Don Juan or The Love of Geometry

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Don Juan or The Love of Geometry , according to the subtitle a comedy in five acts , is a play by the Swiss writer Max Frisch . In a parody of the Don Juan subject, Frisch's protagonist loves the clarity of geometry instead of women. Like his role model, he leaves seduced women and murdered men behind on his way, but his mainspring is the search for truth and distrust of all ties. Don Juan's journey to hell turns out to be a theatrical production in order to escape its own myth .

Frisch wrote his Don Juan version in the winter and spring of 1952 while on a trip to America. On May 5, 1953, the play was premiered both in the Schauspielhaus Zurich and at the Schiller Theater in Berlin , and the first edition was published in the book trade in the same year. After receiving a critical reception, especially in his home country, Switzerland, Frisch completely revised the work in 1961. The new version appeared in the following year as a book edition and was premiered on September 12, 1962 at the Deutsches Schauspielhaus in Hamburg. It received a friendlier response and, after the successful plays Biedermann und die Brandstifter and Andorra, became Max Frisch's third most successful drama with over 1000 performances on German-speaking theaters.

content

first act

It is night in Seville and Don Juan is expected to arrive, and the next day he is to marry Donna Anna, the daughter of Commander Don Gonzalo. It was promised to him for his triumph in the campaign against the Moors , which, however, contrary to the emerging myths, was not based on heroic deeds, but on geometric calculations. Don Juan's father, the banker Tenorio, complains that his son doesn't care about women. He prefers clarity to geometry and prefers to play chess even in the brothel.

It is customary for the entire court to wear masks on the night before the wedding, protecting them into erotic escapades. In particular, Donna Elvira, the mother of the bride, but also Father Diego stand out. The whore Miranda, who fell in love with Don Juan's brothel visit, thinks she recognizes him behind the mask of his friend Don Roderigo. Don Juan, who has long since secretly returned, wants to flee from the wedding and disappears in the park. Donna Anna, too tense from the upcoming wedding that she panics when the peacock screams, also takes refuge in this very park.

In an interlude , Miranda confesses to her matchmaker Celestina that she has fallen in love. This is horrified and proclaimed that a woman would sell her body but never her soul. She shows Miranda, who she considers unsustainable for a house of bliss, the door and sees marriage as her only perspective from now on.

Second act

At the wedding, Don Juan recognizes Donna Anna as the woman he met last night in the park and learned to love when two strangers met. But it is precisely this spontaneous love that he does not want to freeze in the conventions of a marriage; the conjugal promise of loyalty appears to him to be hypocritical in relation to the fleeting erotic encounter in the park. Don Juan refuses to say yes.

Don Gonzalo, the bride's father, calls don Juan a seducer and challenges him to a duel , which he refuses and flees. Tenorio takes his son's breach of convention with him to such an extent that he suffers a heart attack. In the second interlude, Celestina disguises Miranda as a bride for her beloved Don Juan.

Third act

Don Juan reports to his friend Don Roderigo what happened after the wedding that had broken off. He spent the night with Donna Elvira, and later with Donna Inez, his friend's bride. It was not erotic desire that drove him, but curiosity and the search for knowledge. With the truth about the affair with his bride, he is now also putting his friend to the test. He wants to kill himself if don Juan's statements are confirmed.

A figure in the bridal veil appears who don Juan takes to be Donna Anna. Since he lost faith in love the night before, he wants to send her away. But the figure loves him despite all the confessions with which he tries to snub her. Don Gonzalo finds don Juan and challenges him again to a duel. He brings the news that Don Roderigo has killed himself, and Don Juan's father has also died. Don Juan can no longer avoid the duel and kills Don Gonzalo. Thereupon the father brings Donna Anna, who drowned herself after waiting in vain for don Juan's return. This stands between a dead and a living bride. Only when the latter lifts her veil does he recognize Miranda in her. When looking at the dead Donna Anna, don Juan confesses that nothing scares him anymore. He challenges Heaven in a competition to see who will make fun of others.

Fourth act

Twelve years have passed. A memorial was erected for Don Gonzalo, the murdered Commander, on the base of which is engraved: "Heaven shatter the wicked". But nobody has crushed don Juan in all that time, his numerous iniquities went unpunished. It has become a myth. But he's as tired of his legendary reputation as he is of his success with women and the boredom of his life. He regrets wasting his life on the challenge of Heaven. To escape his role, he stages his own journey into hell as a theatrical spectacle for the masses. The Bishop of Cordoba and thirteen past affairs are invited as guests, Celestina is hired to take on the role of the stone guest.

