How many plays did Max Rudolf Frisch write?
Max Frisch
"I'm Not Stiller" started with a print-run that provided for sales of 3,000 in its first year, but thanks to strong and growing reader demand it later became the first book published by Suhrkamp to top one million copies. The next novel, "Homo Faber", was another best seller, with four million copies of the German language version produced by 1998. "The Fire Raisers" and "Andorra" are the most successful German language plays of all time, with respectively 250 and 230 productions up till 1996, according to an estimate made by the literary critic Volker Hage. The two plays, along with "Homo Faber" became curriculum favourites with schools in the German-speaking middle European countries. Apart from a few early works, most of Frisch's books and plays have been translated into around ten languages, while the most translated of all, "Homo Faber", has been translated into twenty-five languages.
Rudolf Flesch
Flesch flourished as a writing teacher, plain-English consultant, and author. He published many books on the subject of clear, effective communication: "How to Test Readability" (1951), "How to Write Better" (1951), "The Art of Plain Talk" (1946), "The Art of Readable Writing" (1949), "The ABC of Style: A Guide to Plain English" (1964), and "Rudolf Flesch on Business Communications: How to Say What You Mean in Plain English" (1972).
Max Frisch
The "Tagebuch 1946–1949" was followed, in 1951, by "" ("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 1956 and again in 1961, but it failed, on both occasions, to win many new friends.
Clyde Fitch
Born in Elmira, New York, and educated at Holderness School and Amherst College (class of 1886), William Clyde Fitch wrote over sixty plays, thirty-six of them original, ranging from social comedies and farces to melodrama and historical dramas.
Rudolf Steiner's Mystery Dramas
Rudolf Steiner wrote four plays that follow the initiation journeys of a group of fictional characters through a series of lives. These plays were intended to be modern mystery plays. Steiner outlined the plot of a fifth play to be set at the Castalian spring at Delphi, but due to the outbreak of First World War, this remained an unfulfilled project.
Jürg Reinhart
On several occasions Max Frisch himself referred to the autobiographical background of "Jürg Reinhart": "What resulted was a first, very youthful novel which, like many first novels, remained firmly rooted in autobiography". Again, in a conversation with , Frisch stressed that "Jürg Reinhart" was "a barely disguised autobiography, but viewed as an autobiography it simply was not honest enough".
Max Frisch
Jürgen H. Petersen reckons that Frisch's stage work had little influence on other dramatists. And his own preferred form of the "literary diary" failed to create a new trend in literary genres. By contrast, the novels "I'm Not Stiller" and "Gantenbein" have been widely taken up as literary models, both because of the way they home in on questions of individual identity and on account of their literary structures. Issues of personal identity are presented not simply through description or interior insights, but through narrative contrivances. This stylistic influence can be found frequently in the works of others, such as Christa Wolf's The Quest for Christa T. and in Ingeborg Bachmann's Malina. Other similarly influenced authors are Peter Härtling and . Frisch also found himself featuring as a "character" in the literature of others. That was the case in 1983 with Wolfgang Hildesheimer's "Message to Max [Frisch] about the state of things and other matters" ("Mitteilungen an Max über den Stand der Dinge und anderes"). By then Uwe Johnson had already, in 1975, produced a compilation of quotations which he called "The collected sayings of Max Frisch" ("Max Frisch Stich-Worte zusammen"). More recently, in 2007, the Zürich–born artist Gottfried Honegger published eleven portrait-sketches and fourteen texts in memory of his friend.
Friedrich Christoph Förster
He brought out an edition of Hegel's works, adapted several of Shakespeare's plays for the theatre, wrote a number of poems and an historical drama, "Gustav Adolf" (Berlin, 1832).
Riff Raff Theatre Company
The company's back catalogue includes productions of "August Strindberg"'s Miss Julie, "The Factory Girls" by "Frank McGuinness", Ruffian on the Stair by "Joe Orton", The Fire Raisers by "Max Frisch", The Glass Menagerie by "Tennessee Williams", "Fool For Love" and "States of Shock" both by "Sam Shepard" and the first European production of "Orange Flower Water" by "Craig Wright".
Max Bruch
Max Christian Friedrich Bruch (6 January 1838 – 2 October 1920), also known as Max Karl August Bruch, was a German Romantic composer and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertory.
Max Frisch
By 1947 Frisch had accumulated roughly 130 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 1950 Suhrkamp's own newly established publishing house produced a second volume of Frisch's "Tagebuch" covering the period 1946–1949, 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"). Sales of these works would nevertheless remain modest until the appearance of a new volume in 1958, by which time Frisch had become better known among the general book-buying public on account of his novels.
Carlsbad Caverns National Park
Max Frisch incorporates the story about White's discovery of the caves in his novel "I'm Not Stiller".
Max Frisch
In summer 1962 Frisch met Marianne Oellers, a student of Germanistic and Romance studies. He was 51 and she was 28 years younger. In 1964 they moved into an apartment together in Rome, and in autumn 1965 they relocated to Switzerland, setting up home together in an extensively modernised cottage in Berzona, Ticino. During the next decade much of their time was spent living in rented apartments abroad, and Frisch could be scathing about his Swiss homeland, but they retained their Berzona property and frequently returned to it, the author driving his Jaguar from the airport: as he himself was quoted at the time on his Ticino retreat, "Seven times a year we drive this stretch of road ... This is fantastic countryside" As a "social experiment" they also, in 1966, temporarily occupied a second home in an 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 1968.
Max Frisch
The film director believes that Frisch had for the most part an "unfortunate relationship" with film, even though his literary style is often reminiscent of cinematic technique. Seiler explains that Frisch's work was often, in the author's own words, looking for ways to highlight the "white space" between the words, which is something that can usually only be achieved using a film-set. Already, in the "Diary 1946–1949" there is an early sketch for a film-script, titled "Harlequin". His first practical experience of the genre came in 1959, but with a project that was nevertheless abandoned, when Frisch resigned from the production of a film titled "SOS Gletscherpilot" ("SOS Glacier Pilot"), and in 1960 his draft script for "William Tell" ("Castle in Flames") was turned down, after which the film was created anyway, totally contrary to Frisch's intentions. In 1965 there were plans, under the Title "", to film an episode from the novel "Gantenbein", but the project was halted, initially by differences between Frisch and the film director Erwin Leiser and then, it was reported, by the illness of Bernhard Wicki who was brought in to replace Leiser. The "Zürich – Transit" project went ahead in the end, directed by Hilde Bechart, but only in 1992 a quarter century later, and a year after Frisch had died.
