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Zisch Frisch Anfahrt und Infos VideoGlück frisch gebraut
While he was at school he met Werner Coninx — , who later became a successful artist and collector. The two men formed a lifelong friendship.
There he met professors who gave him contact with the worlds of publishing and journalism, and was influenced by Robert Faesi — and Theophil Spoerri — , both writers and professors at the university.
Frisch had hoped the university would provide him with the practical underpinnings for a career as a writer, but became convinced that university studies would not provide this.
In he set up his own architecture business. Frisch made his first contribution to the newspaper Neue Zürcher Zeitung NZZ in May , but the death of his father in March persuaded him to make a full-time career of journalism in order to generate an income to support his mother.
He developed a lifelong ambivalent relationship with the NZZ; his later radicalism was in stark contrast to the conservative views of the newspaper.
Until Frisch combined journalistic work with coursework at the university. Few of these early works made it into the published compilations of Frisch's writings that appeared after he had become better known.
Frisch seems to have found many of them excessively introspective even at the time, and tried to distract himself by taking labouring jobs involving physical exertion, including a period in when he worked on road construction.
Between February and October he travelled extensively through eastern and southeastern Europe, financing his expeditions with reports written for newspapers and magazines.
Another product of this extensive tour was Frisch's first novel, Jürg Reinhart , which appeared in In it Reinhart represents the author, undertaking a trip through the Balkans as a way to find purpose in life.
In the end the eponymous hero concludes that he can only become fully adult by performing a "manly act". This he achieves by helping the terminally ill daughter of his landlady end her life painlessly.
In the summer of Frisch met Käte Rubensohn,  who was three years his junior. The next year the two developed a romantic liaison.
Rubensohn, who was Jewish , had emigrated from Berlin to continue her studies, which had been interrupted by government-led anti-Semitism and race-based legislation in Germany.
In Frisch visited Germany for the first time. He kept a diary, later published as Kleines Tagebuch einer deutschen Reise Short Diary of a German Trip , in which he described and criticised the antisemitism he encountered.
At the same time, Frisch recorded his admiration for the Wunder des Lebens Wonder of Life exhibition staged by Herbert Bayer ,  an admirer of the Hitler government's philosophy and policies.
Bayer was later forced to flee the country after annoying Hitler. Frisch failed to anticipate how Germany's National Socialism would evolve, and his early apolitical novels were published by the Deutsche Verlags-Anstalt DVA without encountering any difficulties from the German censors.
During the s Frisch developed a more critical political consciousness. His failure to become more critical sooner has been attributed in part to the conservative spirit at the University of Zurich, where several professors were openly sympathetic with Hitler and Mussolini.
The book returned to the theme of a "manly act", but now placed it in the context of a middle class lifestyle. The author quickly became critical of the book, burning the original manuscript in and refusing to let it be included in a compilation of his works published in the s.
Supported by a stipend from his friend Werner Coninx, he had in enrolled at the ETH Zurich Eidgenössische Technische Hochschule to study architecture, his father's profession.
His resolve to disown his second published novel was undermined when it won him the Conrad Ferdinand Meyer Prize , which included an award of 3, Swiss francs.
At this time Frisch was living on an annual stipend from his friend of 4, francs. With the outbreak of war in , he joined the army as a gunner.
Although Swiss neutrality meant that army membership was not a full-time occupation, the country mobilised to be ready to resist a German invasion, and by Frisch had clocked up days of active service.
He also returned to writing. In the same writings were compiled into the book Pages from the Bread-bag Blätter aus dem Brotsack.
The book was broadly uncritical of Swiss military life, and of Switzerland's position in war-time Europe, attitudes that Frisch revisited and revised in his Little Service Book Dienstbuechlein ; by he felt strongly that his country had been too ready to accommodate the interests of Nazi Germany during the war years.
After receiving his diploma in the summer of , Frisch accepted an offer of a permanent position in Dunkel's architecture studio, and for the first time in his life was able to afford a home of his own.
While working for Dunkel he met another architect, Gertrud Frisch-von Meyenburg , and on 30 July the two were married.
The marriage produced three children: Ursula , Hans Peter , and Charlotte Much later, in a book of her own, Sturz durch alle Spiegel , which appeared in ,  his daughter Ursula reflected on her difficult relationship with her father.
In Frisch was selected from among 65 applicants to design the new Letzigraben subsequently renamed Max-Frisch-Bad swimming pool in the Zürich district of Albisrieden.
Because of this substantial commission he was able to open his own architecture studio, with a couple of employees.
Wartime materials shortages meant that construction had to be deferred until , but the public swimming pool was opened in It is now protected under historic monument legislation.
