Peter Hacks

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Peter Hacks (1976)
Peter Hack's Signature.jpg

Peter Hacks (born March 21, 1928 in Breslau ; † August 28, 2003 near Groß Machnow ) was a German playwright , poet , narrator and essayist . He founded the “socialist classic” in the 1960s and is considered to be one of the most important playwrights in the GDR . Hacks was the only German playwright whose plays were often played in both the GDR and the FRG. A conversation in the Stein house about the absent Herr von Goethe was his greatest success.

Life

resume

Peter Hacks (1956)

As the son of a socialist-anti-fascist family, Hacks spent his childhood and youth in Breslau until 1944, where his father worked as a lawyer. After the Reich Labor Service , he tried to evade military service in the final phase of the Second World War , and was captured by the Waffen-SS and then briefly in American captivity. In March 1946 he passed his Abitur in a special course at the Carl-Duisberg-Gymnasium in Wuppertal. The written Abitur examination in German took place with a reflection essay on Goethe's Torquato Tasso V, 5 “Is everything lost? … “- Do these words characterize the current situation in your life? . He then studied modern German literature , theater studies , philosophy and sociology at the Ludwig Maximilians University in Munich, living with his family in Dachau . In 1951, he was with a thesis on the play of the Biedermeier Dr. phil. PhD. From 1951 to 1955 he lived as a writer in Munich , worked there with James Krüss for the radio and appeared in cabaret with his own texts. He made contact with Erich Kästner , Bertolt Brecht and Thomas Mann . He asked Brecht whether it would be advisable to move to the GDR. Brecht advised him neither to nor from. In 1954 he received the then prestigious Dramatist Prize of the City of Munich for his first performed drama Opening of the Indian Age .

In 1955, Hacks, now married to the writer Anna Elisabeth Wiede , moved to the GDR and, with Brecht's help , settled in Berlin , where he initially worked for his Berlin ensemble . However, there was no constant collaboration between him and Brecht. From 1960 Hacks worked as a dramaturge at the Deutsches Theater Berlin , where several of his plays were performed. There he had a great advocate in the artistic director Wolfgang Langhoff . When the staging of his play The Worries and Power in 1962 sparked criticism from some SED functionaries , Hacks gave up his position as a dramaturge at DT in 1963 and lived again as a freelance writer.

Peter Hacks (1965)

At the same time as the Worry and Power scandal , Hacks celebrated his first major theatrical success with The Peace (after Aristophanes ) in Benno Besson's production. On the evening of the premiere on October 14, 1962 in the Deutsches Theater in Berlin, the iron curtain had to be opened 16 times during the 45-minute final applause. This was followed by great theater successes with Die Schöne Helena (1964, based on Henri Meilhac and Ludovic Halévy , music: Jacques Offenbach ), Amphitryon (1967), Adam and Eva (1972) and the Plundersweilern Fair (1973, based on Johann Wolfgang von Goethe ) the stages of the GDR and the Federal Republic of Germany . His play A Conversation in the Stein House about the absent Herr von Goethe (1974) was a global success: it has been staged around 190 times on over 170 German-speaking and foreign-language stages in a total of 21 countries.

The GDR's relationship with hacks remained contradictory. Hacks was still perceived by many functionaries and poet colleagues as a "bourgeois" or "aristocratic" poet, but his successes gave him more and more recognition: in 1964 he was elected to the PEN center of the GDR, in 1972 to the academy of Arts of the GDR, in 1974 he received the national prize of the GDR second class and three years later the first class.

He valued and supported Wolf Biermann in the early 1960s, he was even “loosely friends” with him, but then increasingly distanced himself. After Wolf Biermann's expatriation in 1976, he criticized the same, whose concern about the building of socialism was not credible. He overestimated himself both as a singer-songwriter and as a political thinker: "The more he overdone, the more his art needed scandal, in addition to the poem and the guitar." This was largely understood as a clear support for expatriation. As a result, Hacks was harshly attacked and boycotted by critics of expatriation in the East and many representatives of the Western art scene, and his plays were sold in West Germany.

Grave of Peter Hacks in the II. French Cemetery in Berlin-Mitte, near the grave of Theodor Fontane

Hacks did not use the end of the GDR as an opportunity to distance himself from his communist convictions. In 1991 he left the Akademie der Künste and refused, although he did not stop writing, to take part in the cultural activities of the united Germany. Towards the end of the 1990s he reappeared, especially in the “left scene”. The editions of his essays, his poems and his later dramas attracted broader attention, and the acclaimed edition of 2003, which became the final edition , received widespread attention . Hacks died that same year in his country house in Groß Machnow .