Max Frisch
In 1980, Frisch resumed contact with Alice Locke-Carey and the two of them lived together, alternately in New York City and in Frisch's cottage in Berzona, till 1984. By now Frisch had become a respected and from time to time honoured writer in the United States. He received an honorary doctorate from Bard College in 1980 and another from New York's City University in 1982. An English translation of the novella "Man in the Holocene" ("Der Mensch erscheint im Holozän") was published by The New Yorker in May 1980, and was picked out by critics in The New York Times Book Review as the most important and most interesting published Narrative work of 1980. The story concerns a retired industrialist suffering from the decline in his mental faculties and the loss of the camaraderie which he used to enjoy with colleagues. Frisch was able, from his own experience of approaching old age, to bring a compelling authenticity to the piece, although he rejected attempts to play up its autobiographical aspects. After "Man in the Holocene" appeared in 1979 (in the German language edition) the author developed writer's block, which ended only with the appearance, in the Autumn/Fall of 1981 of his final substantial literary piece, the prose text/novella "Bluebeard" ("Blaubart").
In 1984 Frisch returned to Zürich, where he would live for the rest of his life. In 1983 he began a relationship with his final life partner, Karen Pilliod. She was 25 years younger than he was. In 1987 they visited Moscow and together took part in the "Forum for a world liberated from atomic weapons". After Frisch's death Pilliod let it be known that between 1952 and 1958 Frisch had also had an affair with her mother, Madeleine Seigner-Besson. In March 1989 he was diagnosed with incurable colorectal cancer. In the same year, in the context of the Swiss Secret files scandal, it was discovered that the national security services had been illegally spying on Frisch (as on many other Swiss citizens) ever since he had attended the International Peace Congress at Wrocław/Breslau in 1948.
Max Frisch
In 1951, Frisch was awarded a travel grant by the Rockefeller Foundation and between April 1951 and May 1952 he visited the United States and Mexico. During this time, under the working title "What do you do with love?" (""Was macht ihr mit der Liebe?"") on what later became his novel, "I'm Not Stiller" ("Stiller"). Similar themes also underpinned the play "" ("Don Juan oder Die Liebe zur Geometrie") which in May 1953 would open simultaneously at theatres in Zürich and Berlin. 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" (1953) and "Andorra" (1961).
Frederick Rolf
He has translated numerous plays including Henrik Ibsen’s "Little Eyolf", Max Frisch’s "Don Juan or the Love of Geometry", Friedrich Schiller’s "Love and Intrigue" (published by Barron’s) and Gutzkow’s "Uriel Acosta". His translation of "Berlin – Shanghai – New York. My Family’s Flight from Hitler" by Dr. Theodor Friedrichs, was published by Cold Tree Press.
Max Frisch
Interviewed in 1975, Frisch acknowledged that his literary career had not been marked by some "sudden breakthrough" (""...frappanten Durchbruch"") but that success had arrived, as he asserted, only very slowly. Nevertheless, even his earlier publications were not entirely without a certain success. In his 20s he was already having pieces published in various newspapers and journals. As a young writer he also had work accepted by an established publishing house, the Munich based , which already included a number of distinguished German-language authors on its lists. When he decided he no longer wished to have his work published in Nazi Germany he changed publishers, joining up with which had relocated their head office from Berlin to Zürich in response to the political changes in Germany. In 1950 Frisch switched publishers again, this time to the arguably more mainstream publishing house then being established in Frankfurt by Peter Suhrkamp. 
Frisch was still only in his early 30s when he turned to drama, and his stage work found ready acceptance at the Zürich Playhouse, at this time one of Europe's leading theatres, the quality and variety its work much enhanced by an influx of artistic talent since the mid-1930s from Germany. Frisch's early plays, performed at Zürich, were positively reviewed and won prizes. It was only in 1951, with "", that Frisch experienced his first stage-flop. The experience encouraged him to pay more attention to audiences outside his native Switzerland, notably in the new and rapidly developing Federal Republic of Germany, where the novel "I'm Not Stiller" succeeded commercially on a scale that till then had eluded Frisch, enabling him now to become a full-time professional writer.
Max Frisch
Frisch now arranged his funeral, but he also took time to engage in discussion about the abolition of the army, and published a piece in the form of a dialogue on the subject titled "" ("Schweiz ohne Armee? Ein Palaver") There was also a stage version titled "Jonas and his veteran" ("Jonas und sein Veteran"). Frisch died on 4 April 1991 while in the middle of preparing for his 80th birthday. The funeral, which Frisch had planned with some care, took place on 9 April 1991 at St Peter's Church in Zürich. His friends Peter Bichsel and Michel Seigner spoke at the ceremony. Karin Pilliod also read a short address, but there was no speech from any church minister. Frisch was an agnostic who found religious beliefs superfluous. His ashes were later scattered on a fire by his friends at a memorial celebration back in Ticino at a celebration of his friends. A tablet on the wall of the cemetery at Berzona commemorates him.
Gertrud Frisch-von Meyenburg
While at university she got to know Max Frisch, known in retrospect as a writer, but at that time a fellow student of architecture. The two of them were married on 30 June 1942, and in due course the marriage produced three children: Ursula Priess-Frisch (1943), Hans Peter Frisch (1944) and Charlotte Frisch (1949). Ursula would publish, in 2009, a literary "reappraisal" of her difficult relationship with her famous father.
Gabriel Ferry
The younger Ferry wrote a number of plays, "Réginah" (1874), being one of the best. His miscellaneous prose includes "Les dernières années d'Alexandre Dumas" (Paris 1882); "Les patriotes de 1816" (Paris 1883); "Les deux maris de Marthe" (Paris 1884); "Balzac et ses amies" (Paris 1888); "Cap de fer" (Paris 1889); "Les exploits de César" (Paris 1889); "Les exploits de Martin" (Paris 1890); "Les pronesses de Martin Robert" (Paris 1890) and others.
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.
Philip Ridley
Adult Stage Plays
Frankie Frisch
Frisch finished his playing career in 1937. His career statistics totaled a .316 batting average, still the highest ever for a switch hitter, with 2880 hits, 1532 runs, 105 home runs and 1244 RBI. He also stole 419 bases in his nineteen playing seasons. His hit total stood as the record for switch-hitters until Pete Rose surpassed it in 1977. Frisch also hit .300 for his career from each side of the plate; the only other switch-hitter with more than 5,000 at-bats with this distinction is Chipper Jones.
Woyzeck
Büchner probably began writing the play between June and September 1836. It remained in a fragmentary state at the time of his early death in 1837. "Woyzeck" was first published in 1879 in a heavily reworked version by Karl Emil Franzos. It was not performed until November 8, 1913 at the Residenztheater, Munich, where it was produced by Max Reinhardt.
Jürg Reinhart
Alexander Stephan highlights additional complex themes that were introduced in this first novel, and which returned with new emphasis in Frisch's later works: the autobiographical aspects, the artist as the outsider, the unfulfilled seeking after happiness and love, and with these, in particular, the sea as symbolizing freedom and fulfillment, along with communication of the living and the dead. Volker Hage pointed out the vague guilt with which the hero is left at the end, concerning which no legal process can pronounce a verdict, which is a theme that would return in Bluebeard (1982), Frisch's last novel. Urs Bircher saw "Jürg Reinhart" as the beginning of a long line of more or less fictitious "me-stories" which Frisch would write.
