Appendix 1: World Premieres of Frisch's Plays Now They Are Singing Again Schauspielhaus Zurich: 29 March 1945 Director: Kurt Horwitz Designer: Teo Otto Santa Cru;:; Schauspielhaus Zurich: 7 March 1946 Director: Heinz Hilpert Designer: Teo Otto The Great Wall of China Schauspielhaus Zurich: I 0 October 1946 Director: Leonard Steckel Designer: Andre Perottet von Laban When the War Was Over Schauspielhaus Zurich: 8January 1949 Director: Kurt Horwitz Designer: Caspar Neher Count Oederland Schauspielhaus Zurich: 10 February 1951 Director: Leonard Steckel Designer: Teo Otto Don juan or The Love of Geometry Schauspielhaus Zurich: 5 May 1953 Director: Oskar Wiilterlin Designer: Teo Otto 144 Appendix I 145 The Fire Raisers Schauspie1haus Zurich: 29 March 1958 Director: Oskar Wiilterlin Designer: Max Frisch Andorra Schauspielhaus Zurich: 2, 3, 4 November 1961 Director: Kurt Hirschfeld Designer: Teo Otto Biography. A Game Schauspielhaus Zurich: 1, 2, 3 February 1968 Director: Leopold Lindtberg Designer: Teo Otto Triptych. Three Scenic Panels Centre dramatique de Lausanne: 10 October 1979 Director: Michel Soutter Designer: Jean Lecoultre (German premiere: Akademietheater Vienna: 1 February 1981 Director: Erwin Axer Designer: Ewa Starowieyska) Appendix II: Chronological Table 1911 Born 15 May in Zurich. Father: Franz Bruno Frisch (Architect), Mother: Karolina Bettina (nee Wilder­ muth). 1924-30 Realgymnasium, Zurich. 1931 Matriculates at Zurich University to read German. 1932 Father dies. Leaves university to work as freelance journalist. 1933 Travels abroad for first time: Prague, Budapest, Belgrade, Istanbul, Athens, Rome. 1934 Jiirg Reinhart. Eine sommerliche Schicksalsfahrt (novel). 1935 First visit to Germany. 1936-41 Reads Architecture at the Eidgenossische Technische Hochschule, Zurich. 1937 Antwort aus der Stille. Eine Erzahlung aus den Bergen (short novel). Decides to give up writing. 1939-45 Several periods of military service (artillery). 1940 Blatter aus dem Brotsack (diary). 1941 Qualifies as architect. 1942 Wins competition to construct swimming pool in Zurich (Letzigraben) and opens own architect's office. Marries Constanze von Meyerburg. 1943 J 'adore ce qui me brfile oder Die Schwierigen (novel). 1944 Santa Cruz. Eine Romanze. 1945 Bin oder die Reise nach Peking (short story). Nun singen sie wieder. Versuch eines Requiems. 1946 Die Chinesische Mauer. Eine Farce. Travels in Germany, Italy, France. 1947 Tagebuch mit Marion (diary). Meets Peter Suhrkamp and Bertolt Brecht. 1948 Visits Prague, Berlin, Warsaw and Breslau (as par­ ticipant in World Congress oflntellectuals for Peace). 146 Appendix II 147 1949 Als der Krieg zu Ende war. Schauspiel. 1950 Tagebuch 1946-1949 (diary). 1951-52 Graf Oderland. Eine Moritat. First visit to the USA and Mexico. 1953 Don juan oder Die Liebe zur Geometrie. Komiidie. 1954 Stiller (novel). Separates from wife. Gives up architec­ tural practice. 1955 achtung: Die Schweiz (pamphlet). 1956 Travels in USA, Mexico, Cuba. 1957 Homo Faber (novel). Travels in the Middle East. 1958 Biedermann und die Brandstifter. Ein Lehrstiick ohne Lehre. Die grq/Je Wut des Philipp Hot;:;. Ein Schwank. 1959 Divorces wife. 1960-65 Lives in Rome. Meets lngeborg Bachmann. 1961 Andorra. 1962 Honorary doctorate of Marburg University. 1964 Mein Name sei Gantenbein (novel). 1965 Lives in the Ticino (Vaile Onsernone), Switzerland. Visits Israel. 1966 Zurich- Transit. Skizze eines Films. First visit to the Soviet Union. Visits Poland. 1967 O.ffentlichkeit als Partner (essays and speeches). Biografie. Ein Spiel. 1968 Marries Marianne Oellers. Second visit to the Soviet Union. Political activity in Zurich. 1969 Dramaturgisches. Ein Briefwechsel mit Walter Hollerer. Visits japan. 1970 Visits USA. 1971 Wilhelm Tell for die Schute. Visits USA. Lectures at Columbia University, New York. 1972 Tagebuch 1966-1971 (diary). Visits USA. 1974 Dienstbiichlein (memoir of military service). Elected Honorary Member of American Academy of Arts and Letters and National Institute of Arts and Letters. 1975 Montauk. Eine Erziihlung. Visit to China with West German delegation led by Chancellor Helmut Schmidt. 1976 Gesammelte Werke in zeitlicher Folge. 1977 Speech to the SPD Party Conference in Hamburg. 1978 Triptychon. Drei s;:;enische Bilder. Der Traum des Apothekers von Locamo (=stories from the Tagebuch 1966-1971). 148 Appendix II 1979 Der Mensch erscheint im Holozan. Eine Erzahlung (short story). Divorces Marianne Oellers. Foundation of the Max Frisch Archive in the Eidgenossische Technische Hochschule, Zurich. 1981 Lives in New York. Proposal for Honorary Doctorate of the Eidgenossische Technische Hochschule blocked. 