Contemporaries

Hacks' contemporaries have very different opinions of him. From the beginning of its public impact, strong advocacy and great enthusiasm repeatedly clashed with violent criticism and bitter hostility. There are many reasons for these extremes. Hacks' success with the public, the quality of his art, the self-confidence with which he claimed his place in the world as an artist, the consistency with which he adhered to decisions once made, aroused reluctance among many contemporaries. In addition, over time there was his increasingly clear and systematic rejection of modernism and romanticism , against which he set an aesthetic oriented towards the classical . The political development of the GDR, especially since the 8th party congress of the SED , contributed to this, because what many contemporaries saw as a positive development in cultural and economic policy, Hacks saw the beginning of the end. He tended to make very pointed judgments about his contemporaries. He did not hold back either in public, in correspondence or in personal contact. The intensity with which he praised and criticized was irritating for many. However, he perceived the literary production of his time as intensely and comprehensively as hardly any other writer, often and energetically advocating colleagues and young talents, but was also strict in his aesthetic and political judgments.

Although Hacks had to assert himself at the beginning of the 1960s on the one hand by the scandal surrounding his play Die Sorge und die Macht , on the other hand by his support for the construction of the Berlin Wall against strong pressure from many political representatives of both the Federal Republic of Germany and the GDR, he was the first among the playwrights of the GDR who made the big breakthrough among the theater audiences of both German states. He used the associated opportunities to promote other playwrights. He supported Heiner Müller financially and defended him against criticism. The increasingly visible differences in political and aesthetic issues, in particular the fact that Heiner Müller became a point of reference for the GDR opposition, caused the two playwrights to become estranged from one another in the 1960s, which at the beginning of the 1970s turned into open hostility . The writer Hartmut Lange was also intensively promoted by Hacks, and there was also a break with Lange: In 1965, during a holiday together in Yugoslavia, Lange sat down without first notifying Hacks and although he was with the state organs of the GDR had vouched for him, headed for the Federal Republic of Germany. After Müller and Lange, who considered hacks to be the greatest talent among the GDR playwrights, he valued Helmut Baierl and above all Rudi Strahl .

In the Academy of the Arts, Hacks was one of the most active members. In 1972 he founded the “Dramatics Working Group”, which was later renamed the “Aesthetics Working Group” and which lasted as such with a total of 21 sessions until 1979. He chaired all sessions, required discipline and good and precise preparation from the participants. First and foremost, he was interested in competent discussion partners; they did not have to share his political and aesthetic views. Participants were u. a. Helmut Baierl, Wolfgang Kohlhaase , Werner Mittenzwei , Robert Weimann , Anna Elisabeth Wiede , Günther Rücker , Rainer Kerndl , Wolfgang Harich , Benito Wogatzki , Alexander Abusch and Wieland Herzfelde . From 1988 to 1990 a second working group took place under the direction of Hacks in nine sessions: "Technique of Drama", in which Hacks gathered young poets and discussed questions of the dramatic craft with them. Participants were u. a. Christoph Hein , Lothar Trolle , Jens Sparschuh , Jörg-Michael Koerbl and Ronald M. Schernikau .

In the 1960s and 1970s, Hacks was a personality in the literature and theater business that many orientated themselves by and whose proximity was often sought. That changed in view of his remarks on Wolf Biermann's expatriation (see above) in 1976, gradually also because Hacks saw theatrical culture in decline since the late 1960s, and a fight against the tendencies that he regarded as “revisionist” Art and politics led. This also made him a persona non grata for many artistic directors. In the 1980s, and even more so after the end of the GDR, Hacks became increasingly picky about his participation in public life. André Müller senior was one of his closest friends . , Eberhard Esche , Karin Gregorek , Hans-Joachim Pavel , Gotthold Gloger , Kurt Belicke and Heidi Urbahn de Jauregui , as well as Wolfgang Kohlhaase , Walter Beltz , Gerhard Piens and Dieter Noll .

Think

aesthetics

From the beginning, Hacks accompanied his poetry through theoretical reflections and left an extensive essayistic work.