Andorra (play)
Andorra is a play written by the Swiss dramatist Max Frisch in 1961. The original text came from a prose sketch Frisch had written in his diary titled "Der andorranische Jude" ("The Andorran Jew"). The Andorra in Frisch's play is fictional and not intended to be a representation of the real Andorra located between France and Spain. Frisch has stated that the title "Andorra" had only been intended as a working title but later liked using the term "Andorrans" so much he kept it.
Max Frisch
Frisch's style changed across the various phases of his work.
N. Richard Nash
Nash published two books on philosophy, "The Athenian Spirit" and "The Wounds of Sparta". Nash wrote his first play, "Parting at Imsdorf", in 1940, which won the Maxwell Anderson Verse Drama Award. He next penned the Shakespearian-themed comedy "The Second Best Bed", produced on Broadway in 1946. The highly acclaimed drama led to him writing more shows, including "The Young and Fair" (1948), "See the Jaguar" (1952, for which he won the International Drama Award in Cannes and the Prague Award), and "The Rainmaker" (1954, starring Geraldine Page; revived on Broadway in 1999). "The Rainmaker", a full-length play, had originally been a Philco Television Playhouse one-act 1953 television production. It was translated to over 40 languages and made into a 1956 Hollywood film starring Burt Lancaster and Katharine Hepburn, and a 1982 full-length TV production. The play was made into a Broadway musical, "110 in the Shade".
Richard Wetz
Wetz was appointed a manager of the Erfurt music association in 1906. He fell in love with the town and remained there for the rest of his life. Until this point, Wetz's published compositional works had almost exclusively been piano songs, though he twice tried to write opera. He wrote the librettros for both works, "Judith" (op. 13) and "The Eternal Fire" (op. 19). His one act play, "The Eternal Fire", was performed in 1907 in Hamburg and Düsseldorf, but with little success. In 1909 he received a better reception with his "Kleist-Ouvertüre" (op. 16) which Arthur Nikisch conducted in Leipzig. (Musical Times link)
Tankred Dorst
His first major plays were performed in 1960 in Lübeck, Mannheim and Heidelberg. Since then, his plays have been performed in the whole world. Dorst's work has been recognized with many prizes and distinctions, including the Gerhart Hauptmann Prize (1964), Prize of the City of Florence (1970), Literature Prize of the Bayerische Akademie der Künste (1983), Mülheimer Dramatikerpreis (1989), Georg Büchner Prize (1990), E.T.A. Hoffmann Prize (1996) and the city of Zurich's Max Frisch Prize (1998). In 2006, he was awarded the Samuel Bogumil Linde Prize. He was awarded the European Prize for Literature (2008). Dorst held visiting professorships at universities in Germany, Australia and New Zealand.
Rudolf Flesch
Flesch produced three other books of note:
Walter Erich Schäfer
Plays
Krindlekrax
The script was published the same year by Faber and Faber. However the text became out of print due to Ridley leaving Faber and Faber in 2005 as a result of their refusal to publish his controversial stage play for adults "Mercury Fur". Because of this Ridley then moved along with his back catalogue of plays to Methuen Drama, where many of them were republished, but not "Krindlekrax". On 23 September 2016 Samuel French Ltd. announced on their Twitter page that 17 of Ridley's plays had been added to their catalogue to purchase performance rights to. Amongst the plays were "Kridlekrax", the script of which has been republished by Samuel French in an "acting edition", after many years of being out of print.
Max Brand
Frederick Schiller Faust (May 29, 1892 – May 12, 1944) was an American author known primarily for his thoughtful and literary Westerns under the pen name Max Brand. Faust (as Max Brand) also created the popular fictional character of young medical intern Dr. James Kildare in a series of pulp fiction stories. Faust's Kildare character was subsequently featured over several decades in other media, including a series of American theatrical films by Paramount Pictures and Metro-Goldwyn-Mayer (MGM), a radio series, two television series, and comics. Faust's other pseudonyms include George Owen Baxter, Evan Evans, George Evans, David Manning, John Frederick, Peter Morland, George Challis, Peter Ward and Frederick Frost.
Max Frisch
The City of Zürich introduced the in 1998 to celebrate the author's memory. The prize is awarded every four years and comes with a CHF 50,000 payment to the winner.
Friedrich Maximilian Klinger
Klinger was a man of vigorous moral character and full of fine feeling, though the bitter experiences and deprivations of his youth are largely reflected in his dramas. It was one of his earliest works, "Sturm und Drang" (1776), which gave its name to this artistic epoch. In addition to this tragedy and "Die Zwillinge" (1776), the chief plays of his early period of passionate fervour and restless "storm and stress" are "Die neue Arria" (1776), "Simsone Grisaldo" (1776) and "Stilpo und seine Kinder" (1780). To a later period belongs the fine double tragedy of "Medea in Korinth" and "Medea auf dem Kaukasos" (1791). In Russia, he devoted himself mainly to the writing of philosophical romances, of which the best known are "Fausts Leben, Taten und Höllenfahrt" (1791), "Geschichte Giafars des Barmeciden" (1792) and "Geschichte Raphaeis de Aquillas" (1793). This series was closed in 1803 with "Betrachtungen und Gedanken über verschiedene Gegenstände der Welt und der Literatur". In these works, Klinger gives calm and dignified expression to the leading ideas which the period of Sturm und Drang had bequeathed to German classical literature.Klingers works were published in twelve volumes (1809–1815), also 1832–1833 and 1842. The most recent edition is in eight volumes (1878–1880); but none of these is complete. A selection will be found in A. Sauer, "Stürmer und Dränger", vol. 1. (1883). See E. Schmidt, "Lenz und Klinger" (1878); M. Rieger, "Klinger in der Sturm-und Drangperiode" (1880); and "Klinger in seiner Reife" (1896).
Fritz Rudolf Fries
A semi-autographical novel, "Alles eines Irrsinns Spiel", was published in 2010. Fries lived in Petershagen, Berlin and contributed articles to several daily newspapers until his death in 2014.
Ancient Greek literature
There are nineteen surviving plays attributed to Euripides. The most well-known of these plays are "Medea", "Hippolytus", and "Bacchae". "Rhesus" is sometimes thought to have been written by Euripides' son, or to have been a posthumous reproduction of a play by Euripides. Euripides pushed the limits of the tragic genre and many of the elements in his plays were more typical of comedy than tragedy. His play "Alcestis", for instance, has often been categorized as a "problem play" or perhaps even as a work of tragicomedy rather than a true tragedy due to its comedic elements and the fact that it has a happy ending.
