Lukas Bärfuss

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Lukas Bärfuss (2014)

Luke Bärfuss (* 30th December 1971 in Thun ) is a Swiss writer , playwright , theater director and playwright .

Life

Lukas Bärfuss left primary school after nine years and worked, among other things, as a tobacco farmer, ironworker, forklift driver and gardener. Between the ages of 16 and 20 he was homeless several times and learned “what it means to be poor in a country where poverty shouldn't really exist”. After the recruiting school he worked as a bookseller in Bern and later in a collective bookshop in Friborg . During this time he caught up with his diploma. He has been working as a freelance writer since 1997.

Bärfuss has taught at various universities. He is a lecturer at the Bern University of the Arts , where he has been teaching in the interdisciplinary Y-Institute and in the Masters course in Contemporary Arts Practice since 2017. Since 2007 he has been working as a lecturer at the Swiss Literature Institute in Biel . Since 2013 he has been giving regular courses in theater at the Zurich University of the Arts . In addition, there is one-time teaching activities at international acting schools and universities, including Athens, New York and Buenos Aires. In the summer semester 2013 he received the Heiner Müller visiting professorship for German-language poetics at the Free University in Berlin. In September 2014 Bärfuss was a special guest at the Berlin International Literature Festival with several lectures. In the 2015 summer semester he gave several poetry lectures at the University of Bamberg .

Between 2009 and 2013, Bärfuss worked as a dramaturge at the Schauspielhaus Zürich , where he has moderated various series of discussions to this day. In the Weisse Flecken series he met u. a. to Ruth Durrer and Hugo Stamm . During the Zurich talks , his interlocutors were u. a. Ulrike Guerot and David Chipperfield .

Bärfuss writes guest articles for various German-language daily newspapers, including the Frankfurter Allgemeine Zeitung and the Süddeutsche Zeitung .

He has been an elected member of the German Academy for Language and Poetry since 2015 . He is also one of the supporters of the Charter of Fundamental Digital Rights of the European Union , which was published at the end of November 2016.

In 2019, Bärfuss was awarded the renowned Georg Büchner Prize for his dramas, novels and essays . The German Academy for Language and Poetry praised his work a. a. as being permeated by “a high level of stylistic certainty and a wealth of formal variations” that “always explores new and different existential basic situations of modern life”. The award ceremony should take place on November 2, 2019 in Darmstadt.

Bärfuss lives in Zurich . He is the father of a daughter and a son.

Work for the theater

Lukas Bärfuss was a co-founder of the artist group “ 400asa ” and worked there with the director Samuel Schwarz . He wrote several stage works for the group , such as the « grotesque » Meienberg's death about the journalist and writer Niklaus Meienberg, who died in 1993, and the hypocrisy of the cultural industry with which he became famous in 2001. With this play, which is also a play about the theater, Bärfuss succeeded in connecting with great dramatic traditions. He had particular success with the play The Sexual Neuroses of Our Parents , written for the Basel Theater , which was translated into twelve languages ​​by 2005. Sandra Hüller played the lead role as “Dora” in this play directed by Barbara Frey . It was awarded the Book Prize of the Canton of Bern in 2003 and was the occasion for the magazine Theater heute to name Bärfuss as the youngest author of the year. In 2015, a film adaptation (director: Stina Werenfels) under the title Dora or the sexual neuroses of our parents with Victoria Schulz and Lars Eidinger was released in the cinemas. In 2005 the commissioned work Der Bus (The stuff of a saint) celebrated its world premiere at the Thalia Theater Hamburg in a production by Stephan Kimmig. Bärfuss is awarded the Mülheim Dramatist Prize for Der Bus 2005. In the same year he was engaged in Alice's trip to Switzerland. Scenes from the life of the euthanasia assistant Gustav Strom with the practice of euthanasia, in which he traces the path to redemption of a woman who is determined to die and thereby throws a perspective on the assisted suicide. The play was premiered at the Theater Basel and staged by Stephan Müller.

