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On April 4, 1991, Max Frisch, Swiss architect/writer (Homo Faber, Stiller, Biedermann), died at the age of 79. From the article:
"Max Frisch | Biography, Books, & Facts
In 1933 Frisch withdrew from the University of Zürich, where he had studied German literature, and became a newspaper correspondent. After touring southern and eastern Europe from 1934 to 1936, he returned to Zürich, where he studied architecture. Frisch worked as an architect after service in the Swiss army during World War II. He abandoned architecture in 1955 to devote himself full-time to writing.
Frisch’s play Santa Cruz (1947) established the central theme found throughout his subsequent works: the predicament of the complicated, skeptical individual in modern society. One of Frisch’s earliest dramas was the morality play Nun singen sie wieder (1946; Now They Sing Again), in which Surrealistic tableaux reveal the effects caused by hostages being assassinated by German Nazis. His other historical melodramas included Die chinesische Mauer (1947; The Chinese Wall) and the bleak Als der Krieg zu Ende war (1949; When the War Was Over). Reality and dream are used to depict the terrorist fantasies of a responsible government prosecutor in Graf Öderland (1951; Count Oederland), while Don Juan oder die Liebe zur Geometrie (1953; Don Juan, or The Love of Geometry) is a reinterpretation of the legend of the famous lover of that name. In his powerful parable play Biedermann und die Brandstifter (1958; The Firebugs, also published as The Fire Raisers), arsonists insinuate themselves into the house of the weak-willed, complacent Biedermann, who allows them to destroy his home and his world rather than confront them. Frisch’s later plays included Andorra (1961), with its theme of collective guilt, and Biografie (published 1967; Biography), which deals with social relationships and their limitations.
Frisch’s early novels Stiller (1954; I’m Not Stiller), Homo Faber (1957), and Mein Name sei Gantenbein (1964; A Wilderness of Mirrors) portray aspects of modern intellectual life and examine the theme of identity. His autobiographical works included two noteworthy diaries, Tagebuch 1946–1949 (1950; Sketchbook 1946–1949) and Tagebuch 1966–1971 (1972; Sketchbook 1966–1971). His later novels included Montauk: Eine Erzählung (1975), Der Mensch erscheint im Holozän (1979; Man in the Holocene), and Blaubart (1982; Bluebeard)."
"Max Frisch | Biography, Books, & Facts
In 1933 Frisch withdrew from the University of Zürich, where he had studied German literature, and became a newspaper correspondent. After touring southern and eastern Europe from 1934 to 1936, he returned to Zürich, where he studied architecture. Frisch worked as an architect after service in the Swiss army during World War II. He abandoned architecture in 1955 to devote himself full-time to writing.
Frisch’s play Santa Cruz (1947) established the central theme found throughout his subsequent works: the predicament of the complicated, skeptical individual in modern society. One of Frisch’s earliest dramas was the morality play Nun singen sie wieder (1946; Now They Sing Again), in which Surrealistic tableaux reveal the effects caused by hostages being assassinated by German Nazis. His other historical melodramas included Die chinesische Mauer (1947; The Chinese Wall) and the bleak Als der Krieg zu Ende war (1949; When the War Was Over). Reality and dream are used to depict the terrorist fantasies of a responsible government prosecutor in Graf Öderland (1951; Count Oederland), while Don Juan oder die Liebe zur Geometrie (1953; Don Juan, or The Love of Geometry) is a reinterpretation of the legend of the famous lover of that name. In his powerful parable play Biedermann und die Brandstifter (1958; The Firebugs, also published as The Fire Raisers), arsonists insinuate themselves into the house of the weak-willed, complacent Biedermann, who allows them to destroy his home and his world rather than confront them. Frisch’s later plays included Andorra (1961), with its theme of collective guilt, and Biografie (published 1967; Biography), which deals with social relationships and their limitations.
Frisch’s early novels Stiller (1954; I’m Not Stiller), Homo Faber (1957), and Mein Name sei Gantenbein (1964; A Wilderness of Mirrors) portray aspects of modern intellectual life and examine the theme of identity. His autobiographical works included two noteworthy diaries, Tagebuch 1946–1949 (1950; Sketchbook 1946–1949) and Tagebuch 1966–1971 (1972; Sketchbook 1966–1971). His later novels included Montauk: Eine Erzählung (1975), Der Mensch erscheint im Holozän (1979; Man in the Holocene), and Blaubart (1982; Bluebeard)."
Max Frisch | Biography, Books, & Facts
Posted from britannica.com
World History
Literature
Writer
Theater
Posted >1 y ago
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It is interesting how WWII influenced the works of poets, writers, musicians, etc.
But for the war, would they have followed those vocations or done something else?
But for the war, of what would they have written or composed or built? Clearly without that influence,
their works would have been much different begging the question, would they have been as noteworthy without it?
Thanks for posting this, Dave ~
But for the war, would they have followed those vocations or done something else?
But for the war, of what would they have written or composed or built? Clearly without that influence,
their works would have been much different begging the question, would they have been as noteworthy without it?
Thanks for posting this, Dave ~
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