In the early 1960s, Hacks was able to free himself from the influence of Brecht's aesthetics , in which he had been since 1954, by turning to classical music. An implicit tendency of Brechtian aesthetics, which understands the form of a work of art as something purely external, i.e. merely disguising the content, is an art practice that, in order to better promote and promote the content of the work of art, often involves breaking up traditional forms aims. The traditional means of artistic craftsmanship are understood from this point of view as an expression of older social conditions, the more recent art production is therefore mostly considered to be better because it is more advanced. Hacks, on the other hand, developed - initially in an orientation towards the works of art of Shakespeare and Greek drama , later also in a theoretical recourse primarily to Aristotle , Hegel , Goethe , Schiller and Lukács - the idea that the form constitutes the peculiar existence of the content and itself both do not exclude, but cannot exist without each other. Linked to this conception was the rejection of ideas that wanted art to be placed in the direct service of politics or science. In his Art and Revolution (1971), Hacks wrote:

“Admittedly, art is a weapon. Admittedly, a mallet is a weapon. According to Aristotle, it does not follow from this that art must be a mallet. Rather, it follows that the better art it is, the better the weapon. "

Hacks' rejection of romanticism , whose roots he saw in political conceit, irrational thinking and aesthetic impotence or unwillingness, and modernity , which for him was the most important , is based on this conception from the beginning, but only expressed through an increasing awareness of the crisis Continuation of the romantic lines of tradition in the 20th century was. The decline of the poetic craft, the negation of the genre and the concept of the work, the loss of the claim to entertain the audience, were for Hack the manifestations of a zeitgeist that he perceived as barbaric.

A constant in his aesthetic thinking are reflections on questions of genre . For him, genres are “the tools of art” and “whoever understands the tool, pretty much understands the product”. Understanding the genre is in the interest of the best possible production of art. The genres that Hacks has investigated - sometimes in more detail, sometimes briefly - include: a. Drama , libretto , poem , song , ballad , fairy tale drama and pornography .

Worldview and Politics

A constitutive element of Hacks' view of the world is an unconditional inclination towards reason, which means not only a general joy in thinking and an aversion to the irrational, but also a strong interest in achieving results through thinking. For Hacks, who resolutely rejected positivism , theoretical reflections were not an end in themselves, but always had the goal of forming a theory that would further advance knowledge of the subject and only thus be able to work back on the world.

Hacks gained a Marxist stance in the early 1950s . With his move to the GDR at the latest , a clear and lifelong commitment to the political and state organizations of the socialist workers' movement was connected with this. However, he remained an independent mind throughout his life. On the one hand, vehemently orienting himself towards the classics, on the other hand, he continuously developed his own ideas about art, philosophy, politics and history. For example, in his book Schöne Wirtschaft , he applies the categories of Marx's economic theory to the conditions for the production and sale of works of art, thereby also showing the limits of this theory for this area. An example of his position in the Marxist tradition is Hacks' judgment on absolutism , in which, contrary to what is usual in the Marxist tradition, he saw an independent social formation that was to be distinguished from feudalism and capitalism and which historically had a right to exist. At the same time, he also made the limits of capitalist society clear - often through the perspective of Goethe , but always with Marxist means. He took his concept of the state , although not far removed from Marx and Lenin , more from Hegel than from Marx: Only in and through the state people would have a chance to realize their general and their special interests. The Marxist thesis of the “withering away of the state” was only acceptable to Hacks in the sense of the abolition of the state through the path of its perfection. In this sense, however, he accepted them, which enabled him to convey the views of Marx and Lenin with those of Hegel.

In his political orientation, Hacks, who always saw himself as a Marxist-Leninist , was a supporter of Walter Ulbricht , especially of his politics since the VI. Party congress and the associated conception of the New Economic System , which Hacks saw as the beginning of the full development of socialist society. Logically, he rejected the overthrow of Walter Ulbricht in 1971 by Erich Honecker and the associated change in politics. It is one of the numerous contradictions in Hacks' life that he was much more exposed to criticism from the SED in the Ulbricht era and was much less recognized as a poet of the GDR than in the Honecker era. With the economic stagnation of the GDR that began under Honecker, Hacks became more conscious of the crisis. In the 1960s he was still - strengthened by the economically positive development of the GDR - essentially of the conviction that socialism would triumph in the systematic struggle solely through its superior productive power. In the 1970s he was concerned with the question of how a drop in quality like that of Ulbricht zu Honecker could be prevented or reversed.