Max Frisch
Frisch's first public success was as a writer for theatre, and later in his life he himself often stressed that he was in the first place a creature of the theatre. Nevertheless, the diaries, and even more than these, the novels and the longer narrative works are among his most important literary creations. In his final decades Frisch tended to move away from drama and concentrate on prose narratives. He himself is on record with the opinion that the subjective requirements of story telling suited him better than the greater level of objectivity required by theatre work.
Walter Frith
Walter Frith, a son of the famous painter William Powell Frith, was educated at Harrow and then at Trinity Hall, Cambridge, where he graduated B.A. 1879, LL.B. 1879, and M.A. 1882. He was admitted to Inner Temple on 25 January 1876 and called to the Bar on 9 June 1880. He wrote fourteen plays and three novels.
Toni Fritsch
Fritsch started to play association football at an early age and joined the Austrian record titleholder Rapid Vienna at the age of 13. After six seasons, he was admitted to the club's first league team and played his first professional game in fall 1964. During his time there, he played 123 games for Rapid, scoring 15 goals. The team won the Austrian Championship three times (1964, 1967, 1968) and the Austrian Cup twice (1968, 1969). He was described as a small, but extremely fast striker.
Fritz Rudolf Fries
In 1972 he became a member of the PEN Center of East Germany and shortly afterwards was elected to the presidency. His first novel, "Der Weg nach Oobliadooh" ("The Road to Oobliadooh"), was not approved for publication in the GDR, but with the help of Uwe Johnson it appeared in West Germany in 1966, under the imprint of the Suhrkamp publishing house. Gabriele Wohmann remarked that "Fries's work belied the stereotype of the technically awkward, thematically constrained, stylistically cautious and staidly narrational East German writer."
Max Frisch bibliography
This is a bibliography of works by Max Frisch.
Max Frisch Archive
The Max Frisch Archive was established in the Department of German Language and Literature at ETH Zurich in 1980. In 1981 the German philologist Walter Obschlager became its first archivist: The archive has been open to the public since April 1983. In April 2004 the archives moved to ETH Library premises, where they have also been integrated organisationally since 1 September 2016. Literary scholar Tobias Amslinger has been running the archive since 1 September 2016.
Max Schlosser (tenor)
A tenor for most of his career, he later sang as a baritone and is remembered today for his character roles in Wagner's operas. He created the roles of David in "Die Meistersinger von Nürnberg" (1868), Mime in "Das Rheingold" (1869), and The Messenger in the posthumous premiere of Wagner's early opera "Die Feen" (1888). Schlosser also sang Mime at Bayreuth in the first complete performance of "The Ring Cycle" (1876) and in the cycle's first complete performance in London (1882).
Jürg Reinhart
Jürg Reinhart. Eine sommerliche Schicksalsfahrt (""Jürg Reinhart. A fateful summer journey"") is the first novel of the Swiss writer Max Frisch (1911-1991). It was started during the winter of 1933 and published in Germany by in 1934. Frisch would later distance himself from this juvenile autobiographical work which was not reprinted as an individual novel, although much later it was included in a compilation of Frisch's collected works. His second novel, , referred back to this first novel, being again centred on the same eponymous protagonist.
Mary Pix
Pix produced one novel and seven plays. There are four other plays that were published anonymously, that are generally attributed to her.
Mona Douglas
"Four Manx Plays" was published in 1921, a collection of three plays by Douglas and one by J. J. Kneen. Douglas' plays, 'The Faery Tune', 'The Lips of the Sea' and 'Churning', were written in the Manx English dialect and were generally rural-based comic plays. Upon seeing the first of these plays in 1916, Sophia Morrison had explained to a friend that: "Miss Douglas' idea is to shew the inherent mysticism of the people, & the strange mingling of the old faith & the new which one finds among the older people, & those who live up among the hills – they use Christianity vaguely as a sort of charm, while really possessing a strong belief in the old fairy powers!" By 1924 all of the plays had all been produced "with great acceptance."
Max von Schillings
His composition work includes several operas, melodramas, choral works, chamber music pieces, violin and piano concertos, symphonic poems and works for stage (see list below). His most important work is undoubtedly his opera "Mona Lisa" (first performed on September 26, 1915 in Stuttgart), which became one of the most-performed operas in Germany until his death. He stands beside Engelbert Humperdinck and Richard Strauss as one of the composers who re-established the music form of melodrama at the start of the 20th century. Schillings was renowned as a music educator - one of his more famous students was Wilhelm Furtwängler. He was the dedicatee of "Sea Drift" by Frederick Delius.
Shakespeare's plays
Like most playwrights of his period, Shakespeare did not always write alone, and a number of his plays were collaborative, although the exact number is open to debate. Some of the following attributions, such as for "The Two Noble Kinsmen", have well-attested contemporary documentation; others, such as for "Titus Andronicus", remain more controversial and are dependent on linguistic analysis by modern scholars.Note: For a comprehensive account of plays possibly by Shakespeare or in part by Shakespeare, see the separate entry on the Shakespeare Apocrypha.
Max Frisch
With the outbreak of war in 1939, 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 1945 Frisch had clocked up 650 days of active service. He also returned to writing. 1939 saw the publication of "From a Soldier's Diary" ("Aus dem Tagebuch eines Soldaten"), which initially appeared in the monthly journal, "". In 1940 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 1974 "" ("Dienstbuechlein"); by 1974 he felt strongly that his country had been too ready to accommodate the interests of Nazi Germany during the war years.
Max Frisch
Frisch's social criticism was particularly sharp in respect of his Swiss homeland. In a much quoted speech that he gave when accepting the 1973 he declared: "I am Swiss, not simply because I hold a Swiss passport, was born on Swiss soil etc.: But I am Swiss by quasi-religious confession." There followed a qualification: "Your homeland is not merely defined as a comfort or a convenience. 'Homeland' means more than that". Frisch's very public verbal assaults on the land of his birth, on the country's public image of itself and on the unique international role of Switzerland emerged in his polemical, "Achtung: Die Schweiz", and extended to a work titled, "Wilhelm Tell für die Schule" ("William Tell for Schools") which sought to deconstruct the defining epic of the nation, reducing the William Tell legend to a succession of coincidences, miscalculations, dead-ends and opportunistic gambits. With his "" ("Dienstbüchlein") (1974) Frisch revisited and re-evaluated his own period of service in the nation's citizen army, and shortly before he died he went so far as to question outright the need for the army in "Switzerland without an Army? A Palaver".
