Instruct: Given a question, retrieve passages that answer the question.
Query: When was the first performance of one of Max Rudolf Frisch's plays?
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 1944 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 1944 and first performed in 1946, Frisch, who had himself been married since 1942, addressed the question of how the dreams and yearnings of the individual could be reconciled with married life. In his 1944 novel J'adore ce qui me brûle (I adore that which burns me) he had already placed emphasis on the incompatibility between the artistic life and respectable middle class existence. 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 1945 and titled Bin oder Die Reise nach Peking (Bin or the Journey to Beijing).
The manufactory was founded by Franz Rudolf Frisching and his brothers Gabriel Friedrich (1731–1789) and Karl Albrecht (1734–1801) on the grounds of Franz Rudolf Frisching’s country estate, the "Lorraine Gut," outside the Old City of Bern. The manufactory specialised in faience stoves. Because of protectionism the manufactory could not sell one faience stove in the city of Bern. However, the faience stoves of the Frisching Faience Manufactory were very popular with the patricians of Basel and the French-speaking part of Switzerland.
The Max Frisch Archive is an independent research institution that belongs to the Max Frisch Foundation and is based at ETH Library. It curates the literary legacy of Swiss author Max Frisch and is available for academic, journalistic and artistic research.
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 Triptychon, 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.
Frisch was born in 1911 in Zürich, the second son of Franz Bruno Frisch, an architect, and Karolina Bettina Frisch (née Wildermuth).[2] He had a half-sister, Emma (1899–1972), his father's daughter by a previous marriage, and a brother, Franz, eight years his senior (1903–1978). The family lived modestly, their financial situation deteriorating after the father lost his job during the First World War. Frisch had an emotionally distant relationship with his father, but was close to his mother. While at secondary school Frisch started to write drama, but failed to get his work performed and he subsequently destroyed his first literary works. While he was at school he met Werner Coninx (1911–1980), who later became a successful artist and collector. The two men formed a lifelong friendship.
Gertrud Anna Constance ("Trudy") Frisch-von Meyenburg (1916–2009) was a Swiss architect and the first wife of the writer Max Frisch.
He is first recorded in 1509, when he married Katharina Frisching, daughter of Hans Frisching, a former Bernese reeve and member of the city council ("Kleiner Rat"). Niklaus Manuel and Katharina Frisching had six children. Two of them, Hans Rudolf Manuel Deutsch (1525–1571) and Niklaus Manuel Deutsch the Younger (1528–1588), were also artists. Niklaus Manuel is considered the founder of the patrician Manuel family of Berne. From 1510, Niklaus Manuel was a member of the city parliament ("Grosser Rat"). He is first recorded as a painter in the employment of the city in 1513. Aside from Holbein he is the major representative of Renaissance painting in Switzerland.
The Max Frisch Archive was preceded by the launch of the Max Frisch Foundation in 1979. Together with his publisher Siegfried Unseld and the other members of the Board of Trustees (Peter Bichsel, Adolf Muschg and Peter von Matt), Frisch decided to "create a Max Frisch Archive to be located in Switzerland as a place of research". After the author’s death, the Foundation was to take over “the administration of his literary legacy with all the rights and responsibilities”.
In mid-1939 Frisch left Denmark for what he anticipated would be a short trip to Birmingham, but the outbreak of World War II precluded his return. With war on his mind, he and the physicist Rudolf Peierls produced the Frisch–Peierls memorandum at the University of Birmingham, which was the first document to set out a process by which an atomic explosion could be generated. Their process would use separated uranium-235, which would require a fairly small critical mass and could be made to achieve criticality using conventional explosives to create an immensely powerful detonation. The memorandum went on to predict the effects of such an explosion—from the initial blast to the resulting fallout. This memorandum was the basis of British work on building an atomic device (the Tube Alloys project) and also that of the Manhattan Project on which Frisch worked as part of the British delegation. Frisch and Rudolf Peierls worked together in the Physics Department at the University of Birmingham 1939–40. He went to America in 1943 having been hurriedly made a British citizen.
Franz Rudolf Frisching was the founder of the Frisching Faience Manufactory in Bern.
The frame story of the narrative describes the Montauk weekend of 11 and 12 May 1974, that ends a book-signing tour of the narrator, the literary image of his Author Max Frisch, through the United States. Two days later, one day before his 63rd birthday, Frisch's return to Europe is scheduled. At his side is Lynn, a 30-year-old publisher employee who is signed to serve him throughout the trip, but has not read one line from the author's work. On their last weekend Lynn and Frisch come closer together and take a trip to Long Island, New York, to the village of Montauk on the Atlantic coast. For the author this weekend sparks the desire to describe the shared days, without any addition. The presence of Lynn triggers reflections and memories in Frisch. He ponders on age and his growing feeling to be an imposition for others, his success and its effect on enviers, admirers and women. Frisch discloses intimate details of his life, the death of his mother, his impotence and four abortions of three women. The author also reflects on his work, ranging from the parallel work being a young architect on one side and as author of theatre plays on the other up to the always the same questions his later novels triggered on press conferences. Frisch is dissatisfied with his stories, which he merely wrote serving the audience, but concealed large parts of his own life, and downright betrayed himself. In a lengthy episode Frisch recalls his childhood friend and benefactor W., who dominated throughout their friendship. With Frisch's successes and the inability of his friend to accept him as a writer 
their friendship ended, which in retrospect Frisch regards as disastrous. In another episode he reveals his inability to deal with a paralyzed neighbour, who turns out to be his first love.