Create

Drama

The core of his work as a poet is drama . Hacks himself has repeatedly emphasized that dramatic writing is the only craft that he has really mastered. He wrote mostly comedies , occasionally plays , a tragedy (Jonah. A tragedy). Characteristics of his pieces are generally a great lightness, humor, richness of thought, linguistic elegance and a skilful, but not too ramified, fable management. With increasing age, there is a clear tendency towards smaller personages. His characters consistently speak the language of the author, i. H. no figurative languages ​​that would have to express the personal or social limitations of certain characters through special expressions, dialects or any linguistic inability at all. Most of the characters are carriers of their own philosophy and are worked out as character-spiritual units, while the plot seems to result from this. In contrast to Brecht, it is not so important for Hacks to show the prevailing social necessity on his stage, in which the characters are driven back and forth and they basically only have an insight into these necessities, but he leaves them without but to construct a world without laws and constraints on his stage, his characters room for decisions. Dramaturgically he tied primarily to two lines of tradition: the Euripidean and Shakespeare , both of which he considered to be the most important of world dramatic literature. Hacks writes about this:

“I learned drama in the best schools. When I was little, I liked Pocci , who guided me to the Wiener Posse on the one hand and Shaw on the other . I soon found out that by the Wiener Posse I meant Shakespeare and by Shaw the Greeks. Anyone who has Shakespeare and the Greeks will one day understand German classical music , and Goethe and Shaw - under the influence of a socialist field of experience - probably also refer back to the French . I think that the totality of these permanent and unconquerable states of the drama results in a sufficiently well-established platform for new explorations and further attempts. "

Poetry

Hacks emerged late as a lyric poet with high standards. At the beginning of his career, in addition to finger exercises and casual political work, he limited himself to composing songs for his pieces. His desire to write poetry increased as he became dissatisfied with the social reality in the GDR. As in the drama, he oriented himself in the poetry primarily to Shakespeare and the Greeks, whereby here too, over time, there is an ever more intensive recourse to Goethe. A special feature of his poetry is its close relationship to that of Heinrich Heine . Most of Hacks' poems are metric and mostly rhymed.

Epic

Hacks' epic is mostly children's literature, and it is fairytale-like throughout. His inclination towards a cheerful state of mind, his narrative imagination, his dramatic temperament and his ability to simply express the difficult were beneficial in this genre. At the same time, he knew how to write the stories in such a way that they can also be read at a profit for adults. His children's literature also deals with important topics and only differs in the way he treats Hacks' drama or his epic for adults.

Essay writing

The need for political, philosophical and, above all, aesthetic self-understanding made Hacks emerge as the author of essays . As far as the design is concerned, he is strongly following the French tradition: the essays are written with a view to legibility. The language is attractive, fluent and clear. As far as the structure of the essays and their content is concerned, however, Hacks is more in the German tradition: His claim to systematically think through difficult topics and his ability to develop theories dramatically, gave his essays a finesse in structure and a theoretical level, as is seldom found among contemporary authors.

Edition and research

A final edition was published by Eulenspiegel Verlag while Peter Hacks was still alive . With the successive evaluation of the estate, the density of the editions has increased since 2003. Philological projects, however, emerged mainly outside of academic structures. André Müller Sr. published Conversations with Hacks in March 2008 ; his correspondence with the poet is planned for 2017. Both projects are being carried out under the umbrella of Eulenspiegel-Verlag, where a five-volume edition of the young Hack's works and writings has been published. In August 2009 Eulenspiegel founded the Imprint Aurora Verlag , which is supposed to bundle the scientific projects for Peter Hacks. In addition to specialist books, there are also commented individual editions. In autumn 2010, Jens Mehrle and Thomas Keck presented an edition of all the minutes of the discussions of the working groups in the Academy of the Arts under the title Berlinische Dramaturgie .

Until 2012, VAT Verlag André Thiele operated the Edition Neue Klassik, a book series that gathers scientific publications on Peter Hacks. In the summer of 2008, for example, the Peter Hacks Bibliography , obtained by Ronald Weber, was number 1 in the series ; it was followed by Annette Lose's list of Hacks settings and, with Felix Bartels ' achievement and democracy, the first monograph since the playwright's death. In addition, a Hacks biography written by Ronald Weber was planned for the end of 2014, but could not appear due to problems with the printing rights. It has since been published by Eulenspiegel-Verlag. From September 2007 to March 2012 the VAT journal “ ARGOS. Messages on the life, work and posterity of Peter Hacks ”.

At the end of 2007 the Peter-Hacks-Gesellschaft e. V. founded, the chairman of which is the publisher Matthias Oehme. The association aims to promote scientific and cultural engagement with Peter Hacks. One result of this activity is the annual scientific Peter Hacks conference that has been held since 2008. The Neue Klassik foundation, founded in summer 2009, pursues similar goals, but its work is not limited to hacks projects.