René-Charles Guilbert de Pixérécourt
From 1820, his successes continued, albeit with around a hundred performances for each play: "Le Drapeau blanc" ("The White Flag", 1821), "Ali Baba ou les Quarante voleurs" ("Ali Baba, or the Forty Thieves", 1822), "Le Moulin des Étangs" ("The Mill", 1826), and "La Tête de mort ou les Ruines de Pompéi" ("The Death's-Head, or the Ruins of Pompeii", 1827). Some plays were written in collaboration, like "La Muette de la forêt" ("The Mute Girl of the Forest", 1828). His last play before retiring as director of the Opéra-Comique in 1827 would be "Latude ou Trente-cinq ans de captivité" ("Latude, or 35 Years of Captivity"), written with his young disciple Auguste Anicet-Bourgeois. For nearly forty years, he maintained his energetic activities as author, theatre director and government inspector. His immense success as a dramatic author led to him being dubbed the "Corneille des Boulevards". Paul Lacroix recalled that Charles Nodier placed him in the first rank of authors of his generation. His reputation was almost as high in Russia, Germany, and England. His wealth allowed him to add many rare books to his library, the great passion of his life. A distich inscribed above the door read: "Tel est le triste sort de tout livre prêté: Souvent il est perdu, toujours il est gâté." ("Such is the sad fate of every lent book: Often it is lost, always it is marred.") And inside each of his books, a slip of paper read: "Un livre est un ami qui ne change jamais." ("A book is a friend who never changes.")
John Charles Felix Rossi
In 1809 Rossi worked with John Flaxman on two friezes for the facade of the Covent Garden Theatre. He carved one, of "Ancient Drama", from a model by Flaxman. For the other, of "Modern Drama", he worked from Flaxman's drawings, making a model himself, before carving it in stone. For the south wing of the theatre, he made a seven-foot high statue of "Tragedy" as a pendant to Flaxman's "Comedy".
Max Roach
During the 1980s Roach also wrote music for theater, including plays by Sam Shepard. He was composer and musical director for a festival of Shepard plays, called "ShepardSets", at La MaMa Experimental Theatre Club in 1984. The festival included productions of "Back Bog Beast Bait", "Angel City", and "Suicide in B Flat". In 1985, George Ferencz directed "Max Roach Live at La MaMa: A Multimedia Collaboration".
Max Frisch
Old age and the transience of life now came increasingly to the fore in Frisch's work. In 1976 he began work on the play "", although it was not ready to be performed for another three years. The word triptych is more usually applied to paintings, and the play is set in three triptych-like sections in which many of the key characters are notionally dead. The piece was first unveiled as a radio play in April 1979, receiving its stage premier in Lausanne six months later. The play was rejected for performance in Frankfurt am Main where it was deemed too apolitical. The Austrian premier in Vienna at the Burgtheater was seen by Frisch as a success, although the audience reaction to the complexity of the work's unconventional structure was still a little cautious.
Robert Montgomery Bird
In a small notebook labeled "Useful Works- if well prepared," Bird set his goal to write nine biographies, thirty volumes of miscellaneous studies, three volumes of tales, some select novels of Boccaccio, the Arabian nights, eleven tragedies, twelve comedies, thirty three melodramas, and twenty-five novels. He did not approach his career casually. When he learned of Forrest's contest, he entered. And, in 1828, Bird's play "Pelopidas" won a $1000 prize offered by the actor Edwin Forrest, but was never produced because Forrest found the play unsuitable to highlight his strengths as a performer. With Forrest's guidance, Bird wrote another play, "The Gladiator", which was produced in 1831. It was perfect to showcase Forrest's muscular acting style. It also went really well in the theatre. It was the first play to be performed so often in the author's lifetime. This launched Bird as a playwright. Bird and Forrest quickly became friends. Bird wrote several other plays for Forrest, some of them being "Oralloossa, Son of the Incas" and "The Broker of Bogota." Forrest had promised to pay Bird more for these plays if they proved successful. Though they were, Forrest refused to give Bird additional money. He did not want to share in his success (which must have been at least a hundred thousand dollars on "Gladiator" alone).Bird's frustration with Forrest pushed him into writing novels. These include "Calavar" (1834), "The Infidel" (1835), "The Hawks of Hawk-Hollow" (1835), "Sheppard Lee" (1836), "Nick of the Woods" (1837) (his most successful novel), and "The Adventures of Robin Day" (1839). "Calavar" and "The Infidel" are notable for their graphic and accurate details and descriptions of Mexican history. His final novel was "A Belated Revenge", and it was finished by his son, Frederick M. Bird (1889).
Max Frisch
Frisch's name is often mentioned along with that of another great writer of his generation, Friedrich Dürrenmatt. The scholar Hans Mayer likened them to the mythical half-twins, Castor and Pollux, as two dialectically linked "antagonists". The close friendship of their early careers was later overshadowed by personal differences. In 1986 Dürrenmatt took the opportunity of Frisch's 75th birthday to try and effect a reconciliation with a letter, but the letter went unanswered. In their approaches the two were very different. The literary journalist Heinz Ludwig Arnold quipped that Dürrenmatt, despite all his narrative work, was born to be a dramatist, while Frisch, his theatre successes notwithstanding, was born to be a writer of narratives.
Max Marcin
Max Marcin (5 May 1879 – 30 March 1948) was a Polish screenwriter and film director. He wrote for 47 films between 1916 and 1949. He also directed six films between 1931 and 1936. His stage work includes "See My Lawyer" (1915), directed by Frank M. Stammers; he wrote and/or produced almost 20 plays for Broadway from 1916-38. Marcin wrote for and produced "The FBI in Peace and War" and created, produced and wrote for the "Crime Doctor" radio program, which became the basis for a series of 10 "Crime Doctor" films.
Max Frisch
In terms of the timeline, Frisch's prose works divide roughly into three periods. 
His first literary works, up till 1943, all employed prose formats. There were numerous short sketches and essays along with three novels or longer narratives, "" (1934), it's belated sequel "" ("I adore that which burns me") (1944) and the narrative "An Answer from the Silence" ("Antwort aus der Stille") (1937). All three of the substantive works are autobiographical and all three centre round the dilemma of a young author torn between bourgeois respectability and "artistic" life style, exhibiting on behalf of the protagonists differing outcomes to what Frisch saw as his own dilemma.
I'm Not Stiller
I'm Not Stiller (German title: "Stiller") is a novel by Swiss author Max Frisch, which was published in 1954. The theme of the novel, the question of identity, is a recurring theme in the work of Frisch.
Max Frisch
He also won many important German literature prizes: the Georg-Büchner-Preis in 1958, the Peace Prize of the German Book Trade ("Friedenspreis des Deutschen Buchhandels") in 1976, and the "Heinrich-Heine-Preis" in 1989.
Carsten Hauch
He returned to literature, publishing a dramatized fairy tale, the "Hamadryad", and the tragedies of "Bajazet", "Tiberius", "Gregory VII", in 1828-1829, "The Death of Charles V" (1831), and "The Siege of Maestricht" (1832). These plays were violently attacked and enjoyed no success.