Miranda, now the widowed Duchess of Ronda , still loves don Juan. She offers him refuge in her castle. But don Juan seeks a deal with the Church. In return for his alleged death, which he wants to stage as a journey to hell as proof of heavenly justice, he demands admission to a monastery in order to be able to continue his geometric studies in seclusion. However, behind the mask of the bishop is only a betrayed husband. This exposes the planned swindle in front of the guests, but the power of the images is stronger. Don Juan's journey into hell, staged with a lot of theatrical noise, defeats all doubts, his supposed death becomes a legend. In the last interlude, Celestina learns that nobody wants to believe the truth about the hoax as an initiate.

Fifth act

In the castle of the Duchess of Ronda, Don Juan chats with the former Father Diego, who has now become Bishop of Cordoba. He is resigned, feels imprisoned in his marriage to Miranda, but he has only two alternatives: to live in her castle like a prisoner or to go public again and continue the legend of don Juan. This legend has now become common knowledge and is even played on stage. The truth of a don Juan who is under the slipper, on the other hand, cannot be expected of any public. In the end, Miranda announces to don Juan that he is going to be a father over dinner. He wishes "meal."

Don Juan's role

Don Juan is no longer the carefree seducer of the literary models; he is initially not interested in women. He distrusts himself and his feelings and broodingly searches for truth and immutability in the geometric shapes.

Max Frisch's Don Juan uses the typical poses of a seducer in the course of the plot, and murdered husbands and fathers and women with broken hearts are left behind on his way. But not because he indulges excessively in earthly pleasures, but because he sees the binding forces of feelings as episodic. He believes that he can become happy without any love, without closer contact with people.

The final ironic twist of the play is that don Juan does not go to hell, but plays in the city already depict his downfall in this form. He himself looks disgruntled at the bourgeois average and fatherly joys at the side of the most stubborn of his admirers.

In his afterword to the text, Max Frisch sums up: “Don Juan is an intellectual, albeit of good stature and without anything spectacle-like. What makes him irresistible for the ladies of Seville is definitely his spirituality, his claim to a masculine spirituality, which is an affront in that it knows completely different goals than women and uses women as an episode from the outset - with the well-known result, of course that the episode ultimately devours his entire life. "

History of origin

Max Frisch and Oskar Wältin at rehearsals for Biedermann and the arsonists in 1958

A grant from the Rockefeller Foundation made it possible for Frisch to spend one year in America from April 1951, which proved to be formative for his other works, especially the novels Stiller and Homo Faber . Frisch toured New York , Chicago , San Francisco , Los Angeles and Mexico and had work on a novel called What are you doing with love? planned to be an early preliminary stage to Stiller . When work on the novel stalled, Frisch, who “had a guilty conscience towards Rockefeller”, instead wrote the comedy Don Juan or The Love of Geometry in the winter and spring of 1952 .

According to Max Frisch, he wrote his Don Juan piece “without knowing a single predecessor. The figure of don Juan was known to me from general knowledge. I didn't even hear Mozart's opera until later. And also the literary models, the Don Juan of Tirso de Molina and Molière , I only read afterwards ”, namely according to Walter Schmitz in the summer of 1952. In fact, the Don Juan adaptations by José Zorrilla y Moral ( Don Juan Tenorio ), Christian Dietrich Grabbe ( Don Juan and Faust ) and George Bernard Shaw ( Man and superman ). As early as 1948 Bertolt Brecht had drawn his attention to the drama La Celestina by Fernando de Rojas , with the request to “set up the play for the goat ”.

Frisch had already dealt with Don Juan material in a sketch made in 1948 in the 1946–1949 diary , as well as in the play The Great Wall of China from 1946, in which Don Juan appears as one of the historical masks. However, it was not until the second version of the Great Wall of China from 1955 that there was a clear thematic reference to Don Juan or The Love of Geometry , in that Don Juan now complains that all the world thinks they know him and translates him into literature, whereas he is after a virgin experience and a paradise long without literature. Another trigger for Don Juan was a trip to Spain, which Frisch recorded in the text Spain - In the First Impression , and to which he explicitly referred in the epilogue to Don Juan .