Prices

Works (selection)

Early work

  • The young Hacks , edited by Gunther Nickel , in collaboration with Meike Bohn, 5 volumes (poems; plays; radio plays; prose; letters and life documents); Berlin: Eulenspiegel 2018; ISBN 978-3-359-02376-0

Poetry

Collections
Selection expenses
  • Tamerlan in Berlin. Poems from the GDR. Berlin: Eulenspiegel - The New Berlin , 2002
  • 100 poems. Eulenspiegel, Berlin 2004
  • Love poems. Leipzig: Reclam, 2006
  • Perfect world. Love poems. selected by Heike Friauf , with thirteen graphics by Thomas J. Richter ; Eulenspiegel, Berlin 2007
  • Not my bones in this fatherland. Eulenspiegel, Berlin 2008
  • A hundred poems . Eulenspiegel Verlag, Berlin 2018, ISBN 978-3-359-01375-4 .

Dramatic works

The early pieces

  • The Volksbuch vom Duke Ernst (1953, Premiere 1967, Nationaltheater Mannheim)
  • Opening of the Indian Age (1954, premier 1955, Münchner Kammerspiele; 1970 2nd version under the title Columbus or: Die Weltidee zu Schiff )
  • The Battle of Lobositz (1955, Premiere 1956, Deutsches Theater Berlin )
  • Der Müller von Sanssouci (1957, premiere 1958, Deutsches Theater Berlin / Kammerspiele)
  • The child murderer (1957, EA 1959, Wuppertaler Bühnen)

The dramas

  • Drama (1969). Premiere 1970 Frankfurt am Main (Municipal Theaters)
  • Opera (1974). Music: Siegfried Matthus. Premiere in Weimar in 1976
  • Numa (1971, 2nd version 2002)
  • Adam and Eva (1972, Premiere 1973, Staatsschauspiel Dresden) Director: Klaus Dieter Kirst
  • The Birds (Libretto after Aristophanes , 1973, premiere 1980, Staatsschauspiel Dresden)
  • The Plundersweilern fair (based on Johann Wolfgang von Goethe 1973, premiered 1975, Deutsches Theater Berlin / Kammerspiele)
  • A conversation in the Stein house about the absent Herr von Goethe (1974, premiere 1976, Staatsschauspiel Dresden) Director: Klaus Dieter Kirst
  • Rosie dreams (1974, premiere 1975, Maxim-Gorki-Theater Berlin)
  • The Fish (1975, Premiere 1978, Deutsches Theater Göttingen)
  • Seneca's death (1977, premiere 1980, Deutsches Theater Berlin / Staatsschauspiel Dresden)
  • Pandora (based on Johann Wolfgang von Goethe, 1979, premiere 1982, Deutsches Theater Göttingen)
  • Muses (Four Scenes, 1979, premiere 1983, stages of the city of Magdeburg)
  • Die Binsen (1981, premiere 1985, Theater im Palast Berlin, director Eberhard Esche )
  • Barby (1982, after He is back by Rudi Strahl , WP Halle 1983, directed by Peter Sodann )
  • Fredegunde (1984, premiere 1989, Braunschweig State Theater)
  • Jona (1986, premiere 2009, Schauspiel Wuppertal, directed by Marc Pommerening )

The late pieces

  • Fafner, the muskrat mouse (1991, premiere 1992, United Städt. Bühnen Krefeld-Mönchengladbach: Director: Peter Schanz )
  • Der Geldgott (based on Aristophanes , 1991; premiere 1993, Theater Greifswald, director: Manfred Dietrich , set design: Andreas Bartsch, music: Ottmar-Wolfram Vogel)
  • The King's Painter (1991)
  • The courtesy of genius (Dramolett, 1992, premiere 1994, Piccolotheater Hamburg)
  • Genovefa (1993, premiere 1995 Chemnitz City Theater)
  • Orpheus in der Unterwelt according to Jacques Offenbach (libretto and operetta for actors, 1995, premiere 1998, Theater Provinz Kosmos in Kulturpalast Bitterfeld , director: Jens Mehrle / Stefan Nolte )
  • Bojarenschlacht (after Jakob Knaschnin , 1996)
  • Tartar battle (based on Ladislaus Oserow , 1996, premier 2005, Theater Erlangen)
  • The false tsar (after Alexander Sumarokow , 1996)
  • The Bishop of China (1998, premiere 2004, Theater Waidspeicher Erfurt)
  • The Party Congress (Dramolett, 2003)
  • Phraates (Dramolet, 2003)
  • Berlin Novella (Dramolett, 2003)

