Miki Malör is an Austrian theatre creator, director and performance artist.
Life
Miki Malör studied music at the music and art academy in Vienna. In addition, over the years she also had the following training: massage diploma, diving instructor and cave diver. Her beginnings as pianist and stage musician in cabaret and theatre performances, and as clownish singer with the rock theatre group :de:Hallucination Company were followed by twelve years of solo tours through Europe. Characteristic for this period are the term "Comic Theatre" for her works and her declining to be catalogued as Kabarett artist. In 1986 she was awarded the Förderpreis der Stadt Mainz on occasion of the awards for the :de:Deutscher Kleinkunstpreis|de:Deutscher Kleinkunstpreis. Since 1995, she has abandoned cabaret and radicalised her works. The next stage were performances, installations and post-dramatic theatre. Apart from working on her own pieces, she frequently directs off-theatre productions. Miki Malör regularly produces in Vienna.
Works
Miki Malör's works elude unilateral attributions: they are inspired by the avant-gardes of the 20th century, postmodern, deconstructivist, subversive, alternative, experimental, post-dramatic, feminist, rhizomatic, sensual, absurd, highly comical, intimate, transgressing taboos, excessive, and much more. Her works are neither based on drama pieces, nor are they meta-narrations, and there are no actors impersonating roles. She exclusively realises her own pieces and favours working with performers, dancers, and laypersons. Another mark of her works is her special attachment to music; her frequent trade with objects indicates a close relationship with the fine arts. The bandwidth of her themes is extensive: one underwater piece, two Schubert cycles, "Veiling. A Game", "Hysteria!", "nationalANTHEMS” and the cultfilm remake "The Attack of the 50 Foot Woman". Many of her pieces focus on female desire. These more and more often result in cross-genre film works. Miki Malör's theatre is fed by philosophical and depth psychological theories, the last results of which were some works on Deleuze/Guattari about the theme of Desiring Machines. These works can be read as an attempt at interpretingthe unconscious as a model of incessant and unfettered productivity. This leads to machines, fabrics, tableaux of desire, vestal machines of subversion, where Miki Malör's analytic background is embedded in passion, risk, and touch. Instead of representation, the impersonation on stage, there is doing, pure productivity which replaces psychological play with a radical language of images free for association. Miki Malör has been working together with stage director Miguel Ángel Gaspar for several years.
