Peter Hacks

Peter Hacks (* 21. March 1928 in Breslau; † 28. August 2003 with largely Machnow) was a German dramatist, poet, a storyteller and an essayist. In the 1960er and 1970er years was considered he as the largest dramatist of the GDR,the most successful was it with security: The success of its piece a discussion in the house stone over the absent Mr. von Goethe is on the German stages 20. Century unparalleled.

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lives

Peter Hacks 1928 in Breslau were born and put down, due to the resettlement of its family after the Second World War, 1946 its Abitur into Wuppertal . it began 1947 alsothe study of the sociology, philosophy, literature and theatre science in Munich and there Thomas's became acquainted with man . Artur Kutscher, with whom already Bertolt break had studied, rejected Hacks' work over the style of man “Lotte in Weimar” as an insolence. Man calls this workon the other hand “the most clever”, which is come before the eyes it “over the book”. Hacks attained a doctorate 1951 for the play conventional Meier (the work is strongly sociologically coined/shaped, but it shows up already Hacks' interest in generic questions). Beside it produced together with James Krüss for the broadcastRadio plays and poems. It arose in Schwabinger restaurants and married the Dramatikerin Anna Elizabeth Wiede.

An intensive occupation with Bertolt break begins. In a letter breaks off Hacks guesses/advises after an appropriate question to move into the GDR. Hacks moves 1955 with its wifeinto the GDR. First it settles casual labours for citizens of Berlin the ensemble. It can be integrated however, to the easy annoyance Brechts, in its pupil crowd and does not seize also rather fast as independent writers foot. Besides Hacks turns also soon the German theatre Berlin and itsDirector Wolfgang long-hope too, whose program aligned at the classical period assures to it more. Heinar Kipphardt is at this time Chefdramaturg of the house and recommends to 1956 the “battle with Lobositz” for performance, which long-hope then even into the hand takes. Thus Hacks succeeds, in thatFRG a played dramatist is already, the first break-through in the GDR. Of 1960 - 1963 work Hacks on the German theatre as Chefdramaturg, must however as long-hope in the course of the scandal around Hacksens piece “the concerns and power” to withdraw. From now on he works as free lanceWriter in Berlin. Hacks, which was not loved by most functionaries of the GDR, is not made easy its way straight. He must gain the acknowledgment with large successes, while other far less good dramatists are celebrated. “The peace”, “the beautiful Helena”, “Amphitryon”, “Adamand EH ", “the fair celebration to Plundersweilern” and “a discussion in the house stone over the absent Mr. von Goethe” become its largest dramatic successes, the latter world-wide theatre success. 1964 he is selected into the PEN center of the GDR and 1972 into the academy of the artsthe GDR.1976 occur Hacks publicly for the deprivation of citizenship wolf of Biermann and for it (first in the FRG, but ever more strongly also in the GDR) by most directors, directors, artists and critics with a boycott are punished, which continues until today. The end thatGDR calls Hacks countering revolution.1991 he withdraws from the academy of the arts and continues to themselves withdraw still as anyway already from the public. In it remaining years hears Hacks not on to write, comes however ever more strongly into oblivion. Its deathin the year 2003 against it much attention was given.

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prices

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works

(here - in particular with the essays - is done to specify the very extensive work completely.)

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lyric poetry

  • the poems (1988, extend 2000)

individual outputs

  • Peter Hacks:The flea market, Berlin, 1964 (child poems)
  • Peter Hacks: Songs, letters and poems, Berlin, 1974
  • Peter Hacks: Songs to pieces, Berlin 1967 (1978) Peter
  • Hacks extend: The sun, Ravensburg, 1974 (child poems)
  • Peter Hacks: Histories and romances, Berlin, 1985
  • Peter Hacks: Tamerlan in Berlin. Poems from the GDR,Berlin, 2002
  • Peter Hacks: 100 poems (with an epilog of Wiglaf Droste), Berlin, 2004
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dramatic works

1. The early pieces:

  • “The people book by the duke Ernst” (1953)
  • “opening Indian time-old” (1954)
  • “the battle with Lobositz” (1955)
  • “Mueller von Sanssouci” (1957)
  • “The Kindermörderin” (1957)