Fairy tale dramas

  • The Children (1981); First performance on February 12, 1984 in the Greifswald Theater, director: Manfred Dietrich , set designer Eckehard König, music: Ottmar-Wolfram Vogel
  • Marie's Baby (1982)

boulevard

  • Inspector Campbell's last case (1962), or also under the title: Getting married is always a risk (1963), as Saul O'Hara

Epic works

The stories

  • Ekbal, or A Theater Trip to Babylon (1961)
  • The Schuhu and the Flying Princess (1964)
  • History of my opera (1972)
  • Magister Knauerhase (1982)
  • Countess Poplar (1992)
  • The whale (1987)

Children's fairy tale

  • The Wind Hole (1956)
  • The tower dungeon (1961)
  • Poor Knight (1977)
  • Uncle Mo (1981)
  • Kinderkurzweil (collection of all fairy tales, 1981 and (expanded) 2003)

picture books

  • True to life at the crooked window (with illustrations by Ruth Mossner, 1983)

Children's novels

Essays

Collections

  • The standards of art. Collected Essays. (1977, expanded 1996 and 2003)
  • André Thiele (Ed.): In the end you will understand. Political Writings 1988–2003. Eulenspiegel, Berlin 2005.
  • Peter Hamm (ed.): Marxist perspective. Political writings 1955-2003. Eulenspiegel, Berlin 2018, ISBN 978-3-359-01329-7

Smaller essays

  • The Biedermeier play (dissertation, 1951)
  • Some platitudes about playwriting (1956)
  • Attempt on Tomorrow's Play (1960)
  • About the verse in Müller's Resettler Fragment (1961)
  • Faust Notes (1962)
  • Iphigenia, or On the Reuse of Myths (1963)
  • The Poetic (1966)
  • Utopia and Reality (1966, foreword to Das Poetisch )
  • Art and Revolution (1971)
  • The creation of "Duke Ernst" (1972)
  • About "Adam and Eve" (1972)
  • On Revising Classics (1975)
  • The arboretum (1975)
  • Three looks at Tasso and a cross-eyed one (1975)
  • About contemporary drama, in conclusion. To "Moritz Tassow" (1976)
  • The advance in art (1976)
  • The perjury poet (1976)
  • Numa or the Middle (1977)
  • Classical and Romanticism in the GDR (1977, preface to poetry up to Mitterwurzer )
  • Acid festivals. To "Pandora" (1980)
  • A Goethean answer to questions of theater architecture (1982)
  • To porters (1983)
  • The merry women of Paris. To "Fredegunde" (1984)
  • "Jonah". Accessories and Reason (1987)
  • The Scientific Society and its Mr Neighbor (1989)
  • The joyless science (preface to the collection of the same name, 1990)
  • A Shakespeare motto over a Büchner comedy (1990)
  • The muses are silent under the media (1990)
  • The blackness of the world at the entrance of the tunnel (1990)
  • Multiple Boredom (1994)
  • The names of the left (2000) [1]

Great essays

Provisions

  • Attempt on the Libretto (1973)
  • How to Make Poems, or: Justification to Belinden (1974)
  • What is a drama , what is a child? (1978)
  • Urpoesie, or: The seemingly dead child (1984)
  • Left Workers (1988)

