Writing - Florian Malzacher

In: Demokratie heute. Probleme der Repräsentation. Eds. Florian Malzacher, Raimar Stange. Exhibition Catalogue. Berlin: KINDL – Zentrum für zeitgenössische Kunst, 2021. 14-15.

里米尼紀錄劇團的歷史

Wirkungen und Nebenwirkungen. Die paradoxen Probleme der Identitätspolitik

In: Theater Heute 06 (2020): 48-53.

Feeling Alive [El potencial performatiu del comissariat]

In: Pausa 42 (2020).
www.revistapausa.cat

Theatre as Assembly

In: Why Theatre? Eds. Milo Rau / NTGent et al. Berlin: Verbrecher Verlag, 2020. 170-173.

Lola Arias: Identities in Negotiation

In: Lola Arias: Re-enacting Life. Ed. Jean Graham-Jones. Abersystwyth: Performance Research Books, 2019. 242-247.

Unbequeme Spiele, künstlerische Seitensprünge. Das Theater von Kelly Copper und Pavol Liška

In: Leben und Arbeit des Nature Theater of Oklahoma. Hg. Florian Malzacher. Berlin: Alexander Verlag, 2019. 13-37.

Discomforts, Obstacles and Artistic Infidelities. The Theatre of Kelly Copper and Pavol Liška

In: The Life and Work of Nature Theater of Oklahoma. Ed. Florian Malzacher. Berlin: Alexander Verlag, 2019. 13-37.

The Life and Work of Nature Theater of Oklahoma

Ed. Florian Malzacher. Berlin: Alexander Verlag, 2019.

Order at Alexander Verlag

Theatre as Assembly. Spheres of Radical Imagination and Pragmatic Utopias

In: A Live Gathering: Performance and politics in contemporary Europe. Eds. Ana Vujanovic with Livia Piazza. Berlin: b_books, 2019. 178-199.

Možnosti politického divadla

In: Činohra Národního divadla, Praha 2019/2020.

Theater als Versammlung

In: New Societies. Ed. donaufestival. Wien: Falter Verlag, 2019. 78-90.

Aktivismus als Aufführung. Das agonistische Theater des Zentrums für Politische Schönheit

In: Haltung als Handlung. Das Zentrum für Politische Schönheit. Eds. Miriam Rummel, Raimar Stange, Florian Waldvogel. München: Edition Metzel, 2018. 321-330.

Nenhum órganon a seguir. Possibilidades do teatro político hoje

In: Cartografias. Revista de Artes Cênicas 5 (2018): 242-251.

Bethinking One’s Own Strengths. The Performative Potential of Curating

In: Curating Live Arts. Critical Perspectives, Essays, and Conversations on Theory and Practice. Eds. Dena Davida et al. New York & Oxford: Berghahn, 2018. xvi-xxi.

Palcos vazios, apartamentos apinhados. Curadoria performativa das artes performáticas.

In: Cartografias. Revista de Artes Cênicas 5 (2018): 226-240.

A conversation with Daniel Wetzel/Rimini Protokoll

Almost Like a Teaching Play

In: Intermedial Performance and Politics in the Public Sphere. Eds. Katia Arfara, Aneta Mancewicz, Ralf Remshardt. London: Pelgrave Macmillan, 2018. 191-208.

Pisuar wraca do ubikacji. Symboliczna i bezpośrednia moc sztuki

In: Prawda jest konkretna. Artystyczne strategie w polityce. Ed. Florian Malzacher & steirischer herbst. Warsawa: Fundacja Nowej Kultury Bęc Zmiana, 2018. 12-25.

Dramaturgies of care and insecurity: The story of Rimini Protokoll

In: Experts of the Everyday. The Theatre of Rimini Protokoll. Eds. Miriam Dreysse & Florian Malzacher. Berlin: Alexander Verlag, 2008. 14-43.

Rimini Protokoll 紀錄劇場中「表演」的不同角色》，在《實踐初見

專家」概念之改變

在《實踐初見：紀錄劇場與 Rimini Protokoll 紀錄劇場》（香港：西九文化區管理局，2017年）

Den symboliska och direkta styrkan i konst och aktivism

In: Danstidningen 6 (2017): 34-40.

Feeling Alive. The Performative Potential of Curating

Empty Stages, Crowded Flats. Performativity as Curatorial Strategy. Eds. Florian Malzacher & Joanna Warsza. Berlin: Alexander Verlag, 2017. 28-41.

Impulse Edition

Stichworte

Eds. Florian Malzacher, Dominik Müller, Felizitas Stilecke. Berlin: Alexander Verlag, 2017.

Partly in English language

Order at Alexander Verlag

Performing Urgency #4

Empty Stages, Crowded Flats. Performativity as Curatorial Strategy

Eds. Florian Malzacher & Joanna Warsza. Berlin: Alexander Verlag, 2017.

Order at Alexander Verlag

Intet steds udenfor. Intet sted: Teateranmeldere kæmper med kriterier og distance. Og om penge.