Overall Frisch designed more than a dozen buildings, although only two were actually built. One was a house for his brother Franz and the other was a country house for the shampoo magnate, K.
Ferster's house triggered a major court action when it was alleged that Frisch had altered the dimensions of the main staircase without reference to his client.
Frisch later retaliated by using Ferster as the model for the protagonist in his play The Fire Raisers Biedermann und die Brandstifter. Much of his time and energy was devoted to writing.
Frisch was already a regular visitor at the Zürich Playhouse Schauspielhaus while still a student. Drama in Zürich was experiencing a golden age at this time, thanks to the flood of theatrical talent in exile from Germany and Austria.
From the Playhouse director Kurt Hirschfeld encouraged Frisch to work for the theatre, and backed him when he did so. In Santa Cruz , his first play, written in and first performed in , Frisch, who had himself been married since , addressed the question of how the dreams and yearnings of the individual could be reconciled with married life.
The novel reintroduces as its protagonist the artist Jürg Reinhart, familiar to readers of Frisch's first novel, and in many respects a representation of the author himself.
It deals with a love affair that ends badly. This same tension is at the centre of a subsequent narrative by Frisch published, initially, by Atlantis in and titled Bin oder Die Reise nach Peking Bin or the Journey to Beijing.
Both of his next two works for the theatre reflect the war. Now they sing again Nun singen sie wieder , though written in , was actually performed ahead of his first play Santa Cruz.
It addresses the question of the personal guilt of soldiers who obey inhuman orders, and treats the matter in terms of the subjective perspectives of those involved.
The NZZ , then as now his native city's powerfully influential newspaper, pilloried the piece on its front page, claiming that it "embroidered" the horrors of National Socialism , and they refused to print Frisch's rebuttal.
The Chinese Wall Die Chinesische Mauer which appeared in , explores the possibility that humanity might itself be eradicated by the then recently invented atomic bomb.
Robert Oppenheimer , though these pieces are all now for the most part forgotten. Working with the theatre director Hirschfeld enabled Frisch to meet some leading fellow playwrights who would influence his later work.
He met the exiled German write, Carl Zuckmayer , in , and the young Friedrich Dürrenmatt in Despite artistic differences on self-awareness issues, Dürrenmatt and Frisch became lifelong friends.
An admirer of Brecht's work, Frisch now embarked on regular exchanges with the older dramatist on matters of shared artistic interest.
Brecht encouraged Frisch to write more plays, while placing emphasis on social responsibility in artistic work. Although Brecht's influence is evident in some of Frisch's theoretical views and can be seen in one or two of his more practical works, the Swiss writer could never have been numbered among Brecht's followers.
This is particularly apparent in his play As the war ended Als der Krieg zu Ende war , based on eye-witness accounts of the Red Army as an occupying force.
In April Frisch and Hirschfeld visited post-war Germany together. The absented ethnic Germans were being replaced by relocated Polish speakers whose own formerly Polish homes were now included within the newly enlarged Soviet Union.
A large number of European intellectuals were invited to the Peace Congress which was presented as part of a wider political reconciliation exercise between east and west.
Frisch was not alone in quickly deciding that the congress hosts were simply using the event as an elaborate propaganda exercise, and there was hardly any opportunity for the "international participants" to discuss anything.
Frisch left before the event ended and headed for Warsaw , notebook in hand, to collect and record his own impressions of what was happening.
Nevertheless, when he returned home the resolutely conservative NZZ concluded that by visiting Poland Frisch had simply confirmed his status as a Communist sympathizer , and not for the first time refused to print his rebuttal of their simplistic conclusions.
Frisch now served notice on his old newspaper that their collaboration was at an end. By Frisch had accumulated roughly filled notebooks, and these were published in a compilation titled Tagebuch mit Marion Diary with Marion.
In reality what appeared was not so much a diary as cross between a series of essays and literary autobiography.
He was encouraged by the publisher Peter Suhrkamp to develop the format, and Suhrkamp provided his own feedback and specific suggestions for improvements.
In Suhrkamp's own newly established publishing house produced a second volume of Frisch's Tagebuch covering the period —, comprising a mosaic of travelogues, autobiographical musings, essays on political and literary theory and literary sketches, adumbrating many of the themes and sub-currents of his later fictional works.
Critical reaction to the new impetus that Frisch's Tagebücher was giving to the genre of the "literary diary" was positive: there was a mention of Frisch having found a new way to connect with wider trends in European literature "Anschluss ans europäische Niveau".
The Tagebuch — was followed, in , by Count Öderland Count Öderland , a play that picked up on a narrative that had already been sketched out in the "diaries".