In 2009 his drama Oil about the dependence on the most important raw material of the industrial age had its world premiere at the Deutsches Theater Berlin . Nina Hoss took on the role of the protagonist "Eva" in this production. In 2010, Bärfuss' play Malaga premiered in a production by Barbara Frey at the Schauspielhaus Zurich . In twenty thousand pages it deals with the rejection of those persecuted by the Nazis at the Swiss border. The play celebrated its world premiere on February 2, 2012 in the “Schiffbau / Box” of the Schauspielhaus Zürich in a production by Lars-Ole Walburg - under his direction, Bärfuss' play Die Probe was premiered at the Münchner Kammerspiele in 2007. In Switzerland, Twenty Thousand Pages was received largely negatively because of its criticism of the Swiss repression of complicity in the Holocaust. Ms. Schmitz , also staged by Barbara Frey, was shown for the first time on October 22, 2016 in the Schauspielhaus Zurich. In this grotesque about a transsexual in the office, Bärfuss once again dares to push the limits of what can be said. Most recently, the commissioned work Der Elefantengeist was premiered on September 29, 2018 at the Nationaltheater Mannheim under the direction of Sandra Strunz. The work is a critical examination of the "Chancellor of Unity" Helmut Kohl. Bärfuss will take over the artistic direction of the world theater in Einsiedeln as author for 2020 .

Work as a book author

In addition to his work for the theater, Lukas Bärfuss has also appeared internationally as a book author since 2002. His first book, the novella Die toten Männer , was published in 2002 by edition suhrkamp . In 2008 his novel Hundert Tage was published , which deals with the genocide in Rwanda and the role of development aid. The novel is translated into 15 languages ​​and is an international success. Hundert Tage is awarded the Mara Cassens Prize in 2009. In his second novel Koala , he deals with his brother's suicide. With the subject of suicide, Bärfuss links his own family history with the colonial history of Australia. Bärfuss was awarded the Swiss Book Prize in 2014 for Koala . In his most recent novel Hagard , published in February 2017, he addresses the obsession of a man whose “city odyssey” he uses for a critical description of the present. Hagard is on the shortlist of the Leipzig Book Fair 2017 prize. With his essay volumes Style and Moral (2015) and War and Love (2018), Bärfuss is increasingly perceived by the public as an essayist. He is also entering new territory with Contact (2018), his first English-language poetry publication. The book was created in collaboration with the Swiss artist Michael Günzburger and deals with the relationship between humans and animals.

Bärfuss' books are translated into numerous languages, including Turkish, Bulgarian and Chinese. Bärfuss himself has recently started appearing as a translator. In 2016, for example, he and the writer Muriel Pic translated Walter Benjamin's literary letters into French. Pics' latest book of poems, Élegies documentaires , was also translated into German by Bärfuss in 2019.

Controversy

Lukas Bärfuss regularly builds on political discourses with his plays, novels and essays. He appears in various formats as a sharp critic of the national-conservative and economically liberal politics of Switzerland. The media public assesses Bärfuss' role as a "provocateur" differently. While some praise him for his pointed essays and contributions to the debate on political events and act as the new Max Frisch or Friedrich Dürrenmatt , others dismiss his statements as those of a left-wing intellectual who only deals superficially with his issues.

In October 2015, Bärfuss sparked a controversial discussion in Switzerland when he published an essay on Switzerland is madness in the Frankfurter Allgemeine Zeitung three days before the parliamentary elections there . In this text he exercises a fundamental critique of the political, socio-economic and cultural condition of his home country. His criticism of the Swiss media houses met with great outrage. Bärfuss accuses them of having sold right-wing populists like billionaire Christoph Blocher their vote and thus contributed to brutalizing the discourse landscape. He diagnoses:

«As a Swiss you have nothing more to say in the globalized world. Feelings of powerlessness are often compensated for with big words. And when big words are no longer enough, you take indecent ones. "

The reactions of the Swiss press to Bärfuss' essay were mostly negative. While the Berner Zeitung still mildly comments on the all-round cover with “provocative polemics”, the Tages-Anzeiger shows a lack of understanding for the “undifferentiated rubbing of everything and everyone”. The Neue Zürcher Zeitung holds back with criticism . Only in an open letter and in the voice of her features editor-in-chief René Scheus does she accuse the author of exaggerated moralism and small-mindedness.

In 2017, Bärfuss caused another discussion. In an essay in the online edition of the Frankfurter Allgemeine Zeitung , he declared the Swiss book price dead and called for a fresh start. Bärfuss criticizes the jury's lack of independence and criticizes the intervention of association officials in the nomination process. The organizers showed their understanding. Together with the writer and Swiss book award winner Melinda Nadj Abonji , Bärfuss pushed through the drafting of regulations.

