Max Frisch
Frisch's dramas up until the early 1960s are divided by the literary commentator into three groups: (1) the early wartime pieces, (2) the poetic plays such as "" ("Don Juan oder Die Liebe zur Geometrie") and (3) the dialectical pieces. It is above all with this third group, notably the parable "The Fire Raisers" (1953), identified by Frisch as a "lesson without teaching", and with "Andorra" (1961) that Frisch enjoyed the most success. Indeed, these two are among the most successful German language plays. The writer nevertheless remained dissatisfied because he believed they had been widely misunderstood. In an interview with Heinz Ludwig Arnold Frisch vigorously rejected their allegorical approach: "I have established only that when I apply the parable format, I am obliged to deliver a message that I actually do not have". After the 1960s Frisch moved away from the theatre. His late biographical plays "" ("Biografie: Ein Spiel") and "" were apolitical but they failed to match the public success of his earlier dramas. It was only shortly before his death that Frisch returned to the stage with a more political message, with "Jonas and his Veteran", a stage version of his arresting dialogue "Switzerland without an army? A Palaver".
Grips-Theater
In 1969, the group agreed to develop children’s plays that would include more elements of social critique. This resulted in the first sociocritical children’s play, titled "“Stokkerlok und Millipilli"”, also written by Ludwig and Hachfeld. The play follows a little boy named Maximilian who blackmails his family and surroundings into child-friendly behaviour with an ear-piercing whistle. “"Stokkerlok und Millipilli”" is considered the GRIPS-Theatre’s first play and became a great success. Theatres across Germany staged performances of the play, which was also adapted by theatres in other countries. In 1969, it was awarded the , conferred by the Berlin government.