The story concerns a state prosecutor named Martin who grows bored with his middle-class existence, and drawing inspiration from the legend of Count Öderland, sets out in search of total freedom, using an axe to kill anyone who stands in his way.
He ends up as the leader of a revolutionary freedom movement, and finds that the power and responsibility that his new position imposes on him leaves him with no more freedom than he had before.
This play flopped, both with the critics and with audiences, and was widely misinterpreted as the criticism of an ideology or as being essentially nihilistic, and strongly critical of the direction that Switzerland's political consensus was by now following.
Frisch nevertheless regarded Count Öderland as one of his most significant creations: he managed to get it returned to the stage in and again in , but it failed, on both occasions, to win many new friends.
During this time, under the working title "What do you do with love? In this play Frisch returned to his theme of the conflict between conjugal obligations and intellectual interests.
The leading character is a parody Don Juan , whose priorities involve studying geometry and playing chess , while women are let into his life only periodically.
After his unfeeling conduct has led to numerous deaths the anti-hero finds himself falling in love with a former prostitute.
The play proved popular and has been performed more than a thousand times, making it Frisch's third most popular drama after The Fire Raisers and Andorra The novel I'm Not Stiller appeared in The protagonist, Anatol Ludwig Stiller starts out by pretending to be someone else, but in the course of a court hearing he is forced to acknowledge his original identity as a Swiss sculptor.
For the rest of his life he returns to live with the wife whom, in his earlier life, he had abandoned. The novel combines elements of crime fiction with an authentic and direct diary-like narrative style.
It was a commercial success, and won for Frisch widespread recognition as a novelist. Critics praised its carefully crafted structure and perspectives, as well as the way it managed to combine philosophical insight with autobiographical elements.
The theme of the incompatibility between art and family responsibilities is again on display. Following the appearance of this book Frisch, whose own family life had been marked by a succession of extra-marital affairs,  left his family, moving to Männedorf , where he had his own small apartment in a farmhouse.
By this time writing had become his principal source of income, and in January he closed his architectural practice, becoming officially a full-time freelance writer.
At the end of Frisch started work on his novel, Homo Faber which would be published in It concerns an engineer who views life through a "technical" ultra-rational prism.
Homo Faber was chosen as a study text for the schools and became the most read of Frisch's books. The book involves a journey which mirrors a trip that Frisch himself undertook to Italy in , and subsequently to America his second visit, this time also taking in Mexico and Cuba.
The following year Frisch visited Greece which is where the latter part of Homo Faber unfolds. The success of The Fire Raisers established Frisch as a world-class dramatist.
It deals with a lower-middle-class man who is in the habit of giving shelter to vagrants who, despite clear warning signs to which he fails to react, burn down his house.
Early sketches for the piece had been produced, in the wake of the communist take-over in Czechoslovakia , back in , and had been published in his Tagebuch — A radio play based on the text had been transmitted in on Bavarian Radio BR.
Frisch's intention with the play was to shake the self-confidence of the audience that, faced with equivalent dangers, they would necessarily react with the necessary prudence.
Swiss audiences simply understood the play as a warning against Communism , and the author felt correspondingly misunderstood.
For the subsequent premier in West Germany he added a little sequel which was intended as a warning against Nazism , though this was later removed.
A sketch for Frisch's next play, Andorra had also already appeared in the Tagebuch — Andorra deals with the power of preconceptions concerning fellow human beings.
The principal character, Andri, is a youth who is assumed to be, like his father, Jewish. The boy therefore has to deal with anti-semitic prejudice, and while growing up he has acquired traits which those around him regard as "typically Jewish".
There is also exploration of various associated individual hypocrisies that arise in the small fictional town where the action takes place.
It later transpires that Andri is his father's adopted son and therefore not himself Jewish, although the townsfolk are too focused on their preconceptions to accept this.
The themes of the play seem to have been particularly close to the author's heart: in the space of three years Frisch had written no fewer than five versions before, towards the end of , it received its first performance.
The play was a success both with the critics and commercially. It nevertheless attracted controversy, especially after it opened in the United States, from those who thought that it treated with unnecessary frivolity issues which were still extremely painful so soon after the Nazi Holocaust had been publicised in the west.
Another criticism was that by presenting its theme as one of generalised human failings, the play somehow diminished the level of specifically German guilt for recent real-life atrocities.
During July Frisch got to know the Carinthian writer Ingeborg Bachmann , and the two became lovers.
