Max Frisch

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Frisch, Max


Born May 15, 1911, in Zürich. Swiss novelist and dramatist writing in German.

Frisch studied philology and architecture. Most of his works focus on the problem of identity—man’s rejection of the role assigned to him by bourgeois society—as well as on man’s search for his inmost essence. In the plays Mr. Biedermann and the Arsonist (staged 1958; Russian translation, 1965) and Andorra (1961), Frisch attacked apolitical philistinism, which easily gives way to mass psychosis and racial prejudice. The heroes of Frisch’s prose works overcome mental depression after undergoing inner torments, and subsequently embark on a quest for moral and spiritual values. Such heroes include the sculptor in the novel Stiller (1959; Russian translation, 1972) and the technocrat in the novel Homo Faber (1957; Russian translation, 1967). In contrast to these figures is the hero of the novel A Wilderness of Mirrors (1964; Russian translation, 1975), who, even while functioning in different roles, always remains a cowardly philistine.

Although Frisch’s work is marked by a sharply critical attitude, Frisch does not completely overcome the principle of the artist’s noninvolvement in the social struggle.


Gesammelte Werke, vols. 1–6. Frankfurt am Main, 1976.
In Russian translation:
P’esy. [Afterword by Iu. Arkhipov.] Moscow, 1970.


Zatonskii, D. Iskusstvo romana i XX vek. Moscow, 1973.
Lembrikova, B. “Maks Frish—kritik sovremennosti.” Voprosy literatury, 1967, no. 6.
Über Max Frisch. [Frankfurt am Main, 1971.]


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Saltburn's '53 Drama Group staged a wide variety of productions, Glad Tidings, a comedy by RF Delderfield for which Jim was stage manager; The Fire Raisers by Max Frisch May 1966, Make Me An Offer by Wolf Mankowitz, March 1965, Cat On The Fiddle, a farce by John Dole at the Community Centre in Saltburn; Wishing Well, a comedy by E Eynon Evans, May 1955 at the Spa Pavilion, Saltburn; Come Back Peter, a comedy by AP Dearsley, February 1955 at the Spa Pavilion, Saltburn.
As brilliant Swiss writer Max Frisch once said about the Turkish guest workers in Germany, "We wanted a labor force, but human beings came.
De actuar de manera contraria Don Juan dejara de ser el Seductor, puesto que al enamorarse el se convierte en un seductor seducido, pierde toda su dimension tragica y resularia comico y ridiculo, maltratamiento--segun la distincion de Torrente Ballester, que esta a raiz de unas obras romanticas como la de Zorrilla, Don Juan Tenorio o de Christian Dietrich Grabbe, Don Juan y Fausto u obras modernas como la de George Bernard Shaw, Man and Superman o de Max Frisch, Don Juan o el amor a la geometria, o la de Jose Saramago, Don Giovanni ou O Dissoluto Absolvido.
Beyond that, Dyer recalls Max Frisch and his writings on postwar Europe in 1946, "a forest might creep over our cities, slowly, inexorably thriving unaided by human hands, a silence of thistles and moss," and describes the Chernobyl zone, which, since "unaided by human hands" has flourished with species not seen in centuries, like the lynx, wild boar, and the Eurasian brown bear.
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Max Frisch, the Swiss novelist and playwright, speaks of the phenomenon of people entering a bus and remaining congregated at the entrance, preventing those coming behind them from getting aboard.
The Swiss writer and playwright Max Frisch once dismissed technology as "the art of arranging the world so that we need not experience it.
occur: Kleist and Kafka, Grillparzer and Ferdinand von Saar, Schnitzler and Feuchtwanger, Max Frisch and even Lewis Carroll.