Letters

  • Collections
- Peter Hacks writes to “Mamama”. The family letter exchange. Edited by Gunther Nickel. Eulenspiegel , Berlin 2013, ISBN 978-3-359-02340-1 .
- Dear colleague. Letters to writers. Edited by Rainer Kirsch . Eulenspiegel, Berlin 2006, ISBN 978-3-359-01639-7 .
  • Correspondence
- with Albert Ebert , in: Adam and Eva. Reclam, Leipzig; Claassen, Düsseldorf 1976, ISBN 3-546-43726-8 .
- with Hans Magnus Enzensberger Hans Magnus Enzensberger - Peter Hacks. An exchange of letters from 1957 to 1962. Ed. Alexander Karasek and Roland Berbig. In: Berliner Hefte on the history of literary life. 8 (2008), pp. 34-64.
- with Gottfried Fischborn , in: Gottfried Fischborn / Peter Hacks: Fröhliche Resignation. Interview, letters, essays, texts. Eulenspiegel, Berlin 2007, ISBN 978-3-359-01684-7 .
- with Kurt Gossweiler , in: In the end you will understand. Political Writings 1988–2003. Edited by André Thiele and Johannes Oehme. Eulenspiegel, Berlin 2005; ISBN 978-3-359-01626-7 .
- with Elly Hacks: letters to mother . In: Sinn und Form 3/2012, pp. 298–310. In addition: Gunther Nickel, "End of page, end of letter, Affectionately Peter". Peter Hacks writes to "Mamama" . SINN UND FORM 3/2012, pp. 293-297;
- with Hans Heinz Holz , in: Now I have given you some trouble - letters. Texts. Memories. Edited by Arnold Schölzel. Eulenspiegel, Berlin 2007, ISBN 978-3-359-01673-1 .
- with Heinar Kipphardt , in: I really miss you . Eulenspiegel, Berlin 2004; ISBN 978-3-359-01606-9 .
- with André Müller sen. , in: Only that we are a little clearer. The correspondence in 1989 and 1990. Eulenspiegel, Berlin 2002.
- with Ronald M. Schernikau , in: Then we still have a chance. concrete , Hamburg 1992.
- with André Thiele : The correspondence between Peter Hacks and André Thiele 1997-2003 . Edited by Felix Bartels. Eulenspiegel, Berlin 2012, ISBN 978-3-359-02377-7 .
- with Eva-Maria Hagen : Liaison amoureuse. Eulenspiegel, Berlin 2013, ISBN 978-3-359-02403-3 .

conversations

  • Interview [Peter Hacks in conversation with Gerda Baumbach , Gottfried Fischborn and Rolf Rohmer], in: Gottfried Fischborn / Peter Hacks: Fröhliche Resignation. Interview Letters Essays Texts, Berlin 2007, pp. 15–100.
  • Berlin dramaturgy. Conversation minutes of the academy working groups headed by Peter Hacks , ed. v. Thomas Keck and Jens Mehrle, 5 vols., Berlin 2010.

CDs

Quotes (selection)

“Hacks belongs to the party of the incorruptible. It is well known that this is a very small party. "

- Eberhard Esche : 2003

"A clear head like Hacks works regardless of whether his cleverness is booming or not."

- Wiglaf Droste : 2004

"Peter Hacks is a tremendously refreshing source that has not even begun to be tapped in the West."

- Martin Mosebach : 2007

“Now, I hear, many theaters in German-speaking countries have enormous repertoire difficulties. I recommend, of course, very quietly and shyly to fall back on Peter Hacks. "

- Marcel Reich-Ranicki : 2004

“For me, language is the most reliable criterion in judging literature. All Germans who have condemned hacks have to admit (I want to bet on every amount) that there is no literary figure in Germany whose language is more perfect than that of hacks. There is simply no writer who can master the language and all known poetry and styles like hacks. There is no other contemporary writer like him. "

- Ella Wengerowa : 2008

“World history has put an end to its purring engine. But he sees no reason to overhaul his engine. He races on with him through the completely changed landscape. Those who like stubborn old donkeys will warm themselves to hacks. However, if you enjoy a mind that analyzes and mocks reality, instead of just beating it down with its monotonous yeh for fifty years, Hacks will not be bored for long. [...] Hacks is a clever head for know-it-alls, so for stupid people. "

- Arno Widmann : 2007

“When the boy Biermann gossiped on his magic horn years ago about the little things that went through his head, it was very lovely. Even then the rhymes were bad, the verses bumpy, the thoughts twisted; even then, the words were not important enough not to require the assistance of the music, and the melodies not strong enough to hold out without words. […] Böll, we know him, is the hostel father over there for dissident traveling companions. Biermann slept in his bed, and I hope he didn't find Solzhenitsyn's lice in it. "

- Peter Hacks : 1976

Filmography

literature

To person

Periodicals

  • Argos . Messages on the life, work and posterity of the poet Peter Hacks, until 2010 ed. by André Thiele , published until 2012. by Gunther Nickel , Mainz 2007
  • Conference volumes of the Scientific Conference of the Peter Hacks Society, ed. by Kai Köhler, Berlin 2009 - [published annually]