2. The dramas:

  • “The concerns and power”, (1959 - 1962: altogether three versions)
  • “Moritz Tassow” (1961, UA 1965, people stage Berlin, direction: Benno Besson, stage: Fritz Cremer)
  • “of the peace” (1962)
  • “Polly” (1963)
  • “the beautiful Helena” (1964)
  • “Margarete in Aix” (1966)
  • “Amphitryon” (1967)
  • “Still another spoon poison, favourite?” (Libretto for Siegfried Matthus, 1967)
  • “Prexaspes” (1968)
  • “Omphale” (drama and libretto for Siegfried Matthus, 1969)
  • “Columbus or: The world idea to ships " (1970, 2. Version of the “opening Indian time-old”)
  • of the “Numa” (1971, a second version: 2002)
  • “Adam and Eva” (1972)
  • “The fair celebration to Plundersweilen” (1973)
  • “a discussion in the house stone” (1974
  • ) “Rosie” (1974) “the fish
  • ” (1975) “Senecas death
  • ” (1977) dreams the birds
  • ” (libretto, 1973) “
  • “poor knight” (fairy tale drama, 1977)
  • “Pandora” (1979)
  • “Musen” (four scenes, 1979)
  • “the Binsen” (1981)
  • “the children” (fairy tale drama, 1981, UA 1985, theatre grab forestR.: Manfred Dietrich)
  • “Barby” (1982, after “it are” of Rudi jet , UA resound to 1987 R. again there: Then)
  • “Maries baby” (fairy tale drama, 1982)
  • “there Capo” (libretto, 1982)
  • “Fredegunde” (1984)
  • “Jona” (1986)

3. The late pieces:

  • “Fafner, the until to mouse” (1991)
  • “the money God” (1991, UA 1993, theatreGrab forest, direction:Manfred Dietrich)
  • “the painter of the king” (1991)
  • “the politeness of the genius” (Dramolett, 1992)
  • “Genovefa” (1993, UA 1995 city. Theatre Chemnitz)
  • “Orpheus in the underworld” (libretto and Operett for actors, 1995)
  • “Bojarenschlacht” (1996)
  • “act arene battle” (1996, UA 2005, theatre attaining)
  • “the wrong Zar” (1996)
  • “The bishop of China” (1998)
  • “the Party Congress” (Dramolett, 2003)
  • “Phraates” (Dramolett, 2003)
  • “citizen of Berlin novella” (Dramolett, 2003)

4. Television and Höspiele:

  • “The stolen clay/tone” (radio play, 1953)
  • “the skin of the time” (radio play, 1954)
  • “the history of an old Wittibers in the year 1637” (radio play, 1956)
  • “the unadlige countess” (television play,1958)
  • “wrong beards and noses” (television play, 1961)
  • “the man, that with Schirocco came” (television play, 1965)
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Epi works

1. The narrations:

  • “Ekbal, or a theatre journey after Babylon” (1961)
  • “the Schuhu and the flying princess” (1963)
  • “history of an opera” (1972)
  • “Magister Knauerhase” (1982)
  • “thoseCountess Pappel " (1992)

2. Child fairy tale:

  • “The Windloch” (1955)
  • “tower-read out” (1961)
  • “uncle Mo” (1981)
  • “Kinderkurzweil” (collection of all fairy tales, 1981 and (extended) 2003)

3. Child novels

  • “dear child in the Vogelnest” (1984)
  • “prince Telemach and its teacher Mentor” (1993)
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essays

(here are from space reasons only suchWritings to be listed, those for the career/development and understanding of Hacks are important or in any way large weight have.)

to collections

  • Peter Hacks: The measure gifts of the art. Collected essays, Berlin, 1977 (1996 and 2003) Peter
  • Hacks extend: At the end they understand it. Political writings 1988 - 2003,André Thiele (Hrsg.), Berlin: Eulenspiegel 2005.

Smaller essays

  • over the style into of Thomas's man “Lotte into Weimar” (1949)
  • the play conventional Meier (graduation, 1951)
  • some common places over the piece letter (1956)
  • literature in the age of the sciences (1959)
  • attempt over the play from tomorrow (1960)
  • the aestheticsBrechts (1961)
  • over the verse in Mueller's resettler in fragment (1961)
  • fist notes (1962)
  • Iphigenie or over the re-use of myths (1963)
  • interview. After a ungedruckten interview of Alexander Weigel with the author (1964)
  • poetic (1966)
  • utopia and reality. Preface to “poetic” (1966)
  • art and revolution(1971)
  • The emergence of the “duke Ernst” (1972)
  • over “Adam and Eva” (1972)
  • Butzbacher author questioning (1972)
  • over revising classical authors (1975)
  • the Arboretum (1975)
  • three of views from Tasso and squint (1975)
  • over the present drama, finally. To “Moritz Tassow” (1976)
  • the progress in the art(1976)
  • The perjury poet (1976)
  • Numa or the center (1977)
  • no word over me. Preface too “over Hacks and the world” (1977)
  • classical period and romance in the GDR. Preface to “lyric poetry to Mitterwurzer” (1977)
  • Arion (1978)
  • sour one of celebrations. To “Pandora” (1980)
  • a Goethe information to questionstheatre architecture (1982)
  • at carrier (1983)
  • the birth of the Schwankes from the spirit of the tragedy. To “Barby” (1984)
  • the merry women of Paris. to “Fredegunde” (1984)
  • “Jona”. Accessories and Hintersinn (1987)
  • the scientific society and her Mr. Nachbar (1989)
  • preface to “the freudlose science” (1990)
  • A slogan of Shakespeare over a comedy of Büchner (1990)
  • under the media the Musen (1990) is silent
  • the blackness of the world in the entrance of the tunnel (1990)
  • Mehrerlei boredom (1994)

large essays

  • beautiful economy. Aesthetic-economic fragments (1987)
  • ashtray against Jahn (1988/89)
  • Ödipus king murderer. Over Voltaires To make dramas (1991
  • ) the romance (2000

