- Born: Nov 08, 1916
- Occupation: Writer, Director, Actor
- Active: '60s-'70s
- Major Genres: Drama, Epic
- Career Highlights: Marat / Sade, Hagringen
- First Major Screen Credit: Hagringen (1960)
Peter Weiss
| Writer: Peter Weiss |
| Filmography: Peter Weiss |
| Britannica Concise Encyclopedia: Peter Ulrich Weiss |
For more information on Peter Ulrich Weiss, visit Britannica.com.
| German Literature Companion: Peter Weiss |
Weiss, Peter, (Nowawes nr. Berlin, 1916-82, Stockholm), emigrated with his parents in 1934 to London and, two years later, to Czechoslovakia, where his studies at the Academy of Art in Prague were terminated by the German invasion causing the family to move to Sweden. During the following years he made his living as a graphic artist, taking Swedish nationality in 1945. In 1947 he renewed contact with Germany by briefly returning as a newspaper reporter, having by now begun to produce his first prose and poetry, including Från ö till ö (1947), De besegrade (1948, as Die Besiegten, 1986), Dokument I (1949, as Der Fremde, 1980), and Duellen (1953, as Das Duell, 1972). His first and experimental novel in German, Der Schatten des Körpers des Kutschers (1960, written 1952), limits itself to recording observations, deliberately abstaining from suppositions about psychological events. Its title refers to the last episode, a coition observed in silhouette from outside the room in which it takes place. Das Gespräch der drei Gehenden (1963), the plays Der Turm (1963, written 1948), Die Versicherung (1967, written 1952), Nacht mit Gästen (1963), and Wie dem Herrn Mo-ckinpott das Leiden ausgetrieben wird (1968) are among other works written during this phase of search for identity and aesthetic commitment, which so far tended towards surrealism. The autobiographical Abschied von den Eltern (1961) was written on the death of his parents in 1959 and followed by Fluchtpunkt (1962), tracing his life from childhood up to his arrival in Sweden, including his stay during the summer of that year with H. Hesse, with whom he shared a tendency towards inwardness. From the mid-1960s Weiss began to subordinate his individualism to his political involvement.
Two plays established his international reputation, Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (1964, fifth version 1965), commonly referred to as Marat/Sade, and Die Ermittlung (1965), a documentary described as an oratorio dealing with the mass murder of Jews in the 1939-45 War. The Marxist stance adopted by Weiss after completing the first version of Marat/Sade is maintained in the play Gesang vom lusitanischen Popanz (1967), dealing with Portuguese colonial policy, the documentary drama Diskurs über die Vorgeschichte und den Verlauf des lang andauernden Freiheitskrieges in Viet Nam … (1968), Trotzki im Exil (1970), and Hölderlin (1971, second version 1973), presenting the poet (see Hölderlin, J. C. F.) as a victim of social conformity. The collected plays appeared in two volumes, Stücke I and Stücke II/1 and II/2 in 1976-7; the last volume contained Der Prozess, a two-act play based on Kafka's novel (see Prozess, Der) published in entirely revised form as Der neue Prozess in 1981. Kafka and Brecht were major influences. Rimbaud. Ein Fragment (1982 in text+kritik 37) and his translation of three plays by Strindberg, Der Vater, Fräulein Julie, and Ein Traumspiel, contained in Drei Stücke (1981), reflect aspects of his early preoccupations. For ten years Weiss worked on the three volumes of his major project, Die Ästhetik des Widerstands, which appeared in 1975, 1978, and 1981, covering almost a thousand pages. Having himself suffered deep conflict with his father and his upper-middle-class background, Weiss assumes in this work the identity of a working-class figure, in whose guise he follows events and stages in his own life, which forms the basis of an amply documented investigation into the failure of the anti-fascist resistance. The title draws attention to the responsibility of art towards the cause of resistance; in this quasi-autobiographical work (‘Wunschbiographie’) this implies self-criticism as well as being a reminder to the Left not to abandon this cause. Weiss's stark representation of suffering, recalling his oratorio, remains his most powerful anti-fascist argument.