In: Peripeti 24 (2016): 121 – 126.

Ein Gespräch mit Ahmet Öğüt

“Wie können wir uns eine Schulkultur vorstellen, die auf Solidarität basiert?”

In: The Silent University: Towards a Transversal Pedagogy. Eds. Florian Malzacher, Pelin Tan, Ahmet Öğüt. Berlin: Sternberg Press, 2016. 12-23.

Ein Gespräch mit Chantal Mouffe

„Kunst allein kann die Welt nicht allein ändern”

In: The Silent University: Towards a Transversal Pedagogy. Eds. Florian Malzacher, Pelin Tan, Ahmet Öğüt. Berlin: Sternberg Press, 2016. 34-42.

A conversation with Ahmet Öğüt

“How Can We Imagine a School Culture Based on Solidarity?”

In: The Silent University. Towards a Transversal Pedagogy. Eds. Florian Malzacher, Pelin Tan, Ahmet Öğüt. Berlin: Sternberg Press, 2016. 12-23.

Unrest and Discontent. Political Theatre and the Agonistic Field

www.goethe.de

A conversation with Chantal Mouffe about the Silent University

“Art can’t change the world on its own”

In: The Silent University: Towards a Transversal Pedagogy. Eds. Florian Malzacher, Pelin Tan, Ahmet Öğüt. Berlin: Sternberg Press, 2016. 12-23.

Unruhe und Unbehagen. Politisches Theater als agonistisches Spielfeld

In: www.goethe.de, June 2016.

Impulse Edition

The Silent University. Towards a Transversal Pedagogy

Eds. Florian Malzacher, Ahmet Öğüt, Pelin Tan. An Edition by Impulse Theater Biennale. Berlin: Sternberg Press, 2016.

In English & German language

Order at Sternberg Press

Das Urinal in die Toilette zurückbringen. Die symbolische und die direkte Macht von Kunst und Aktivismus

In: Dramaturgie. Zeitschrift der Dramaturgischen Gesellschaft 01 (2016): 5-11.

Performing Urgency #1

Not Just a Mirror. Looking for the Political Theatre of Today

Ed. Florian Malzacher. Berlin: Alexander Verlag, 2015

Order at Alexander Verlag

No Organum to Follow. Possibilities of Political Theatre Today

In: Not Just a Mirror. Looking for the Political Theatre of Today. Ed. Florian Malzacher. Berlin/London: Alexander Verlag & Live Arts Development Agency, 2015. 16-30.

Neue Engagierte Kunst

In: Theater Heute. Jahrbuch (2015). 88-94.

”Jest słowo na takich jak wy: publiczność. Widz jako zły świadek i zły voyeur“.

In: Tak jakby nic się nie wydarzyło. Teatr Forced Entertainment. Ed. Tim Etchells. Poznan & Krakow: Fundacja Malta & Ha!art, 2015. 127-136.

What Role Can Art Play in Politics

www.goethe.de

Nützliche Kunst. Welche Rolle kann Kunst in der Politik spielen?

In: www.goethe.de, Juni 2015.

Nature Theater of Oklahoma

Oklahoma in New York

In: Die Deutsche Bühne 01 (2015): 63-65.

Truth is Concrete. A Handbook for Artistic Strategies in Real Politics

Eds. Florian Malzacher & steirischer herbst. Sternberg Press, 2014.
Coedited by Anne Faucheret, Veronica Kaup-Hasler, Kira Kirsch, Andreas R. Peternell, and Johanna Rainer.

Out of Print (but free for download)

A conversation with Yael Bartana

We need to create alternative Moments of Commemoration

In: Two Minutes of Standstill. A Collective Performance by Yael Bartana. Eds. Florian Malzacher & Stefanie Wenner. Sternberg Press Berlin: 2014. 12-23.

Impulse Edition

Two Minutes of Standstill. A Collective Performance by Yael Bartana

Eds. Florian Malzacher & Stefanie Wenner. An Edition by Impulse Theater Biennale. Berlin: Sternberg Press, 2014.

Order at Sternberg Press

Empty Stages, Crowded Flats. Performative curating performing arts

In: Scenekunsten og de unge. Eds. Sidsel Graffer & Ådne Sekkelsten. Oslo: Vidarforlaget AS, 2014. 114-125.

Putting the urinal back in the restroom. The symbolic and the direct power of art and activism

In: Truth is Concrete. A Handbook for Artistic Strategies in Real Politics. Eds. Florian Malzacher & steirischer herbst. Sternberg Press, 2014. 12-25.

Zwyczajne postacie. Zabawa Gisèle Vienne lalkami i aktorami

In: Portret aktora. Ed. Anna R. Bruzynskia. Szczecin: Teatr Lalek „Pleciuga“, 2013. 53-62.

Lotte van den Berg

“Ludzie, którzy przyglądają się ludziom”

In: Didaskalia 114 (Kwiecień 2013): 138-141.

