"These verbal fire-raisers question people's equality and dignity, they speak of foreign infiltration, boost their own identity to denigrate others and stoke hostile feelings toward perceived enemies," said BfV President Thomas Haldenwang.
|
|
The Fire Raisers is a 1934 British drama film directed by Michael Powell. It was described by Powell as "a sort of Warner Brothers newspaper headline story;" and marked the first of his four films with actor Leslie Banks.
|
|
In: Max Frisch: Homo faber. Suhrkamp BasisBibliothek 3. Suhrkamp, Frankfurt am Main 1998, , p. 261. 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.
|
|
Productions of the Max Frisch play The Fire Raisers and John Osborne's Luther were not well-received locally because of their content. He was responsible for orchestrating the fight sequences in Laurence Olivier's film version of Richard III (1955) and an Old Vic production of Hamlet with lead Richard Burton in 1953.
|
|
The Arsonists (), previously also known in English as The Firebugs or The Fire Raisers (only UK English), was written by Max Frisch in 1953, first as a radio play, then adapted for television and the stage (1958) as a play in six scenes.Hutchinson, Peter (1986). "Introduction," Frisch, Max (1953). Biedermann und die Brandstifter, Methuen & Co, p. 9ff.
|
|
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).Urs Bircher. Vom langsamen Wachsen eines Zorns: Max Frisch 1911–1955.
|
|
Edward Howell, Carole Potter, Edward Brayshaw The Age 11 April 1963 The play was first produced in 1946 but it achieved little success. Firsch later rewrote it following the success of his second play The Fire Raisers and it was produced successfully in theatres in Europe. It was translated into English from German only in 1962. Sterling read the script in the ABC's head office in Sydney and wanted to produce it on Australian television.
|
|
In 1996 he appeared in the Australian romantic comedy film, Hotel de Love, alongside Aden Young, Saffron Burrows and Simon Bossell. Bibby worked for the Bell Shakespeare company in 2004 and also featured in several advertisements including the Zoo Weekly ad, and has previously been on the St. George Bank ad. In 2005 he performed in the play, The Fire Raisers at the Old Fitzroy Theatre. Bibby featured in the 2007 Australian short film, DisPretty, by Stephanine Bates.
|
|
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). The novel I'm Not Stiller appeared in 1954. The protagonist, Anatol Ludwig Stiller starts out by pretending to be someone else, but in the course of a court hearing he is forced to acknowledge his original identity as a Swiss sculptor.
|
|
Don Juan (1979: Bulgarian language version) 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.Manfred Jurgensen: Max Frisch. Die Dramen. Francke, Bern 1976, , p. 10. 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.
|
|
Biedermann und die Brandstifter was Frisch's most successful German play to date, with 250 productions up till 1996 The writer and literary scholar Adolf Muschg was on the Board of Trustees of the Max-Frisch-Archive between 1979 and 2010. The success of The Fire Raisers established Frisch as a world-class dramatist. It deals with a lower-middle-class man who is in the habit of giving shelter to vagrants who, despite clear warning signs to which he fails to react, burn down his house. Early sketches for the piece had been produced, in the wake of the communist take-over in Czechoslovakia, back in 1948, and had been published in his Tagebuch 1946–1949.
|
|
In 1963 they visited the United States for the American premieres of The Fire Raisers and Andorra, and in 1965 they visited Jerusalem where Frisch was presented with the Jerusalem Prize for the Freedom of the Individual in Society. In order to try to form an independent assessment of "life behind the Iron Curtain" they then, in 1966, toured the Soviet Union. They returned two years later to attend a "Writers' Congress" at which they met Christa and Gerhard Wolf, leading authors in what was then East Germany, with whom they established lasting friendships. After they married, Frisch and his young wife continued to travel extensively, visiting Japan in 1969 and undertaking extended stays in the United States.
|
|
To promote the quick reconstruction of the theatre, the mayor himself put on piano concerts and so collected 120,000 German marks to finance the project. In December 1949 the Großes Haus (main stage) reopened with a performance of Richard Wagner's The Mastersingers of Nuremberg. The lower levels of the building had been reconstructed quite simply and now housed the two cinemas Kamera (today's Winterer Foyer) and Kurbel (today's small stage) – the commercial use of the building was intended to finance further reconstruction. The Chamber Theatre in the Wiehre was abandoned in 1958, but the Kammertheater (Chamber Theatre) opened in the main theatre with Max Frisch's The Fire Raisers. With the first renovation in 1962, a rehearsal stage was built right under the roof.