In an exchange of letters between Max Frisch and Peter Suhrkamp , beginning on July 8th, the work on the drama in the second half of 1952 can be followed in detail. On February 4, 1953, the final stage version was completed. The book edition appeared in the spring of 1953. After the failure of his previous drama Graf Öderland in the Swiss press and the quick dismissal at the Zurich Schauspielhaus , Frisch had his new play premiered in Berlin at the same time, as he considered the renewed exclusive premiere in Zurich to be too risky. The world premiere took place on May 5, 1953. Will Quadflieg played Don Juan at the Zurich Schauspielhaus under the direction of Oskar Wälterlin , the stage design was by Teo Otto . Peter Mosbacher played in the Berlin Schillertheater under the direction of Hans Schalla , the stage design was created by Helmut Koniarsky .

In 1961, Frisch completely revised Don Juan as part of a complete edition of his dramas “as the last of the cones that I want to set up again, which is actually against the rules of the game”. According to Walter Schmitz, Frisch deleted the interlude before the third act and removed above all those passages that suggested to the audience inferences about the plot in order to keep it more open in its recording. In addition, numerous satirical and time-related allusions and direct addresses to the audience were omitted. The amended version was published in 1962 in the second volume of the collection pieces and on May 7, 1963 for the first time individually in the Suhrkamp . It was first performed on September 12, 1962 in the Deutsches Schauspielhaus in Hamburg under the direction of Ulrich Erfurth . Ullrich Haupt played Don Juan .

reception

premiere

The reactions to the premiere were divided. Traugott Vogel's “willingness to critically examine” failed in the face of a hero who “cannot be taken seriously by us either as a tragic or a tragicomic hero. [...] One regrets his moral and immoral case and wishes him and his kind a capable FMH family doctor ”. Wilhelm Zimmermann even saw a “dismantling work on the ethical, social and religious pillars” and a “sell-out of intellectual locations in the field of Swiss theater”. Frisch has "now broken all bridges behind him and has given way to the wasteland, into the no man's land of complete uncertainty and spiritual homelessness", so that the reviewer was left with only "embarrassment about such a hopeful poet". On the other hand, Rudolf Jakob Humm described : “The piece is excellent, witty and full of spirit. And it's true! [...] The piece is a great parody of an entire era. "

Frisch's comedy was hotly debated in Switzerland. Felix Stössinger saw in the premiere audience "a third of the audience completely against the piece, a third highly enthusiastic about the piece and a third uncertain in their judgment". In the feedback received, one student described "too much cynicism and perfidy and no humor at all", and the religion was treated as "unsavory and unbearable". One secretary found the comedy “incredibly ingeniously written. The sparkling ideas and the poetic images are fascinating ”, but the Don Juan figure“ does not arise from healthy thinking ”. “Windbäckerei” was the title given by a publisher to the “ farce ”, which should not be taken seriously. One director found “funny and ingenious” how Frisch “stabbed the anthill of marriage and love problems”, while a poet lamented the “sellout of all higher values” and a politician stated: “ Nihilism as such already closes art In one of Friedrich Dürrenmatt 's panel discussions on the side of Frisch, objections were raised against a “falsification of the myth”, a “lack of respect for the dignity of women” and the disturbed geometry due to “not at least one positive love affair”. Paula Rüf finally described the multiple equations of Frisch with his protagonist: "Rightly or wrongly, the viewer cannot manage to separate Don Juan from its author in the play."

The reactions outside of Switzerland to the premiere of the piece in Zurich were much more positive. For Hans Elsner it was “a great evening at the Zurich Schauspielhaus”, “enthusiastic applause showered the author at the end”. Walter Fabian described a play "which will give pleasure to everyone who enjoys sparkling thoughts and sparkling words", and in which the author proves to be a "fascinating theater poet of great skill". Erich Franzen saw a "genuinely Swiss mixture of French esprit and German reflection [...], captivating through the effective theater design of the tragicomic basic idea".