Dramaturgie opieki i odbierania pewności. Historia Rimini Protokoll

Rimini Protokoll. Na tropie codzienności. Eds. Miriam Dreysse & Florian Malzacher. Poznan & Krakow: Fundacja Malta & Ha!art, 2012. 12-39.

Przy całej przyjaźni. Kuratorowanie w sztukach performatywnych

In: Didaskalia 112 (Grudzień 2012): 69-74.

A conversation with David van Reybrouck

“People are hostile because they only can vote every couple of years!”

Published on the blog for “Truth is concrete”, 30 Jan 2012

A conversation with the cyber activist Sofiane Belhaj (Hamadi Kaloutcha) about the role of the Internet in the Tunisian revolution

“A tool to develop oppositional ideas, and not to be afraid”

Published on the blog for “Truth is concrete”

A conversation with Noah Fischer

“Occupy a museum near you”

In. Camera Austria 117 (2012). 21-28.

A conversation with Gabriela Rendon and Miguel Robles-Durán (Occupy Wall Street)

“We cannot be pessimistic”

In Camera Austria 117 (2012). 31-36.

Lotte van den Berg

Menschen, die Menschen zuschauen

In: herbst. Theorie zu Praxis. Graz: steirischer herbst, 2011. 116-119.

Zacieranie granic / zmiana perspektyw. Wywiad z Christophem Schlingensiefem

In: Christoph Schlingensief. Sztuka bez granic. Eds. Tara Forrest, Anna Teresa Scheer. Poznan & Krakow: Fundacja Malta & Ha!art, 2011. 273-293.

O ostatnich pracach Christopha Schlingensiefa

Obywatel innego świata. Trylogia strachu i nadziei

In: Christoph Schlingensief. Sztuka bez granic. Eds. Tara Forrest, Anna Teresa Scheer. Poznan & Krakow: Fundacja Malta & Ha!art, 2011. 233-271.

Dramaturgies of Generosity. The Theatre of BADco.

In: One Needs to Live Self-Confidently… Watching. Eds. What, How & for Whom / WHW. Zagreb/Venice: WHW, 2011. 26-29.

Catalogue for the Croatian Pavilion, 54. Bienale di Venezia.

Das Kuratieren performativer Künste

Pogled skozi publiko. Pragmatična dramaturgija Vie Negative

In: NE. Via Negativa 2002 – 2008. Ed. Marin Blažević. Ljubjana: Maska, 2010. 165-170.

Tien jaar postdramatisch theater in Europa

“An Artist who cannot speak in English is no artist”

In: Lucifer 10 (najaar 2010): 1-7.

No outside. Nowhere. Theatre critics’ struggle for criteria, distance. And, of course, money.

In: 25. Ed. Marie Nerland. Bergen: BIT Teatergarasjen, 2010.

Curating Performing Arts

Eds. Florian Malzacher, Tea Tupajić, Petra Zanki. Zagreb: Frakcija. Performing Arts Journal. No. 55, summer 2010.

Out of Print (But free for download)

On Nature Theater of Oklahoma

Hardcore Musical Entertainment

In: Theater Heute 05 (2010): 12-16.

A conversation with William Forsythe

“You can be a virtuoso at being sloppy”

In: herbst. Theorie zur Praxis (2010): 62-65.

Gisèle Vienne

„Meine wichtigste Entdeckung im Theater ist der Stillstand“

In: herbst. Theorie zur Praxis (2010): 74-81.

A conversation with Christoph Schlingensief

Blurring Boundaries/Changing Perspectives

In: Christoph Schlingensief. Art Without Borders. Eds. Tara Forrest & Anna Teresa Scheer. Intellect, 2010. 187-200.

Blick hindurch durchs Publikum. Die pragmatische Dramaturgie von Via Negativa

Unpublished German original version of:

“Pogled skozi publiko. Pragmatična dramaturgija Vie Negative”. NE. Via Negativa 2002 – 2008. Ed. Marin Blažević. Ljubjana: Maska, 2010. 165-170.

Citizen of the Other Place: Christoph Schlingensief’s Trilogy of Fear and Hope

In: Christoph Schlingensief. Art Without Borders. Eds. Tara Forrest Anna & Teresa Scheer. Intellect, 2010. 201-215.

Cause & Result: Curating Performing Arts

In: Frakcija 55. Eds. Florian Malzacher, Tea Tupajić, Petra Zanki (2010): 10-19.

The Scripted Realities of Rimini Protokoll

In: Dramaturgy of the Real on the World Stage. Ed. Carol Martin. London: Palgrave Macmillan, 2010. 80-87.

10 lat teatru postdramatycznego

Artysta bez angielskiego to żaden artysta

In: Didaskalia 94 (2009): 110-113.

Dramaturgias de la asistencia y la desestabilización. La historia de Rimini Protokoll

Unpublished translation of: “Dramaturgies of care and insecurity: The story of Rimini Protokoll”. In: Experts of the Everyday. The Theatre of Rimini Protokoll. Eds. Miriam Dreysse& Florian Malzacher. Berlin: Alexander Verlag, 2008. 14-43.

Buffy the Vampire Slayer