemented. This article focuses on the pilot episode of Quiz 3000 that was staged at the Volksbühne in 2002 and that was modelled closely on the popular reality format Who Wants to be

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49

Béhague, Emmanuel. "Échouer la mise en scène. « Ratés » et ratage chez Christoph Schlingensief." Captures 9, no. 1 (2024). https://doi.org/10.7202/1114645ar.

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En 1998, Christoph Schlingensief créait le parti Chance 2000, projet à la fois politique et artistique, dans le but de soutenir les exclus dans leur reconquête de l’espace public. Mais la valorisation du ratage à l’heure des dogmes néolibéraux de la réussite et de la performance est en réalité au coeur de l’ensemble de son oeuvre, comme en témoignent aussi le film Massacre allemand à la tronçonneuse et le talkshow Talk 2000. Ces trois projets visent à rendre visibles les perdants de la société allemande sans cautionner les modes de représentation politique médiatique en général. Pour représent

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50

Lestringant, Hélisenne. "« Je voudrais vous donner quelque chose. Vraiment rien. Juste un corps. » Christoph Schlingensief ou la mise en scène de l’autopsie." Fabula-Lht : La Mort de l'auteur, no. 22 (June 24, 2019). http://dx.doi.org/10.58282/lht.2310.

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Resume :Le réalisateur, performeur et metteur en scène, Christoph Schlingensief (1960‑2010) « enfant terrible » du théâtre et cinéma allemands, est atteint d’un cancer à l’âge de 47 ans. Il pense désormais sa figure d’auteur par la mort, notamment au sein de deux mises en scène : Une église de la peur devant l’étranger qui est en moi — Un oratorio Fluxus et Via Intolleranza II. La mise en scène du corps humain l’ayant toujours obsédé, c’est par rapport à l’autopsie, d’un point de vue purement biologique et par une introspection morale, qu’il se livre lui‑même à une cérémonie autour de sa propr

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