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 affect studies in theatre and performance analysis and confronts the memory of Schlingensief's work with a more recent production and their reception in the context of current discussions on race and gender. Turning to Claudia Bosse's IDEAL PARADISE (2016), a street procession in Vienna, it suggests to locate Schlingensief's afterlife in new performative formats re-negotiating contemporary affective politics.

中文翻译：

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行动主义的来世：重新审视克里斯托夫·施林格塞夫


德国艺术家 Christoph Schlingensief 的挑衅性作品在今天似乎是不可能的。然而，它发展了自己的来世。在当前话语转变和政治发展的背景下，我的文章将这项工作历史化，从柏林墙倒塌后柏林人民剧院的早期舞台制作到千禧年之交右翼民粹主义进入欧洲政府政治时走上维也纳街头。为了确定其制造公共紧张局势的政治性，本文呼吁更仔细地考虑戏剧和表演分析中的情感研究概念，并将施林格塞夫的作品与最近的作品以及它们在当前关于种族和性别的讨论中的接受相提并论。转向克劳迪娅·博斯 （Claudia Bosse） 的《理想天堂》（2016 年），维也纳的街头游行，它建议以新的表演形式重新定位施林格塞夫的来世，重新协商当代情感政治。