Works

prose

Plays

  • Sophocles' Oedipus . World premiere: Zurich, Escher-Wyss-Unterführung, August 27, 1998. Director: Samuel Schwarz .
  • Seven p.m. seventeen . World premiere: Schauspiel Akademie Theater, Zurich, January 12, 2000. Director: Samuel Schwarz.
  • 74 seconds. Monologue . World premiere: Zurich, in the Blue Hall, March 8, 2000. Director: Lukas Schmocker.
  • Four women. Singspiel . World premiere: Schlachthaus Theater Bern, May 25, 2000. Director: Samuel Schwarz.
  • Medeää. 214 image descriptions . Radiokulturhaus Wien as part of the Wiener Festwochen, June 2000. Director: Samuel Schwarz.
  • Klaus and Edith's journey through the shaft to the center of the earth . Commissioned for the Schauspielhaus Bochum. World premiere: Schauspielhaus Bochum , January 12, 2001. Director: Samuel Schwarz.
  • Meienberg's death. Grotesque . Commissioned for the Theater Basel. World premiere: Theater Basel , April 20, 2001. Director: Samuel Schwarz.
  • Othello . Short version. Deutsches Schauspielhaus Hamburg, December 2001. Director: Samuel Schwarz.
  • August02, Nationalulk . National exhibition Expo.02 on August 1st, 2002 on the main stage of the Arteplage Biel-Bienne. Director: Samuel Schwarz.
  • Four pictures of love . World premiere: Schauspielhaus Bochum, Kammerspiele, September 28, 2002. Director: Karin Henkel.
  • Our parents' sexual neuroses . World premiere: Theater Basel, February 13, 2003. Director: Barbara Frey . - filmed in 2015 under the title Dora or the sexual neuroses of our parents by Stina Werenfels
  • King Henry the Fourth . After William Shakespeare. Schauspielhaus Bochum, May 2004. Director: Samuel Schwarz.
  • The bus (a saint's stuff) . World premiere: Thalia Theater Hamburg , January 29, 2005. Director: Stephan Kimmig.
    • In print form: Meienberg's death - The sexual neuroses of our parents - The bus . Pieces. Wallstein, Göttingen 2005, ISBN 3-89244-904-X
  • Alice's trip to Switzerland . World premiere: Theater Basel, March 4, 2005. Director: Stephan Müller.
  • The rehearsal (the good Simon Korach) . World premiere: Münchner Kammerspiele , February 2, 2007. Director: Lars-Ole Walburg.
  • Room hour. An alpine chamber opera . World premiere: Theater Rigiblick, October 30, 2008. Director: Livio Andreina
  • Amygdala . Commissioned by the Thalia Theater Hamburg. World premiere: Thalia Theater Hamburg, May 9, 2009.
    • In print form: Alice's trip to Switzerland - The sample - Amygdala . Pieces. Wallstein, Göttingen 2007, ISBN 978-3-8353-0164-1 .
  • Oil . World premiere: Deutsches Theater Berlin , September 18, 2009. Director: Stephan Kimmig.
  • Malaga . World premiere: Schauspielhaus Zürich , May 9, 2010. Director: Barbara Frey.
  • Parzival . After Wolfram von Eschenbach . World premiere: Schauspiel Hannover , January 16, 2010. Director: Lars-Ole Walburg.
  • Twenty thousand pages . World premiere: Schauspielhaus Zürich, February 2, 2012. Director: Lars-Ole Walburg.
    • In print: Malaga - Parzival - twenty thousand pages . Pieces. Wallstein, Göttingen 2012, ISBN 978-3-8353-1100-8 .
  • The black hall . World premiere: As part of poor and rich. Spotlights on inequality together with Nabokov's ink blot by Michail Schischkin and arithmetic by Händl Klaus, Schauspielhaus Zurich, May 4, 2013. Director: Barbara Frey.
  • Stop . Music theater by Michael Wertmüller, text: Lukas Bärfuss. Lucerne Festival, August 2013.
  • Rebekah is not there . Det Norske Teatret, Oslo, February 2016. Directed by Erik Ulfsby
  • Mrs. Schmitz . World premiere: Schauspielhaus Zürich, October 22, 2016. Director: Barbara Frey.
  • The elephant spirit . World premiere: Nationaltheater Mannheim , September 29, 2018. Director: Sandra Strunz
  • Julien - red and black . World premiere: Theater Basel, January 16, 2020. Director: Nora Schlocker

Translations

  • Walter Benjamin, Lettres sur la littérature , Carouge-Genève, Zoé, 2016 [together with Muriel Pic].
  • Muriel Pic, Elegische Documents / Élegies documentaires , Göttingen, Wallstein, 2018.