)

  • regulations attempt over the libretto (1973
  • ) like poems, or: Justification opposite Belinden (1974)
  • which is a drama, which is a child? (1978)
  • Urpoesie, or: The illusorydead child (1984)
  • links workers (1988)
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exchange of letters

  • exchange of letters between PeterHacks and Albert Ebert in: Peter Hacks: Adam and Eva, Leipzig, 1976
  • then we would have still another chance. Exchange of letters with Ronald M. Schernikau, Hamburg: CONCRETELY 1992.
  • Peter Hacks/Andre Mueller sen., only that we are a little clearer. Exchange of letters 1989 and 1990,Berlin: Eulenspiegel 2002.
  • Peter Hacks/ Heinar Kipphardt, you does to me is really missing. Exchange of letters, Berlin: Eulenspiegel 2004.
  • Peter Hacks/ briefly Gossweiler. Exchange of letters 1996 - 2003; in: They understand Peter Hacks, at the end it. Political writings 1988 - 2003, André Thiele(Hrg.), Berlin: Eulenspiegel 2005.
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song texts

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quotations

of Hacks

  • “we have stop a socialism. They have a capitalism. Both have their disadvantages. I would say, our socialism am to compare to a sour apple and theirputrefied a somewhat. “(Peter Hacks, 1961 at a meeting with West German writers in Hamburg)
  • “admittedly the art is a weapon. Admittedly a mallet is a weapon. After Aristoteles it does not follow from this that the art must be a mallet. It follows rather that the art oneall the better weapon is, the better art it is. “(Peter Hacks, Kunst and Revolution, 1971)
  • “the problem of present propaganda is that one cannot accuse nothing at all to the imperialism, which offers more reason to reproaches than each company form otherwise: because it it successfullyis, the people all criteria for quite and wrongly, true and wrongly to wash beautifully and ugly from the Hirnen. Nothing applies more, and as argues, where nothing applies? The detergent is the positivism, the laundry the television. “(Peter Hacks, 9. December 2000)
  • Peter Hacksto the German law generally and for force separation in Germany in the special:

“The three Gewalten

the state wants your damage only/he may säuseln or rave,/he remains your opponent by nature. /The enemy stands above. /Government, parliament,/law, thosethree Gewalten,/are, which one calls theft,/in three shapes. “


over Hacks

  • “Hacks belongs to the party of the incorruptible ones. As well known is a very small party. “(Eberhard ash, 2003)
  • “the man seemed to me arduously perfectly. To know it seemed everything.And to be able, even if that does not sound logical, still more " (Hermann Kant, 2003)
  • “Hacks does not belong to the writers, who form groups. It stands to its friends and opinions. If both depart very from each other, it remains with its opinions. “(Wolfgang Kohlhaase, 2003)
  • “a clear head such as Hacks works independently of whether its intelligence has economic situation or not.” (Wiglaf Droste, 2004)
  • “… the arrogant Arschkriecher Hacks… “(wolf Biermann)
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literature

to the work

  • Christoph Trilse: The work Peter Hacks,Berlin, 1981
  • Peter Schütze: Peter Hacks. A contribution for the aesthetics of the drama, crowning mountain, 1976
  • Andrea hunters: The dramatist Peter Hacks: from piece of production to the Klassizität, Marburg 1986
  • TOPOS, catalog of themes Peter Hacks, Nr. 23, Neapel 2005, 160 S. (ISSN 0943-1810).


to the person

  • Andre Thiele (Hrsg.): Into thatRubble without grace. Anniversary publication for Peter Hacks, Berlin, 2003
  • Pasiphaë (Hrsg.): What here is that? 130 anecdotes over Peter Hacks and thirteen other, Berlin, 2003
  • Armin Stolper: Discussions on the cemetery with the present Mr. Hacks, Berlin, 2004
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Web on the left of

  • {{#if: 
|| * Literature of and over Peter Hacks in the catalog of the DDB

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Person data
NAME Hacks, Peter
ALTERNATIVE NAME
SHORT DESCRIPTION of German dramatists and writer
DATE OF BIRTH 21. March 1928
PLACE OF BIRTH Breslau
DYING DATE 28. August 2003
DYING PLACE largely Machnow
 

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