Most of the productions in Germany - both at the Berlin premiere and the subsequent performances in the same season - were criticized for weaknesses in the cast and directors. Religiously motivated protests, sparked in Munich by the Münchner Kirchenzeitung and picked up by the CSU , staged in Darmstadt by the Catholic Women's Association , did not meet with much response and, according to Reinhold Viehoff, remained an “out-of-the-way scandal”. In a cover story, Der Spiegel judged Frisch's current play: “It has weaknesses in its structure, and its intent is not very clear. Not everyone who sees it notices that it is a moralist's play. ”For Erich Kuby it was“ too amusing a play on too big a topic ”, in which“ what is well said and also thought to be wise in an essay would come off the stage as a mere gag. " Paul Hühnerfeld judged:" Frisch turns the world from back then upside down; and can therefore leave Don Juan himself practically unchanged [...], which adds dazzling punchlines to the theater, but the future authors are actually deprived of the last possibility of a new Don Juan design. "

Later shot

The reactions to the revised version in 1962 were much more positive. Frisch, meanwhile an award-winning and successful writer, received almost unanimous praise. However, the staging of the Deutsches Schauspielhaus was criticized against the quality of the play for the first performance. For Willy Haas , the comedy was “made up like by Kierkegaard : the finest of the finest. And carried out - it seemed to us - as if by the bastard Kotzebue . Nothing of the ingenious motif came over the ramp. "Walter M. Herrmann would have liked" very much to see a perfect performance of this witty, philosophizing, very respectable poetry [...] piece. "

The re-performance at the Zürcher Schauspielhaus, which took place on May 31, 1964 under the direction of Kurt Hirschfeld , was largely regarded as such a successful production . According to Reinhold Viehoff, she was able to rehabilitate Frisch's Don Juan in his hometown, although Swiss reviewers still had their old reservations about the play. For Traugott Vogel, “the recapitulation of Frisch's comedy, which had a controversial premiere here more than ten years ago, was very welcome. The work has rather gained in effectiveness. ”Elisabeth Brock-Sulzer called Frisch's new version“ a truly elegant piece ”. It is "cleverly thought, cleverly built, it also works when reading." Werner Wollenberger said that "this comedy has a unique position among the comedies of these days", but it "does not really live" and remains "so far and strange" to him. . Only the Catholic Neue Zürcher Nachrichten polemicized against “negations” and “nihilistic” as it did eleven years earlier, this time in the person of Edwin Maria Landau : “We do not want to argue with Frisch that the clergy in this play at best correspond to joke figures; their intellectual poverty in this case corresponds to that of their author. "

Since the broadcast of the comedy as a television play in 1965, Reinhold Viehoff's religious or moral reservations in the reviews have receded completely into the background. They have been replaced by a purely aesthetic view. The success or failure of a production is often determined by the director and his main actor, to whom the play places high demands. After the two successful pieces Biedermann und die Brandstifter and Andorra , Don Juan or Die Liebe zur Geometry developed into Max Frisch's third most successful drama in the German-speaking world. It achieved the status of a permanent repertoire piece with over 50 productions and over 1000 performances on German-speaking stages by 2002. While the number of performances fell sharply in the 1980s, they have increased again since the 1990s.

Adaptations

Frisch's Don Juan comedy has been adapted several times as a radio play. In 1965 Michael Kehlmann realized the play for the Bavarian Radio as a television play. The main roles were played by Helmut Lohner , Manfred Inger , Hertha Martin , Fritz Schulz and Theo Lingen . The television game received mostly very positive reviews. The Westfälische Rundschau wrote : “Seldom has the reviewer watched a television game with such joy as the Michael Kehlmann production of Don Juan or Max Frisch's Love for Geometry . It was a festival of the art of acting. ”In January 2001 a performance of the Theater in der Josefstadt was recorded for television. Herbert Föttinger , Eugen Stark , Petra Morzé and Sandra Cervik played under the direction of Thomas Birkmeir . The French composer Ivan Semenoff realized Frisch's drama as an opera, which premiered in 1969 at the Théâtre Gérard Philipe in Saint-Denis.

literature

Text output

  • Max Frisch: Don Juan or The Love of Geometry. A comedy in five acts. Suhrkamp, ​​Frankfurt am Main 1953. (first edition)
  • Max Frisch: Don Juan or The Love of Geometry. Comedy in five acts. In: pieces. Volume 2. Suhrkamp, ​​Frankfurt am Main 1962 (first edition of the second version)
  • Max Frisch: Don Juan or The Love of Geometry. Comedy in five acts. Suhrkamp, ​​Frankfurt am Main 1963 (meanwhile 30th edition 2006), ISBN 3-518-10004-1 .
  • Max Frisch: Don Juan or The Love of Geometry. Comedy in five acts. In: Collected works in chronological order. Third volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 95-167.