Radio plays

Awards

literature

  • Christine Bähr: Family on the way: Lukas Bärfuss' The sexual neuroses of our parents . In: Dies .: The flexible person on stage. Social drama and time diagnosis in the theater at the turn of the millennium . Bielefeld 2012, pp. 381-418
  • Cecilia Bassano: Bärfuss cycle South America . In: New ways. Articles on Religion and Socialism , 11, 2017, p. 19
  • Laura Beck: "Nobody here can have a vote". Postcolonial perspectives on orality and written form in contemporary German-language literature . Aisthesis, Bielefeld 2017
  • Laura Beck: "White noses with a return ticket?": Development aid as an ego trip with Lukas Bärfuss and Milo Rau . In: (Off) the Beaten Track? Standardizations and canonizations of travel . Königshausen & Neumann, Würzburg 2018, pp. 371–390
  • Laura Beck: “Words of Violence?” Orality and writing in the context of the genocide in Rwanda. Lukas Bärfuss' novel "Hundred Days" . In: Patterns of Action in the Present . Königshausen & Neumann, Würzburg 2017, pp. 65–81
  • Dagmar Borrmann : Red in the early warning system . In: Barbara Engelhardt, Andrea Zagorski (Hrsg.): Piece-work 5. German-language drama . Verlag Theater der Zeit, Berlin 2008, ISBN 978-3-940737-07-6 , pp. 8-11
  • Reto Caluori: Lukas Bärfuss . In: Andreas Kotte (Ed.): Theater Lexikon der Schweiz . Volume 1. Chronos, Zurich 2005, ISBN 3-0340-0715-9 , pp. 119f. ( online )
  • Sinéad Crowe: Belief and Unbelief in the Twenty-First Century. Lukas Bärfuss' The Bus (The Stuff of a Saint) . In: Religion in Contemporary German Drama . Camden House, Rochester 2013, pp. 131-142
  • Marta Famula: A bus ride into the abyss of religiosity. Space and movement in Lukas Bärfuss' drama “The Bus (The Stuff of a Saint)” . In: Spatial forms in contemporary drama . Peter Lang Edition, Frankfurt am Main 2017, pp. 53–67
  • Marta Famula: Experiments in giving meaning. Lukas Bärfuss' “Alice's Journey to Switzerland” and the ethical-existential challenge in the 21st century . In: Trends in contemporary drama . Lang-Ed., Frankfurt am Main 2015, pp. 63–76
  • Marta Famula: Between death wish and life stories. Suicide and storytelling in Lukas Bärfuss' drama “Alice's Journey to Switzerland” . In: Patterns of Action in the Present . Königshausen & Neumann, Würzburg 2017, pp. 141–152
  • Anne-Sophie Gomez: Le temps suspendu. Fil, bobine, écheveau. Un parcours à travers quelques pièces de Lukas Bärfuss . In: Germanica , 54, 2014/1, pp. 159–174
  • Marie Gunreben, Friedhelm Marx (ed.): Patterns of action of the present. Contributions to the work of Lukas Bärfuss . In: Literature and Present , Volume 1, Königshausen & Neumann, Würzburg 2017
  • Birgit Haas: Plea for a dramatic drama . Passagen Verlag, Vienna 2007, pp. 211–215
  • Volker Hage: laudation for Lukas Bärfuss . In: rich-Maria-Remarque Peace Prize of the City of Osnabrück 2009. Awarded to Henning Mankell for his literary work on Africa. Special award to Lukas Bärfuss . Osnabrück 2010, pp. 25-29