|
|
He collaborated with some of the most renowned theatre directors, all of whom would have a huge impact on Szczytko's future career. Among them were Krystian Lupa (as Mandelabum in Witkacy's Dainty Shapes and Hairy Apes, or The Green Pill), Alina Obidniak (as Orestes in Johann Wolfgang von Goethe's Iphigenia in Tauris), Wanda Laskowska (as Doctor in James Joyce's Ulysses), Lech Raczak (as Titorelli in Franz Kafka's The Trial), Jerzy Kreczmar (as German in August Strindberg's Master Olof), Roman Kłosowski (as Joe in William Saroyan's The Time of Your Life) and Krzysztof Babicki (as Gottlieb Biedermann in Max Frisch's The Fire Raisers). He continued to act in theatre for most of his career, and became noted for his portrayal of Bruce Niles in Larry Kramer's play The Normal Heart, but became better known once he started to work with movie directors Zbigniew Kuźmiński, Andrzej Konic and Adek Drabiński. He later acted, with acclaim, in their movies and miniseries, including Republic of Ostrów (1985), The Burning Border (1988–1991), Sensations of the 20th Century (2001–2005), and Mystery of the Codes Stronghold (2007).
|
|
Garbiras's professional stage acting career began in the chorus of a performance of La traviata at the Opera San José in San Jose, California. She also appeared in a production of Jesus Christ Superstar at De Anza College in Cupertino, California. Later, whilst living in Paris, France Garbiras appeared in small productions in that city playing the roles of Marie in Night Games and of Pamela in Peter Nichols's A Day in the Death of Joe Egg – both of which were staged at the tiny, 120-seat Theatre Clavel on the Rue Clavel. She also appeared as Roxanne in Bajazet at the Théâtre de la rue Olive. Garbiras subsequently moved from France to London, England where she worked in fringe theatre appearing in Prison’d in a Parlour playing Lydia at the Southwark Playhouse, London Stories for Wink Productions playing Betty Fred Hiphop, Waking Beauty playing the Red Fairy for Arts Threshold, Babbett in Max Frisch's The Fire Raisers for the Break Out Theatre Company, and Lydia in Spike Heels for the Flipside Studio.
|
|
Before that it had been generally assumed that Frisch had destroyed this work because he felt that the decline of his creativity and short term memory meant that he could no longer do justice to the diary genre.Alexander Stephan: Max Frisch. In Heinz Ludwig Arnold (Hrsg.): Kritisches Lexikon zur deutschsprachigen Gegenwartsliteratur 11. Nachlieferung, Edition text+kritik, Stand 1992. Seite 21. The newly discovered typescript was published in March 2010 by Suhrkamp Verlag. Because of its rather fragmentary nature Frisch's Diary 3 (Tagebuch 3) was described by the publisher as a draft work by Frisch: it was edited and provided with an extensive commentary by Peter von Matt, chairman of the Max Frisch Foundation. Many of Frisch's most important plays, such as Count Öderland (Count Öderland) (1951), Don Juan or the Love of Geometry (Don Juan oder Die Liebe zur Geometrie) (1953), The Fire Raisers (1953) and Andorra (1961), were initially sketched out in the Diary 1946–1949 (Tagebuch 1946–1949) some years before they appeared as stage plays.
|
|
In 1961 as Teilifís Éireann got ready to begin broadcasting it appointed Hilton Edwards as head of Drama, he was heavily involved in Irish theatre at the time. At this early stage they produced many international and local plays for television audiences such as Antigone, The Wild Duck, The Fire Raisers, The Government Inspector, The Physicists, Martine, The Well of the Saints, Candida, The Man of Destiny, In the Shadow of the Glen, Church Street, The Field, The Plough and the Stars, The Shadow of a Gunman and The Hostage. Both of Edwards' successors Jim Fitzgerald and Chloe Gibson would continue with stage play adaptations but would also look for original dramas for television. Hugh Leonard adapted James Joyce's Dubliners under the title Dublin and in 1966 he wrote Insurrection an 8-part real-time series which depicted the events of the 1916 Easter Rising which was broadcast on Easter Week on the 50th anniversary of the rising, it was RTÉ biggest drama production of the 1960s, involving on location filming and the Army.
|
|