Volker Weidermann
Weidermann marked the 100th anniversary of the birth of Max Frisch with a critical new biography, published in 2010, entitled "Max Frisch. Sein Leben, seine Bücher ("Max Frisch: His life and his books")".
Milovan Glišić
Glišić began his literary translations in satirical newspapers, and then went on to write original short stories. His original work includes two theater pieces about village life in Serbia, "Two Farthings" ("Dva cvancika", 1882) and "The Hoax" ("Podvala", 1885). Though both plays are treated as comedies, they contain a great deal of social criticism of corruption, bureaucracy, and exploitation of peasants by city dwellers. And, two collections of short stories. They include, among others, his most popular humorous and satirical stories: "Roga", "Not About What", "Pricker for Fire", "One Good Turn Deserves Another", "The Musician", "Walk After Death," "An Ominous Number." His best stories, however, are: "Glava secera" (Sugarloaf); "Redak zver" (A Rare Animal); and "Prva brazda" (The First Furrow). Based on peasant life and often built upon popular legend, his stories accurately depict the life of the down-trodden and poor in the Balkans, exposing the usurers, and the insincere love of the ruling class for the common folk. The acridity of his criticism is far more muted in his later works.
Michael Fritsch
Michael Fritsch is the author of more than 15 books and comprehensive studies. He has published more than 130 articles in scholarly journals and has made more than 140 contributions to edited volumes. He was an editor of more than 20 books and special issues of academic journals. His textbook „Marktversagen und Wirtschaftspolitik – Mikroökonomische Grundlagen staatlichen Handelns“ (‚Market Failure and Economic Policy – Microeconomic Foundations of Economic Policy‘) is currently available.
Max Frisch
Adolf Muschg, purporting to address Frisch directly on the occasion of his seventieth birthday, contemplates the older man's contribution: "Your position in the history of literature, how can it be described? You have not been, in conventional terms, an innovator… I believe you have defined an era through something both unobtrusive and fundamental: a new experimental ethos (and pathos). Your books form deep literary investigation from an act of the imagination." Marcel Reich-Ranicki saw similarities with at least some of the other leading German-language writers of his time: "Unlike Dürrenmatt or Böll, but in common with Grass and Uwe Johnson, Frisch wrote about the complexes and conflicts of intellectuals, returning again and again "to us", creative intellectuals from the ranks of the educated middle-classes: no one else so clearly identified and saw into our mentality. Friedrich Dürrenmatt marvelled at his colleague: "the boldness with which he immediately launches out with utter subjectivity. He is himself always at the heart of the matter. His matter is the matter. In Dürrenmatt's last letter to Frisch he coined the formulation that Frisch in his work had made "his case to the world".
Malcolm Afford
Max Afford wrote three novels while in his twenties, which were later published in England and America. He worked as a reporter at the "News and Mail" from 1926 to 1931. His first story was published in "Smith's Weekly" in 1928. In 1936 he won the "Advertiser"'s centenary play competition with "William Light The Founder" (later titled "Awake My Love"). His 'Jeffrey Blackburn' novels included "Blood on His Hands!" (London, 1936) and "Death's Mannikins" (London, 1937). Many were dramatised for radio, starring Peter Finch and Neva Carr Glyn as the husband-and-wife detective team. Afford wrote eight crime novels, usually employing English settings, and more than sixty radio and stage plays, usually stories of crime involving the sifting of situations that ultimately uncover the perpetrators. He was considered somewhat of a pioneer of the "whodunit" in radio broadcasting.
A science fiction story, "The Gland Men of the Island", appeared in "Wonder Stories" in January 1931.
Afford was one of the first contract writers to be engaged by the ABC. In 1936, he won three playwriting awards, and was appointed Staff Dramatist by the ABC, with whom he was contracted for six years. During this time he wrote 30 one-and-a-half-hour plays, 15 serials, more than 100 play adaptations, and produced a number of his own plays. From 1941 he wrote children's and adult radio serials including "Hagen's Circus" (800 episodes) for radio 2GB and 2UE.
Franz Xaver Kroetz
He became famous when in 1971 the premiere of his plays "Heimarbeit" ("House-work") and "Hartnäckig" ("Persistent") were disrupted by neo-fascists. His plays in the 1970s portrayed people who had been rendered speechless by their own social misery. In the play "Das Nest" ("The Nest"), the protagonist is a truck driver. His boss orders him to dump toxic waste into a lake, thus soiling his "nest." He wrote a libretto based on his play "Stallerhof" (1971) for an opera of the same name which Gerd Kühr composed in 1987/88. It was premiered at the first Munich Biennale in 1988. The play was staged at the Burgtheater in 2010 by David Bösch.
Max Friz
Friz designed the first practical German aircraft engines in 1912-1913 while at Austro-Daimler. The engines had separate cylinders on the crankcase and an overhead camshaft driven by a vertical shaft and bevel gears. At the end of 1916 the young engineer Max Friz applied for a position with Rapp Motorenwerke. At that time Friz was still working for the Daimler engine company in Untertürkheim, near Stuttgart. However, he was frustrated because the chief engineer, Paul Daimler, ignored the suggestions of his young assistant on engine development. Faced with this situation, Friz remembered his former colleague, Karl Rapp. At first Rapp was going to turn down Friz’s request; however, Josef Popp successfully intervened on Friz’s behalf, because he recognized that Rapp Motorenwerke lacked an able designer.
A Night Like This (play)
"A Night Like This" was the seventh in the series of twelve Aldwych farces, and the sixth written by Travers. The first four in the series, "It Pays to Advertise", "A Cuckoo in the Nest", "Rookery Nook" and "Thark" had long runs, averaging more than 400 performances each. The next two were more modest successes: "Plunder" (1928) ran for 344 performances, and "A Cup of Kindness" (1929) for 291.
Louis Reingold
According to Rejzen, Reingold joined a Yiddish dramatic club in 1895 and wrote two one-act plays for them. On December 5, 1902, his play Hirsh Lekert was performed by a dramatic theater club for a benefit of the Bund in Brownsville, Brooklyn, where he was an executive member. He also wrote for the Yiddish Theatre Company. He read a play called "The Freedom Fighter" for Yiddish actress Bertha Kalich and her husband, theater manager Leopold Spachner, and they asked him to write another play. This work, titled "Zindike neshomes", was apparently lost by Kalich and Spachner, but later performed by Kalich with Morris Moshkovitsh on March 5, 1917 at Gertner's Pavilion Theatre in Chicago. In 1925, Reingold sent a similar play, "Neshome", to the Library of Congress for copyright registration. Reingold also gave his play "Di naye velt" (also known as "Di farkerte velt") to Jacob P. Adler, who took it without paying Reingold and produced it at the Grand Theatre in 1919 - according to Reingold, Adler did this under the name "Two generations" and credited another playwright, Z. Libin. Reingold's play, "Dos milkhome kind", was produced at the Empire Theatre in Chicago in 1918 by Misha and Lucy German, and also performed by [Leon?] Blank in Cleveland and by Jacob Kalich and Dina Feinman in Boston. According to Kalmen Marmor, Reingold's plays "Idisher velt khurbn" (Jewish world destruction) and "Tekhter fun Ukraine" (daughters of Ukraine) were produced in 1919. Reingold's play "Sha, sha, der rebe geyt" was produced at Elving's Metropolitan Theatre in Newark, NJ in 1924; and also in New York City, Chicago and Detroit. "Tsurisene hertser" (also known as "Forgotten children") was produced at the Lyric Theatre in Brooklyn, NY in 1924, and as a benefit at the Littman's People's Theatre in Detroit in the 1924-25 season. At least three other plays by Reingold were performed at Littman's: "The Only Sister/Ir eyntsike shvester" ( four-performances in the 1926-27 season); "Libes flamen" (three performances in the 1931-32 season), and "The Rabbi's Daughter", which lists Samuel H. Cohen as a co-author (two performances in the 1935-36 season).