He had left his wife and children in and now, in , he was divorced. Although Bachmann rejected the idea of a formal marriage, Frisch nevertheless followed her to Rome where by now she lived, and the city became the centre of both their lives until in Frisch's case The relationship between Frisch and Bachmann was intense, but not free of tensions.
Frisch remained true to his habit of sexual infidelity, but reacted with intense jealousy when his partner demanded the right to behave in much the same way.
Gantenbein works through the ending of a marriage with a complicated succession of "what if? This theme is echoed in Malina , where Bachmann's narrator confesses that she is "double" to her lover she is herself, but she is also her husband, Malina , leading to an ambiguous "murder" when the husband and wife part.
Frisch tests alternative narratives "like clothes", and comes to the conclusion that none of the tested scenarios leads to an entirely "fair" outcome.
Frisch himself wrote of Gantenbein that his purpose was "to show the reality of an individual by having him appear as a blank patch outlined by the sum of fictional entities congruent with his personality.
The story is not told as if an individual could be identified by his factual behaviour; let him betray himself in his fictions.
Frisch was disappointed that his commercially very successful plays Biedermann und die Brandstifter and Andorra had both been, in his view, widely misunderstood.
His answer was to move away from the play as a form of parable , in favour of a new form of expression which he termed " Dramaturgy of Permutation " "Dramaturgie der Permutation" , a form which he had introduced with Gantenbein and which he now progressed with Biographie , written in its original version in At the centre of the play is a behavioural scientist who is given the chance to live his life again, and finds himself unable to take any key decisions differently the second time round.
The Swiss premier of the play was to have been directed by Rudolf Noelte , but Frisch and Noelte fell out in the Autumn of , a week before the scheduled first performance, which led to the Zürich opening being postponed for several months.
In the end the play opened in the Zürich Playhouse in February , the performances being directed by Leopold Lindtberg. Lindtberg was a long established and well regarded theatre director, but his production of Biografie: Ein Spiel neither impressed the critics nor delighted theatre audiences.
Frisch ended up deciding that he had been expecting more from the audience than he should have expected them to bring to the theatrical experience.
After this latest disappointment it would be another eleven years before Frisch returned to theatrical writing. He was 51 and she was 28 years younger.
In they moved into an apartment together in Rome, and in autumn they relocated to Switzerland, setting up home together in an extensively modernised cottage in Berzona , Ticino.
This is fantastic countryside"   As a "social experiment" they also, in , temporarily occupied a second home in an apartment block in Aussersihl , a residential quarter of down-town Zürich known, then as now, for its high levels of recorded crime and delinquency, but they quickly swapped this for an apartment in Küsnacht , close to the lake shore.
Frisch and Oellers were married at the end of Marianne Oellers accompanied her future husband on numerous foreign trips.
In order to try to form an independent assessment of "life behind the Iron Curtain " they then, in , toured the Soviet Union. They returned two years later to attend a Writers' Congress at which they met Christa and Gerhard Wolf , leading authors in what was then East Germany , with whom they established lasting friendships.
After they married, Frisch and his young wife continued to travel extensively, visiting Japan in and undertaking extended stays in the United States.
Many impressions of these visits are published in Frisch's Tagebuch covering the period — In , after returning from the US, the couple took a second apartment in the Friedenau quarter of West Berlin , and this soon became the place where they spent most of their time.
During the period —79 Frisch was able to participate increasingly in the intellectual life of the place. Living away from his homeland intensified his negative attitude to Switzerland, which had already been apparent in William Tell for Schools Wilhelm Tell für die Schule and which reappears in his Little service book Dienstbüchlein , in which he reflects on his time in the Swiss army some 30 years earlier.
More negativity about Switzerland was on show in January when he delivered a speech titled "Switzerland as a homeland? Although he nurtured no political ambitions on his own account, Frisch became increasingly attracted to the ideas of social democratic politics.
He also became friendly with Helmut Schmidt who had recently succeeded the Berlin—born Willy Brandt as Chancellor of Germany and was already becoming something of a respected elder statesman for the country's moderate left and, as a former Defence Minister , a target of opprobrium for some on the SPD 's im moderate left.
In October , slightly improbably, the Swiss dramatist Frisch accompanied Chancellor Schmidt on what for them both was their first visit to China,  as part of an official West German delegation.
This happened in the village of Montauk on Long Island , and Montauk was the title the author gave to an autobiographical novel that appeared in The book centred on his love life, including both his own marriage with Marianne Oellers-Frisch and an affair that she had been having with the American writer Donald Barthelme.
There followed a very public dispute between Frisch and his wife over where to draw the line between private and public life, and the two became increasingly estranged, divorcing in Lernen Sie uns und unser Angebot kennen — wir freuen uns auf Sie!
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