Secondary literature

  • Manfred Durzak: Dürrenmatt, Frisch, Weiss. German drama of the present between criticism and utopia . Reclam, Stuttgart 1972, ISBN 3-15-010201-4 , pp. 196-207.
  • Hiltrud Gnüg: The end of a myth. Max Frisch's "Don Juan or The Love of Geometry" . In: Walter Schmitz (Ed.): Max Frisch . Suhrkamp, ​​Frankfurt am Main 1987, ISBN 3-518-38559-3 , pp. 160-173.
  • Manfred Jurgensen : Max Frisch. The dramas . Francke, Bern 1976, ISBN 3-7720-1160-8 , pp. 38-47.
  • Slavija Kabic: The Don Juan motif in Ödön von Horváth and Max Frisch . In: Ute Karlavaris-Bremer (Ed.): Born in Fiume . Löcker, Vienna 2001, ISBN 3-85409-356-X , pp. 121-138.
  • Hellmuth Karasek : Max Frisch. Friedrich's playwright of the world theater volume 17 . Friedrich Verlag, Velber 1974, pp. 57-66.
  • Rolf Kieser and Doris Starr Guilloton: Faustian elements in Max Frisch's “Don Juan or the love of geometry” . In: Gerhard P. Knapp (Ed.): Max Frisch. Aspects of the stage work . Peter Lang, Bern 1979, ISBN 3-261-03071-2 , pp. 255-273.
  • Hans Jürg Lüthi: Max Frisch. “You shouldn't make yourself a portrait.” Francke, Munich 1981, ISBN 3-7720-1700-2 , pp. 16-25.
  • Walter Schmitz (Ed.): Frischs Don Juan . Suhrkamp, ​​Frankfurt am Main 1985, ISBN 3-518-38546-1
  • Walter Schmitz: Max Frisch: The Work (1931–1961) . Studies on tradition and processing traditions. Peter Lang, Bern 1985, ISBN 3-261-05049-7 , pp. 228-243.
  • Alexander Stephan : Max Frisch . CH Beck, Munich 1983, ISBN 3-406-09587-9 , pp. 54-58.