  • Ingo Schulze: After the flood. Laudation for the award of the Anna Seghers Prize to Lukas Bärfuss . In: Sense and Form. Contributions to literature , 61.3, 2009, pp. 413-420
  • Peter Jakob Kelting: The impossibility of belief. Attempt on Lukas Bärfuss' play Der Bus (The stuff of a saint) . In: Albrecht Grözinger, Andreas Mauz, Adrian Portmann (eds.): Religion and contemporary literature: varieties of a liaison . Königshausen & Neumann, Würzburg 2009, pp. 151–169
  • Andrea Leskovec: Strangeness and foreign experience in Lukas Bärfuss' Hundred Days . In: Text & Context , 34, 2012, pp. 167–187
  • Paul Michael Lützeler: Lukas Bärfuss, Hundred Days. Negative development novel and fatal development aid . In: Civil War Global: Human rights ethos and contemporary German-language novel . Munich 2009, pp. 101–125
  • James Meja Ikobwa: David Hohl as a witness to the genocide in Rwanda in Lukas Bärfuss' “Hundred Days” . In: Magic and Language , 2012, pp. 107–117
  • Inez Müller: Poverty and escalation of violence on the African continent: "Hundred Days" by Lukas Bärfuss and "A Room in the House of War" by Christoph Peters . In: Martin Hellström, Edgar Platen (Hrsg.): Armut. For the presentation of contemporary history in contemporary German-language literature (VII). Munich 2012, pp. 64–81
  • Heinrich Placke: The Rwanda novel Hundred Days by the Swiss writer Lukas Bärfuss . In: Claudia Glunz, F. Schneider (Ed.): From Paraguay to Punk. Media and War from the 19th to the 21st Century . Göttingen 2011
  • Daniela Roth: The “othering” of genocide. Narrative representation of the genocide in Lukas Bärfuss' Hundert Tage and Rainer Wocheles The General and The Clown . In: Andreas Bartl (Ed.): Transitkunst . Bamberg 2012, pp. 543-571
  • Jan Süselbeck: The refreshing cut of the machete. On the literary representation of the genocide in Rwanda, using the example of the novel Hundred Days by Lukas Bärfuss and its inter-textual references to Heinrich von Kleist's engagement in St. Domingo (1811) . In: Carsten Gansel, Heinrich Kaulen (Hrsg.): War discourses in literature and media after 1989 . Göttingen 2011, pp. 183-201
  • Herbert Uerlings: Postcolonialism without colonized? Lukas Bärfuss "Hundred Days" and the perpetrators in the genocide ' . In: Acta Germanica: German Studies in Africa , 43, 2015, pp. 53–56
  • Gonçalo Vilas-Boas: Africa as the setting in the New Swiss Novel: Lukas Bärfuss' Hundred Days . In: Vilas-Boas, Gonçalo, Teresa Martins de Oliveira (ed.): Power in German-Swiss literature . Frank and Timme, Berlin 2012, pp. 381–394
  • Ewa Wojno-Owczarska: female characters in the drama “The Bus (The Stuff of a Saint)” by Lukas Bärfuss . In: Studia Niemcoznawcze , 39, 2008, pp. 247-55
  • Lukas Bärfuss in the Munzinger archive (beginning of article freely accessible)