1982 Blaubart. Eine Erzahlung (short story). Honorary Doc­ torate of the City University of New York. 1983 Settles in Zurich. Forderungen des Tages. Portrats, Skizzen, Reden 1943-1982. Literary Prizes Conrad Ferdinand Meyer Prize (1938), Rockefeller Grant for Drama (1951), Braunschweig Wilhelm Raabe Prize ( 1955), Swiss Schiller Foundation's Schiller Prize (1955), Hessian Radio's SchleuBner-Schueller Prize ( 1955), Emil Welti Prize for Drama (1956), Pro Helvetia Foundation Grant (1956), Charles Veillon Prize (1957), Georg Buchner Prize (1958), Zurich Prize for Literature (1958), Diisseldorf'GroBer Kunstpreis' (1962), North Rhine-Westphalia Prize for Literature (1962), Ford Foundation Grant (1964), Jerusalem Prize for Literature ( 1965 ), Baden-Wiirttemberg Schiller Prize (1965), Grand Schiller Prize of the Swiss Schiller Foundation (1974), Peace Prize of the German Book Trade (1976). Notes INTRODUCTION l. Hitler in uns selbst (Erlenbach-Zurich, 1946) p. 250. 2. Christopher Innes, Modern German Drama (Cambridge, 1979) p. 36. 3. These issues did not surface in any serious way until the 1960s. See vol. 3 of Edgar Bonjour's Geschichte der schwei;:.erischen Neutralitiit (Basel, 1967), Walter Wolf, Faschismus in der Schwei;:. (Zurich, 1969) and Alfred A. Hasler, Das Boot ist volt ... Die Schwei;:_ und die Fliichtlinge 1933-1945 (Zurich, 1967). Walter Matthias Diggelmann's controversial novel, Die Hinterlassenschaft (1965), takes up these themes. Cf. Friedrich Durrenmatt's recollection of a certain section of the Swiss Officer Corps which in 1942 expressed admiration for the German Wehrmacht and pleasure at Goebbels' speeches. Stojfe I-III (Zurich, 1981) p. 67. 4. The resentment has taken astonishingly petty forms. In 1981, for example, a proposal to award Frisch an honorary doctorate at the Eidgenossische Technische Hochschule, where he had graduated as an architect in 1941, was successfully blocked at the highest level. 5. Stoffe I-III, p. 227. 6. Heinz Ludwig Arnold, Gespriiche mit Schriftstellern (Munich, 1975) p. 18. 7. Unbehagen im Kleinstaat (Zurich and Stuttgart, 1965). 8. See, for example, Peter Bichsel, Des Schwei;:.ers Schwei;:_ (Zurich, 1969), Paul Nizon, Diskurs in der Enge (Bern, 1970) and Dieter Fringeli's study, Dichter im Abseils (Zurich, 1974). 9. The ensuing controversy became known as the Zurcher Literatur-Streit'. The episode is fully documented in Sprache im technischen Zeitalter 22 (1967) and 26 (1968). See also Kenneth Whitton, 'The "Zurcher Literaturstreit" ', German Life & Letters 27 (1973/74) pp. 142-50. 10. The story proved to be a belated response to Brecht, who in 1948 had urged a reluctant Frisch to try his hand at a Wilhelm Tell play on progressive (i.e. Marxist) lines. See Frisch's Tagebuch 1966-1971 (vi, 25f=Sketchbook 1966-1971). A play debunking the Swiss national hero has now been written by a younger contemporary: Hansjorg Schneider, Der Schiit;:.e Tell ( 197 5). 11. See Walter Mittenzwei, Das Zurcher Schauspielhaus 1933-1945 oder Die let;:.te Chance (East Berlin, 1979) pp. 89-95. Frisch joined in the battle to save the Schauspielhaus from its deeply conservative critics on the Zurich Town Council. See his article, 1st Kultur eine Privatsache? Grundsiit;:.liches ;:_ur Schauspielhausjrage (I, 98-104). 12. It took Germany almost twenty years to recover the lost ground. The cost of such backwardness is clearly to be seen in the best known German play of the 149 150 Notes to pp. 7-13 post-war period, Wolfgang Borchert's DraujJen vor der Tiir (1949), which despite the importance of its theme, exhibits some of the worst features of German Expressionism. 13. Quoted in Mittenzwei, p. 180. 14. Specifically to cooperate on the Wilhelm Tell play. Frisch's comment years later is significant: 'Es war verlockend. Ich bekam es mit der Angst. Brecht, wenn man sich einlieB, bautejeden urn' (vi, 26; 'It was tempting. I got cold feet. Brecht reconstructed anyone who went in with him'). For Frisch's reminiscences of his relationship with Brecht, see Sketchbook 1946-1949, II, 593-600, and the more detailed Erinnerungen an Brecht printed in Sketchbook 1966-1971, VI, 20--38. 15. Vis-a-vis, TV Interview with Frank A. Meyer, DRS, 28 December 1983. The interview was conducted in dialect. Video tape in the Max Frisch Archive. 2 SANTA CRUZ I. See Frisch's conversation with Horst Bienek, Werkstattgesprache mit Schriftstel­ lern (Munich, 1965=DTV edn) p. 25. 2. Santa Cru;:. was not staged, however, until 7 March 1946, a year after the premiere of Frisch's second play, Now They Are Singing Again. 3. For a sharply negative survey of Frisch's early writings, see the chapter 'Friihwerk im Stil der Zeit' in Alexander Stephan's recent monograph, Max Frisch (Munich, 1983) pp. 11-35. It should be pointed out, however, that the apolitical stance in aesthetic matters did not apply elsewhere. When Frisch's Stuttgart publisher, the