Tara Forrest is a senior lecturer in cultural studies at the University of Technology, Sydney.Anna Teresa Scheer is a performer and theatre director who worked in Berlin from 1992 to 2006, including a period at the Volksbühne, where Christoph Schlingensief was in-house director.

Select Guide Rating

• Foreword – Alexander KlugeBackground, Inspiration, Contexts – Tara Forrest and Anna Teresa ScheerChapter One: The Tunguska Manifesto: Schlingensief’s Critique of Film and the Restitution of Experience – Richard LangstonChapter Two: An Obscene Reckoning: History and Memory in Schlingensief’s Deutschlandtrilogie – Kristin T. Vander LugtChapter Three: Theatre of Self-Questioning: Rocky Dutschke, ’68, or the Children of the Revolution – Sandra UmathumChapter Four: Passion Impossible or Man with a Mission: A Go! manesque Intervention – Anna Teresa ScheerChapter Five: Putting the Public Sphere to the Test: On Publics and Counter-Publics in Chance 2000 – Solveig GadeChapter Six: ‘Right now Austria looks ridiculous’: Please Love Austria! – Reforging the Interaction between Art and Politics – Denise VarneyChapter Seven: Productive Discord: Schlingensief, Adorno, and Freakstars 3000 – Tara ForrestChapter Eight: The Fusion and Confusion of Art and Terror(ism): ATTA ATTA – Brechtje BeukerChapter Nine: Media Play: Intermedial Satire and Parodic Exploration in Elfriede Jelinek and Christoph Schlingensief’s Bambiland – Morgan KoernerChapter Ten: Schlingensief’s Animatograph: Time Here Becomes Space – Roman BerkaChapter Eleven: Citizen of the Other place: A Trilogy of Fear and Hope – Florian MalzacherChapter Twelve: Blurring Boundaries/Changing Perspectives: An Interview with Christoph Schlingensief – Florian Malzacher

Tara Forrest is a senior lecturer in cultural studies at the University of Technology, Sydney.Anna Teresa Scheer is a performer and theatre director who worked in Berlin from 1992 to 2006, including a period at the Volksbühne, where Christoph Schlingensief was in-house director.

Select Guide Rating

• Foreword – Alexander KlugeBackground, Inspiration, Contexts – Tara Forrest and Anna Teresa ScheerChapter One: The Tunguska Manifesto: Schlingensief’s Critique of Film and the Restitution of Experience – Richard LangstonChapter Two: An Obscene Reckoning: History and Memory in Schlingensief’s Deutschlandtrilogie – Kristin T. Vander LugtChapter Three: Theatre of Self-Questioning: Rocky Dutschke, ’68, or the Children of the Revolution – Sandra UmathumChapter Four: Passion Impossible or Man with a Mission: A Go! manesque Intervention – Anna Teresa ScheerChapter Five: Putting the Public Sphere to the Test: On Publics and Counter-Publics in Chance 2000 – Solveig GadeChapter Six: ‘Right now Austria looks ridiculous’: Please Love Austria! – Reforging the Interaction between Art and Politics – Denise VarneyChapter Seven: Productive Discord: Schlingensief, Adorno, and Freakstars 3000 – Tara ForrestChapter Eight: The Fusion and Confusion of Art and Terror(ism): ATTA ATTA – Brechtje BeukerChapter Nine: Media Play: Intermedial Satire and Parodic Exploration in Elfriede Jelinek and Christoph Schlingensief’s Bambiland – Morgan KoernerChapter Ten: Schlingensief’s Animatograph: Time Here Becomes Space – Roman BerkaChapter Eleven: Citizen of the Other place: A Trilogy of Fear and Hope – Florian MalzacherChapter Twelve: Blurring Boundaries/Changing Perspectives: An Interview with Christoph Schlingensief – Florian Malzacher