Web links

Commons : Lukas Bärfuss  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Sunday conversation. In: SonntagsZeitung , January 22, 2012
  2. ↑ Interview: Cinzia Venafro: The Swiss author Lukas Bärfuss on his rise from the street to a model intellectual: “I know what it means to be poor”. March 29, 2017. Retrieved July 26, 2019 .
  3. ↑ ILB participant authors 2014 / Lukas Bärfuss
  4. ^ Website of the Chair of Modern German Literature ( Memento from September 29, 2015 in the Internet Archive ) at the University of Bamberg
  5. ↑ Press release: New members of the German Academy for Language and Poetry , June 16, 2015
  6. ^ German Academy for Language and Poetry - Academy - Press - Lukas Bärfuss receives the Georg Büchner Prize 2019. Accessed on July 26, 2019 .
  7. ↑ Lukas Bärfuss receives the Georg Büchner Prize 2019 . In: deutscheakademie.de, July 9, 2019 (accessed July 9, 2019).
  8. ↑ Life as a battue: great hour philosophy . May 5, 2014 ( youtube.com [accessed July 13, 2018]).
  9. ↑ The corpse is not dead . In: NZZ . April 22, 2001, ISSN  0376-6829 ( nzz.ch [accessed July 26, 2019]).
  10. ↑ Making experiences last . In: NZZ . June 20, 2005 ( nzz.ch [accessed July 26, 2019]).
  11. ↑ Rico Bandle: Mother has fun, father works, child has an accident . In: Tages-Anzeiger . October 5, 2010, ISSN  1422-9994 ( tagesanzeiger.ch [accessed on July 26, 2019]).
  12. ^ Suffering of a memory artist . In: FAZ . February 4, 2012, p. 35 .
  13. ↑ Einsiedler Welttheater 2020 with Lukas Bärfuss and Livio Andreina - Welttheater Einsiedeln. Retrieved July 26, 2019 .
  14. ↑ Switzerland swims in the blood baths caused by others - books - Tages-Anzeiger. May 4, 2008, accessed July 26, 2019 .
  15. ↑ In the end a kind of perpetrator. Retrieved July 26, 2019 .
  16. ↑ Lukas Bärfuss: Koala. Novel. Retrieved July 26, 2019 .
  17. ↑ Lukas Bärfuss: Hagard - Wallstein Verlag. Retrieved July 26, 2019 .
  18. ↑ Archive 2017 - Prize of the Leipzig Book Fair. Retrieved July 26, 2019 .
  19. ↑ Anna Miller: The anger writes. Retrieved July 26, 2019 .
  20. ↑ Bärfuss receives the Büchner Prize. In: SRF Swiss radio and television. July 9, 2019, accessed on August 26, 2020 (German).
  21. ↑ Lukas Bärfuss: Switzerland is madness . In: Frankfurter Allgemeine Zeitung from October 15, 2015.
  22. ↑ This is how the Swiss media reacted to Lukas Bärfuss' rage. Retrieved on July 26, 2019 (Swiss Standard German).
  23. ↑ Guido Kalberer: Self-sufficient in paranoia . In: Tages-Anzeiger . October 16, 2015 ( tagesanzeiger.ch [accessed July 26, 2019]).
  24. ↑ René Scheu: "Against the evil enemy, every rhetorical means is legitimate ..." In: NZZ . October 19, 2015 ( nzz.ch [accessed July 26, 2019]).
  25. ↑ Martin Ebel: "Abolish the Swiss Book Prize!" In: Tages-Anzeiger . November 21, 2017 ( tagesanzeiger.ch [accessed July 26, 2019]).
  26. ↑ Book review in the show 52 best books on Swiss radio (March 12, 2017).
  27. ↑ Hartmann & Stauffacher Verlag - The journey of Klaus and Edith through the shaft to the center of the earth ( Memento from September 24, 2015 in the Internet Archive )
  28. ↑ Hartmann & Stauffacher Verlag - Four Images of Love ( Memento from March 4, 2016 in the Internet Archive )
  29. ↑ Hartmann & Stauffacher Verlag - The sexual neuroses of our parents ( Memento from September 24, 2015 in the Internet Archive )
  30. ↑ Hartmann & Stauffacher Verlag - Die Probe ( Memento from March 4, 2016 in the Internet Archive )
  31. ↑ Hartmann & Stauffacher Verlag - Amygdala ( Memento from March 4, 2016 in the Internet Archive )
  32. ↑ Hartmann & Stauffacher Verlag - Oil ( Memento from March 4, 2016 in the Internet Archive )
  33. ↑ Hartmann & Stauffacher Verlag - Malaga ( Memento from March 4, 2016 in the Internet Archive )
  34. ↑ Hartmann & Stauffacher Verlag - Parzival ( Memento from March 4, 2016 in the Internet Archive )
  35. ^ Hartmann & Stauffacher Verlag - Twenty thousand pages ( Memento from March 4, 2016 in the Internet Archive )
  36. ↑ Radio play: Someone screams in our roses By Lukas Bärfuss , deutschlandfunkkultur.de, accessed April 23, 2019
  37. ↑ Schiller Prizes 2009 . ( Memento of October 7, 2014 in the Internet Archive ) Swiss Schiller Foundation
  38. ↑ Schiller Prizes for Raphael Urweider and Lukas Bärfuss . The Federal Government , March 16, 2009
  39. ↑ Culture Prize. Retrieved August 7, 2019 .
  40. ↑ Lukas Bärfuss receives the Berlin Literature Prize 2013. fu-berlin.de; Retrieved October 22, 2012
  41. ^ German Academy for Language and Poetry - Academy - Press - Lukas Bärfuss receives the Georg Büchner Prize 2019. Accessed on July 15, 2019 .
personal data
SURNAME Bärfuss, Lukas
BRIEF DESCRIPTION Swiss writer and theater maker
DATE OF BIRTH December 30, 1971
PLACE OF BIRTH Thun , Switzerland