Monographs

  • Ronald Weber: Peter Hacks, Heiner Müller and the antagonistic drama of socialism. A dispute in the literary field of the GDR. Berlin: de Gruyter 2015 (German literature. Studies and sources; 20); ISBN 978-3-11-043202-2 .
  • Peter Schütze: Peter Hacks. A contribution to the aesthetics of drama. Kronberg 1976.
  • Christoph Trilse : The work of Peter Hack. Berlin: People and Knowledge; Verlag Das Europäische Buch, Berlin 1980 (1981 2 ; ISBN 3-920303-84-9 ).
  • Gertrud Schmidt: Peter Hacks in FRG and GDR. A comparison of reception. Cologne 1980; ISBN 3-7609-5039-6 .
  • Andrea Jäger: The playwright Peter Hacks. from production piece to classicism. Marburg 1986.
  • Peter Hacks: Topos - International Contributions to Dialectical Theory , Issue 23; Naples 2005; ISSN  0943-1810 ( special issue on the poet)
  • Heidi Urbahn de Jauregui : Between the chairs. The poet Peter Hacks. Berlin 2006.
  • Ronald Weber: Peter Hacks Bibliography. List of writings by and about Peter Hacks 1948–2007. Mainz 2008; ISBN 978-3-940884-01-5 .
  • Felix Bartels: Achievement and Democracy. Genius and society in the work of Peter Hacks. Mainz 2010, ISBN 978-3-940884-41-1 .
  • Gottfried Fischborn : Peter Hacks and Heiner Müller. Essay (180 pages) Verlag André Thiele, Mainz 2012; ISBN 978-3-940884-72-5 .
  • Ronald Weber: Dramatic Antipodes - Peter Hacks, Heiner Müller and the GDR. Helle Panke, Berlin 2014 (booklets on GDR history; 132).

Web links

Commons : Peter Hacks  - collection of images, videos and audio files
Articles and essays

Individual evidence

  1. ↑ 150 years - CDG in motion, chap. Peter Hacks
  2. ^ Dieter Kranz: Berliner Theater , Henschel-Verlag Berlin 1990, p. 75
  3. ↑ Ronald Weber: Peter Hacks, Heiner Müller and the antagonistic drama of socialism
  4. ↑ Weltbühne , issue 47/1976, December 7, 1976, p. 1541 ff, printed in Rotfuchs 219 - April 2016, Peter Hacks: Ein Eduard Bernstein des Tingeltangel
  5. ↑ Biermanns Rekonquista 30 years ago today, the bailiff was expatriated from the GDR. Peter Hacks on "Eduard Bernstein des Tingeltangel" , Junge Welt, November 16, 2006, page 10
  6. ↑ The gray inks of Peter Hack . In: Der Spiegel . No. 5 , 1977, pp. 124-126 ( Online - Jan. 24, 1977 ).
  7. ↑ Ronald Weber: Peter Hacks, Heiner Müller and the antagonistic drama of socialism
  8. ↑ Peter Hacks: Works , Volume 13; Berlin: Eulenspiegel-Verlag, 2003; P. 139 [in the following always: HW]
  9. ↑ HW XIV, 9
  10. ↑ HW XV, 288
  11. ↑ Peter Hacks biography does not appear. October 28, 2014, archived from the original on November 13, 2014 ; accessed on April 16, 2016 .
  12. ↑ Argos Archives. Archived from the original on April 11, 2011 ; accessed on April 16, 2016 . ISSN 1865-049X  
  13. ↑ zeit online: Fundstück (1983) (accessed April 8, 2014)
  14. ↑ Reading sample from issue 3/2012 , on www.sinn-und-form.de
  15. ↑ On the death of Peter Hacks by Eberhard Esche. MDR , August 29, 2003, archived from the original on April 10, 2005 ; accessed on April 16, 2016 .
  16. ↑ Quotations. on peter-hacks-gesellschaft.de
  17. ^ Mosebach on October 29, 2007 in an SZ interview
  18. ↑ Reich-Ranicki in Frankfurter Allgemeine Sonntagszeitung, edition of October 24, 2004, article not online “Ask Reich-Ranicki: How do you feel about Peter Hacks, whose play A conversation in the house of Stein about the absent Herr von Goethe you in now ... "(879 words)
  19. ↑ The Russian translator Ella Wengerowa was awarded the German W. Schukowski Prize. Interview. (No longer available online.) In: de.sputniknews.com. November 8, 2008, archived from the original on April 16, 2016 ; accessed on April 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / de.sputniknews.com
  20. ↑ http://www.perlentaucher.de/artikel/3564.html
  21. ↑ Weltbühne , issue 47/1976, December 7, 1976, p. 1541 ff, printed in Rotfuchs 219 - April 2016, Peter Hacks: Ein Eduard Bernstein des Tingeltangel
personal data
SURNAME Hacks, Peter
BRIEF DESCRIPTION German playwright and writer
DATE OF BIRTH March 21, 1928
PLACE OF BIRTH Wroclaw
DATE OF DEATH August 28, 2003
Place of death Great Machnow