Max Aub
Although Aub was the author of nearly 100 novels and plays and is very well known in Spain, only two works are available in English:
Bai Renfu
He wrote 16 plays, three of which are extant:
Max Ferner
Max Ferner was a German playwright, born Maximilian Sommer on April 18, 1881. He died in Munich at the age of 59 at the onset of World War II on October 9, 1940.
The Robbers
The Robbers ("") is the first drama by German playwright Friedrich Schiller. The play was published in 1781 and premiered on 13 January 1782 in Mannheim, Germany, and was inspired by Leisewitz' earlier play "Julius of Tarent". It was written towards the end of the German "Sturm und Drang" ("Storm and Stress") movement, and many critics, such as Peter Brooks, consider it very influential in the development of European melodrama. The play astounded its Mannheim audience and made Schiller an overnight sensation. It later became the basis for Verdi's opera of the same name, "I masnadieri".
Moses Horowitz
He wrote no less than 169 plays, "Das Polishe Yingel" being his first dramatic production. According to the "Jewish Encyclopedia", among his more successful plays are: "Schlome Chochom", "Kuzri", "Chochmath Noshim", "Ben Hador", and "Jizius Mizrujym". Israil Bercovici also singles out his "Sabbatai Zvi" and "Tragedy of Tisza-Eszlar", both from 1884. Most of Horowitz's plays were historical, but he also wrote ""zeit piessen"" on topical subjects, such as a play about the Homestead Strike of 1892, one about a 1903 pogrom in Chişinău, and a distinctly socialist take on the 1889 Johnstown flood written while working with Boris Thomashefsky in Chicago. The most successful of his ""zeit piessen"" was "Tissa Eslar". Many of his dramas were composed in the course of a few days, and he utilized without hesitation whole scenes of foreign dramas. Though a successful playwright, Horowitz failed as an actor, and after he went to America he abandoned acting entirely.
Max Frisch
Max Rudolf Frisch (15 May 1911 – 4 April 1991) was a Swiss playwright and novelist. Frisch's works focused on problems of identity, individuality, responsibility, morality, and political commitment. The use of irony is a significant feature of his post-war output. Frisch was one of the founders of Gruppe Olten. He was awarded the Neustadt International Prize for Literature in 1986.
Max Rudolf (conductor)
Rudolf was born in Frankfurt am Main, where he studied cello, piano, organ and trumpet. He was a composition student of Bernhard Sekles at the Hoch Conservatory in Frankfurt. He held positions in Freiburg as assistant conductor at the Stadtische Theater, and as second conductor at the Hessisches Staatstheater in Darmstadt. In 1929, he became principal conductor of the German Theatre in Prague.
Gantenbein
Gantenbein is a 1964 novel by the Swiss writer Max Frisch. Its original German title is Mein Name sei Gantenbein, which roughly means "Let's assume my name is Gantenbein." It has also been published in English as A Wilderness of Mirrors. The novel features an anonymous narrator who tells a multitude of fictional stories, which together reveal certain traits and patterns.
Max Fischer (screenwriter)
Max Fischer is a Canadian screenwriter and film director known for such films as "The Lucky Star", "Killing 'em Softly", "Wet Dreams" and "Deception".
A Cup of Kindness (play)
Walls and his team had already enjoyed five substantial hits at the Aldwych, with "It Pays to Advertise" (1923), which had run for 598 performances; "A Cuckoo in the Nest" (1925, 376 performances); "Rookery Nook" (1926, 409 performances); "Thark" (1927, 401 performances); and "Plunder" (1928, 344 performances). All except the first of them were written by Ben Travers. The earlier Travers farces had depicted upper or upper-middle class characters and country houses. For "A Cup of Kindness", he turned his attention to middle class suburban life and petty snobbery. Each of the regular members of the team was generally given the same sort of part in the various new plays, but in this one Coleridge played a maid – a grumbling, kindly factotum – rather than her usual bossy authority-figures.Jim Finch, an engaging but dubious businessman, is trying to sell shares to Charlie Tutt, and when he refuses them, to Charlie's prospective father-in-law, Ernest Ramsbotham. Both Charlie and Ernest have bought shares from Finch before, and are not going to do so again, the first lot having lost all their supposed value.
Afterlife (play)
Afterlife is a 2008 play by Michael Frayn. It tells the life and career of Austrian theatrical director and actor Max Reinhardt, from the revival of the Salzburg Festival in 1920, which he helped to re-establish, until his death in New York in 1943. It draws from Hugo von Hofmannsthal's 1911 play Jedermann (based on the sixteenth-century English morality play, Everyman), which Reinhardt directed at the Salzburg Festival for many years following its revival in 1920.
George Robert Sims
Sims wrote over thirty plays, but most of them were adapted from European pieces. His first hit play, "Crutch and Toothpick", based on a French farce by Labiche, was produced at the Royalty Theatre in 1879 and enjoyed a run for 240 nights. In 1881, he wrote the even more successful melodrama, "The Lights o' London", produced by Wilson Barrett at the Princess's Theatre, London. This ran for 286 nights and toured in the British provinces, as well as earning record ticket sales in America. It went on to tour continuously in Europe and elsewhere through World War I. Next, at the Princess's, in 1882, was "Romany Rye", another hit. In the early 1880s, Sims became the first playwright to have four plays running simultaneously in West End theatres. He also had a dozen touring companies playing his works by that time. He collaborated on many of his plays, and his co-authors included Barrett, Sydney Grundy and Clement Scott.
Paracelsus
Arthur Schnitzler wrote a verse play "Paracelsus" in 1899. Erwin Guido Kolbenheyer wrote a novel trilogy ("Paracelsus-Trilogie"), published during 1917–26. Martha Sills-Fuchs (1896–1987) wrote three "völkisch" plays with Paracelsus as the main character during 1936–1939 in which Paracelsus is depicted as the prophetic healer of the German people. 