Individual evidence

  1. ↑ Max Frisch: Retrospective on "Don Juan" . In: Collected works in chronological order. Third volume , p. 168.
  2. ↑ Urs Bircher: From the slow growth of an anger: Max Frisch 1911–1955. Limmat. Zurich 1997, ISBN 3-85791-286-3 , pp. 193-194.
  3. ^ A b Max Frisch: Collected works in chronological order. Third volume , p. 862.
  4. ^ Max Frisch: Diary 1966–1971 . In: Collected works in chronological order. Sixth volume , p. 26.
  5. ^ Max Frisch: Diary 1946–1949 . In: Collected works in chronological order. Second volume , p. 628.
  6. ↑ Max Frisch: The Great Wall of China . In: Collected works in chronological order. Second volume , pp. 153-154.
  7. ↑ Max Frisch: Spain - In the first impression . In: Collected works in chronological order. Third volume , pp. 179-195.
  8. ↑ Max Frisch: Retrospective on "Don Juan" . In: Collected works in chronological order. Third volume , p. 172.
  9. ↑ See section: Jürgen H. Petersen: Max Frisch . Metzler, Stuttgart 2002, ISBN 3-476-13173-4 , p. 98.
  10. ↑ Cf. Max Frisch, Peter Suhrkamp: A workshop discussion in letters. Documents on the creation of the comedy "Don Juan or The Love of Geometry" . In: Walter Schmitz (Ed.): Frischs Don Juan , pp. 15-25.
  11. ↑ Julian Schütt (Ed.): Max Frisch. Now is the time to see. Letters, notes, documents 1943–1963 . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-40981-6 , pp. 103-104.
  12. ↑ Walter Schmitz: Version variants of Max Frisch's Don Juan comedy . In: Walter Schmitz (Ed.): Frischs Don Juan , p. 34.
  13. ↑ See the examples in: Walter Schmitz: Version variants of Max Frisch's Don-Juan-Komödie , pp. 34–41.
  14. ↑ Walter Schmitz (Ed.): About Max Frisch II . Suhrkamp, ​​Frankfurt am Main 1976, ISBN 3-518-10852-2 , p. 476.
  15. ↑ Urs Bircher: From the slow growth of an anger: Max Frisch 1911–1955 , p. 197.
  16. ↑ Traugott Vogel : Max Frisch: Don Juan or the love of geometry . In: Neue Zürcher Zeitung of May 6, 1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 49.
  17. ↑ Wilhelm Zimmermann: Don Juan or the love of geometry . In: Neue Zürcher Nachrichten of May 8, 1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , pp. 52–55.
  18. ↑ Rudolf Jakob Humm : Max Frisch: Don Juan or the love of geometry . In: Die Weltwoche of May 8, 1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , pp. 50–51.
  19. ↑ Quotes from: Felix Stössinger : Max Frisch's Don Juan in discussion . In: Die Tat of May 18, 1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , pp. 59–64.
  20. ↑ Rudolf Jakob Humm: Max Frisch speaks . In: Die Weltwoche of May 22, 1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 69.
  21. ↑ Paula Rüf: On Max Frisch's Don Juan or The Love of Geometry . In: Schweizer Rundschau 53/1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 75.
  22. ^ Reinhold Viehoff : Don Juan in the theater criticism. Notes on the processing history of Max Frisch's comedy . In: Walter Schmitz (Ed.): Frischs Don Juan , p. 105.
  23. ↑ Hans Elsner: Don Juan or the love of geometry . in Der Mittag from May 8, 1953. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 105.
  24. ↑ Walter Fabian : "Not because he loves women ..." In: Frankfurter Rundschau of May 21, 1953. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 105.
  25. ↑ Erich Franzen : Don Juan in the loop . In: Frankfurter Allgemeine Zeitung of May 9, 1953. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , pp. 105–106.
  26. ↑ Reinhold Viehoff: Don Juan in der Theaterkritik , p. 106.
  27. ↑ Without vacation from time . In: Der Spiegel . No. 41 , 1953, pp. 27-31 ( online ).
  28. ↑ Erich Kuby : Don Juan's love for geometry is too small . In: Frankfurter Hefte 7/1953. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 79.
  29. ^ Paul Hühnerfeld : Max Frisch and Don Juan . In: Die Zeit , No. 20/1953.
  30. ↑ Willy Haas : Don Juan or The Love of Geometry . In: Die Welt , September 14, 1962. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 108.
  31. ↑ Walter M. Herrmann: Yesterday at the Besenbinderhof : The love hero is tired . In: Hamburger Abendblatt of September 13, 1962. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 108.
  32. ↑ Reinhold Viehoff: Don Juan in the theater criticism , p. 110.
  33. ↑ Traugott Vogel: Don Juan or the love of geometry . In: Neue Zürcher Zeitung of June 2, 1964. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 110.
  34. ↑ Elisabeth Brock-Sulzer: Max Frisch: Don Juan or the love of geometry . In: Die Tat of June 2, 1964. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 81.
  35. ↑ Werner Wollenberger : Hell, where is your victory? In: Zürcher Woche, June 5, 1964. Reprinted in: Walter Schmitz (Ed.): Frischs Don Juan , p. 89.
  36. ↑ Edwin Maria Landau : Max Frisch: Don Juan or the love of geometry . In: Neue Zürcher Nachrichten of June 2, 1964. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 110.
  37. ↑ Reinhold Viehoff: Don Juan in der Theaterkritik , pp. 118–120.
  38. ↑ Volker Hage : Max Frisch , Rowohlt, Hamburg 1997, ISBN 3-499-50616-5 , p. 82.
  39. ^ Günter Erken: Don Juan on the German stage. Notes on the status of a myth reception . In: Jörg Sader , Anette Wörner (Ed.): Transgressions. Dialogues between literary and theater studies, architecture and the fine arts. Festschrift for Leonhard M. Fiedler . Königshausen & Neumann, Würzburg 2002, ISBN 3-8260-2262-9 , p. 288.
  40. ↑ Don Juan or The Love of Geometry in the HörDat audio game database .
  41. ↑ Don Juan or The Love of Geometry (1965) in the Internet Movie Database .
  42. ↑ JW: The production is worthy of an award. Max Frisch's “Don Juan” was a festival of acting . In: Westfälische Rundschau of October 23, 1965. Quoted from: Reinhold Viehoff: Don Juan in der Theaterkritik , p. 115.
  43. ↑ Don Juan or The Love of Geometry (2001) in the Internet Movie Database .
  44. ↑ Luis Bolliger (Ed.): Now: max fresh . Suhrkamp, ​​Frankfurt am Main 2001, ISBN 3-518-39734-6 , p. 79.