FRISCH, MAX (RUDOLF)

born May 15, 1911, Zrich, Switz. died April 4, 1991, Zrich German-Swiss dramatist and novelist, noted for his Expressionist depictions of the moral dilemmas of 20th-century life. In 1933 Frisch withdrew from the University of Zrich, where he had studied German literature, and became a newspaper correspondent. After touring southern and eastern Europe from 1934 to 1936, he returned to Zrich, where he studied architecture. Frisch worked as an architect after service in the Swiss army during World War II. He abandoned architecture in 1955 to devote himself full-time to writing. Frisch's play Santa Cruz (1947) established the central theme found throughout his subsequent works: the predicament of the complicated, skeptical individual in modern society. One of Frisch's earliest dramas is the morality play Nun singen sie wieder (1946; Now They Sing Again), in which Surrealistic tableaux reveal the effects caused by hostages being assassinated by German Nazis. His other historical melodramas include Die chinesische Mauer (1947; The Chinese Wall) and the bleak Als der Krieg zu Ende war (1949; When the War Was Over). Reality and dream are used to depict the terrorist fantasies of a responsible government prosecutor in Graf derland (1951; Count Oederland), while Don Juan oder die Liebe zur Geometrie (1953; Don Juan, or The Love of Geometry) is a reinterpretation of the legend of the famous lover of that name. In his powerful parable play Biedermann und die Brandstifter (1958; The Firebugs, also published as The Fire Raisers), arsonists insinuate themselves into the house of the weak-willed, complacent Biedermann, who allows them to destroy his home and his world rather than confront them. Frisch's later plays include Andorra (1961), with its theme of collective guilt, and Biografie (published 1967; Biography), which deals with social relationships and their limitations. Frisch's early novels Stiller (1954; I'm Not Stiller), Homo Faber (1957), and Mein Name sei Gantenbein (1964; A Wilderness of Mirrors) portray aspects of modern intellectual life and examine the theme of identity. His autobiographical works include two noteworthy diaries, Tagebuch 19461949 (1950; Sketchbook 19461949) and Tagebuch 19661971 (1972; Sketchbook 19661971). His later novels include Montauk: Eine Erzhlung (1975), Der Mensch erscheint im Holozn (1979; Man in the Holocene), and Blaubart (1982; Bluebeard).