The German drama film "Paracelsus" was made in 1943, directed by Georg Wilhelm Pabst. Also in 1943, Richard Billinger wrote a play "Paracelsus" for the Salzburg Festival.
Max Frisch
His next play "" ("Biografie: Ein Spiel"), followed on naturally. 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 1967. 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 1967, 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 1968, the performances being directed by Leopold Lindtberg. Lindtberg was a long established and well regarded theatre director, but his production of "" 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.
Max Weiss
In 1905 Weiss was employed by S M von Rothschild bank in Vienna.
His chess writings, "Schach-Meistersteich" (Mühlhausen 1918), "Kleines Schachlehrbuch" (Mühlhausen 1920), and the earlier problem collection "Caissa Bambergensis" (Bamberg 1902), are little remembered today. In 1927 Weiss died in Vienna, Austria.
August Strindberg
Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including "The Bond", "The Stronger", and "The Outlaw"). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays.
Shelley Frisch
Selected Book Translations
René de Chazet
He wrote 436 plays including:
Louis Fuzelier
Fuzelier was born and died in Paris. He wrote more than 200 plays for the Théâtre de la foire (theatres of the fair), alone or in collaboration with Alain-René Lesage, Alexis Piron or Jacques-Philippe d'Orneval.
Reiner Stach
Stach divided his biography of Kafka into three volumes: from birth to age 27 (1910), the period when he wrote his most famous works (1910–1915), and everything thereafter (1916–1924). However, obtaining enough suitable research material for the period covering early family, childhood, adolescence, and early adulthood (1883–1910), relies in part on obtaining access to the estate of Max Brod in Tel Aviv, which has so far largely been inaccessible to research due to legal issues. Consequently, Stach decided to start writing this trilogy with period 1910–1915, the years Kafka's diaries start, so the first volume covers second chronological period. It took Stach about 10 years to write this volume. The first published volume of his Kafka biography, covering the years 1910 to 1915, appeared in 2002 as "Kafka – Die Jahre der Entscheidungen" ("Kafka: The Decisive Years", literally: The years of decisions). This was translated into English in 2005 by Shelley Frisch. The second published volume, "Kafka – Die Jahre der Erkenntnis" ("Kafka: The Years of Realization" or "insight"), appeared in 2008, dealing with the last eight years of Kafka's life. This volume was published in English in late 2011. The final volume, covering the earliest chronological period, was published in German in 2014. An English translation of this volume by Shelley Frisch is slated for October 2016. The trilogy has been described as "massive" and going "into painstaking detail".
Robert B Suda
The Young Writers' Association(FISz) published his first collection of dramas in 2007 including the award-winner play Cursed Cows (ÁtkozottTehenek) and the highly successful political play, richard2nixon, co-written by Elod P Csirmaz for the Thalia Theatre, Budapest.
Max Frisch
Frisch described himself as a socialist but never joined the political party. His early works were almost entirely apolitical. In the "Blätter aus dem Brotsack" (""diaries of military life"") published in 1940, he comes across as a conventional Swiss patriot, reflecting the unifying impact on Swiss society of the perceived invasion risk then emanating from Germany. After Victory in Europe Day the threat to Swiss values and to the independence of the Swiss state diminished. Frisch now underwent a rapid transformation, evincing a committed political consciousness. In particular, he became highly critical of attempts to divide cultural values from politics, noting in his "Diary 1946–1949": "He who does not engage with politics is already a partisan of the political outcome that he wishes to preserve, because he is serving the ruling party" Sonja Rüegg, writing in 1998, says that Frisch's aesthetics are driven by a fundamentally anti-ideological and critical animus, formed from a recognition of the writer's status as an outsider within society. That generates opposition to the ruling order, the privileging of individual partisanship over activity on behalf of a social class, and an emphasis on asking questions.
Kurt Hirschfeld
Hirschfeld was one of the discoverers and early supporters of the Swiss playwrights Max Frisch and Friedrich Dürrenmatt. He had a special interest in the dramatic works of Bertolt Brecht. Thanks to his personal friendship with Brecht, he was responsible for three premieres of Brecht's work during World War II.
Max Frisch
His early work is strongly influenced by the poetical imagery of Albin Zollinger, and not without a certain imitative lyricism, something from which in later life he would distance himself, dismissing it as "phoney poeticising" "("falsche Poetisierung")". His later works employed a tighter, consciously unpretentious style, which Frisch himself described as "generally very colloquial" ("im Allgemeinen sehr gesprochen."). saw Frisch's first language as Zurich German, the dialect of Swiss German with which he grew up. The Standard German to which he was introduced as a written and literary language is naturally preferred for his written work, but not without regular appearances by dialect variations, introduced as stylistic devices.
John Patric
Plays
Andorra (play)
In Germany, Andorra remains one of the best known of Frisch's plays.
Max Frisch
Frisch himself took the view that the diary offered the prose format that corresponded with his natural approach to prose writing, something that he could "no more change than the shape of his nose". Attempts were nevertheless made by others to justify Frisch's choice of prose format. Frisch's friend and fellow-writer, Friedrich Dürrenmatt, explained that in "I'm Not Stiller" the "diary-narrative" approach enabled the author to participate as a character in his own novel without embarrassment. (The play focuses on the question of identity, which is a recurring theme in the work of Frisch.) More specifically, in the character of James Larkin White, the American who in reality is indistinguishable from Stiller himself, but who nevertheless vigorously denies being the same man, embodies the author, who in his work cannot fail to identify the character as himself, but is nevertheless required by the literary requirements of the narrative to conceal the fact. Rolf Keiser points out that the diary format enables Frisch most forcefully to demonstrate his familiar theme that thoughts are always based on one specific standpoint and its context; and that it can never be possible to present a comprehensive view of the world, nor even to define a single life, using language alone.
Max Frisch
Frisch adapted principals of Bertolt Brecht's Epic theatre both for his dramas and for his prose works. As early as 1948 he concluded a contemplative piece on the alienation effect with the observation, "One might be tempted to ascribe all these thoughts to the narrative author: the linguistic application of the alienation effect, the wilfully mischievous aspect of the prose, the uninhibited artistry which most German language readers will reject because they find it "too arty" and because it inhibits empathy and connection, sabotaging the conventional illusion that the story in the narrative really happened." Notably, in the 1964 novel "Gantenbein" "("A Wilderness of Mirrors")", Frisch rejected the conventional narrative continuum, presenting instead, within a single novel, a small palette of variations and possibilities. The play (1967) extended similar techniques to theatre audiences. Already in "Stiller" (1954) Frisch embedded, in a novel, little sub-narratives in the form of fragmentary episodic sections from his "diaries". In his later works Frisch went further with a form of that produced a literary collage of texts, notes and visual imagery in "The Holozän" (1979).