The Frisch–Peierls memorandum was the first technical exposition of a practical nuclear weapon. It was written by expatriate German physicists Otto Frisch and Rudolf Peierls in March 1940 while they were both working for Mark Oliphant at the University of Birmingham in Britain during World War II.
This is a bibliography of works by 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 Dieter Kühn. 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").[96] More recently, in 2007, the Zürich–born artist Gottfried Honegger published eleven portrait-sketches and fourteen texts in memory of his friend.[97]
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.F. Ferster. 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).[10] When Frisch was managing his own architecture studio, he was generally found in his office only during the mornings. Much of his time and energy was devoted to writing.[11]
Buclin, Hadrien. Surmonter le passé?: les intellectuels de gauche et le débat des années soixante sur la deuxième guerre mondiale, in: Schweizerische Zeitschrift für Geschichte, 2013/2, S. 233–249. Butler, Michael (1976) The Novels of Max Frisch (London) Butler, Michael (1985) The Plays of Max Frisch (London) Butler, Michael (1994) Andorra, Grant and Cutler Study Guide, 2nd edition, London Kieser, Rolf, ed. (1989) Max Frisch: Novels, Plays, Essays, The German Library Series, Continuum, New York.
In 1978, Frisch survived serious health problems, and the next year was actively involved in setting up the Max Frisch Foundation (Max-Frisch-Stiftung), established in October 1979, and to which he entrusted the administration of his estate. The foundation's archive is kept at the ETH Zurich, and has been publicly accessible since 1983.
Frisch's dramas up until the early 1960s are divided by the literary commentator Manfred Jurgensen into three groups: (1) the early wartime pieces, (2) the poetic plays such as Don Juan or the Love of Geometry (Don Juan oder Die Liebe zur Geometrie) and (3) the dialectical pieces.[35] 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.[36] 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".[37][38] After the 1960s Frisch moved away from the theatre. His late biographical plays Biography: A game (Biografie: Ein Spiel) and Triptychon 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.
Frisch himself acknowledged that the part of writing a new play that most fascinated him was the first draft, when the piece was undefined, and the possibilities for its development were still wide open. The critic Hellmuth Karasek identified in Frisch's plays a mistrust of dramatic structure, apparent from the way in which Don Juan or the Love of Geometry applies theatrical method. Frisch prioritized the unbelievable aspects of theatre and valued transparency. Unlike his friend, the dramatist Friedrich Dürrenmatt, Frisch had little appetite for theatrical effects, which might distract from doubts and sceptical insights included in a script. For Frisch, effects came from a character being lost for words, from a moment of silence, or from a misunderstanding. And where a Dürrenmatt drama might lead, with ghastly inevitability, to a worst possible outcome, the dénouement in a Frisch play typically involved a return to the starting position: the destiny that awaited his protagonist might be to have no destiny.[40]
In the 1930/31 academic year Frisch enrolled at the University of Zurich to study German literature and linguistics. There he met professors who gave him contact with the worlds of publishing and journalism. At this time, Frisch was influenced by Robert Faesi (1883–1972) and Theophil Spoerri (1890–1974), 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.[3] In 1932, when financial pressure on the family intensified, Frisch abandoned his studies. In 1936 Max Frisch studies architecture at the Eidgenössische Technische Hochschule (ETH), [Federal Institute of Technology], Zurich and graduates in 1940 and in 1942 he sets up his own architecture business
Between 1750 and 1777 the Frisching family was in the possession of the large "Lorraine Gut," a former country estate which is now part of the city of Bern. Franz Rudolf Frisching’s ancestor, Samuel Frisching (II), built the Frisching-Haus, now known as the Béatrice-von-Wattenwyl-Haus on the Junkerngasse in Bern.
Franz Rudolf Frisching was the son of Vinzenz Frisching (1689–1764) who was Master of Schlosswil. In 1748 Franz Rudolf Frisching became a member of the Swiss Guard of the Netherlands where he achieved the rank of a colonel. In 1764 Frisching became a member of the Grand Council of Bern. In 1770 he became bailiff in the Vallemaggia, in 1780 bailiff in St. Johannsen and in 1793 office holder in Wimmis. He was lieutenant colonel of the Bernese Jäger Corps.
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 Prince Öderland, that Frisch experienced his first stage-flop.[78] 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.[79]
Franz Rudolf Frisching (1733–1807) was a Bernese patrician, officer, politician and industrialist.
His next play Biography: A game (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 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.