Weiss had accepted the Büchner Prize of 1982 before his death. The customary Dankrede to this posthumous award was given by his wife Gunilla Palmstierna-Weiss and published in Sprache im techni-schen Zeitalter (85/1983). Other publications include Notizbücher 1960-1971 (2 vols., 1982) and Notizbücher 1971-1980 (2 vols., 1981). Correspondence, Briefe an Hermann Levin Goldschmidt und Robert Jungk 1938-1980, ed. B. Mazenauer, appeared in 1992; Werke (6 vols.), published by Suhrkamp Verlag in collaboration with G. Palmstierna-Weiss, in 1991.
| Columbia Encyclopedia: Peter Weiss |
Weiss, Peter (pā'tər vīs) , 1916–82, German-Swedish dramatist, novelist, film director, and painter. Weiss's early novels Abschied von den Eltern (1961; tr. Leavetaking, 1962) and Fluchtpunkt (1962; tr. Vanishing Point, 1967) draw upon his emigration experience. His philosophic drama on the nature of revolution, The Persecution and Assassination of Jean Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade (1964; tr. 1965), effectively conveys the atmosphere of an insane asylum as a social microcosm. Both this and his play Die Ermittlung (1965; tr. The Investigation, 1966) were international successes. The Investigation uses texts from the 1964 Frankfurt war crimes trial to demonstrate that the capitalist system, responsible for Auschwitz, exists in postwar society. Later works include the documentary drama Trotzki im Exil (1970; tr. Trotsky in Exile, 1971) and The Song of the Lusitanian Bogey (tr. 1970).
Bibliography
See studies by I. Hilton (1970), K. Vance (1981), and R. Ellis (1988).
| Wikipedia: Peter Weiss |
Peter Ulrich Weiss (November 8, 1916 – May 10, 1982) was a German writer, painter, and artist of adopted Swedish nationality. He is particularly known for his play Marat/Sade and his novel The Aesthetics of Resistance.
Contents |
Life
Weiss was born in Nowawes (now part of Potsdam-Babelsberg), Brandenburg, to a Hungarian Jewish father and Christian mother. At age three he moved with his family to Bremen, and then during his adolescence to Berlin where Weiss began training for a career as a visual artist. In 1934 he emigrated with his family to Chislehurst, near London, England, where he studied photography at the Polytechnic School of Photography, and then in 1937-1938 attended the Prague Art Academy. After the German occupation of the Sudetenland in 1938, his family moved to Sweden, and Weiss himself removed to Switzerland. In 1939 he again emigrated to Stockholm, Sweden, where he lived for the rest of his life. He became a Swedish citizen in 1946.
Weiss was married three times: to the painter Helga Henschen, 1943; to Carlota Dethorey, 1949; and to Gunilla Palmstierna, 1964. He was politically active as a member of the Communist Party of Sweden, and in 1967 participated in Bertrand Russell's tribunal against the Vietnam War in Stockholm.
In 1970 Weiss suffered a heart attack. He wrote little after that, and died in Stockholm in 1982.
Art and literature
Weiss' first art exhibition took place in 1936. His first produced play was Der Turm in 1950. In 1952 he joined the Swedish Experimental Film Studio, where he made films for several years. During this period, he also taught painting at Stockholm's People's University, and illustrated a Swedish edition of The Book of One Thousand and One Nights. Until the early 1960s, Weiss also wrote prose. His work consists of short and intense novels with Kafkaesque details and feelings, often with autobiographical background. One of the most known films made by Peter Weiss is an experimental one, The Mirage (1959) and the second one - it is very seldom mentioned - is a film Weiss directed in Paris 1960 together with Barbro Boman,a film with the title Play Girls or The Flamboyant Sex (Schwedische Mädchen in Paris or Verlockung in German). The last one was a film about it lately is said in an advertisement "that even Paris was shocked"! Among the short films by Weiss The Studio of Doctor Faust (1956) shows the extremely strong link of Weiss to a German cultural background.
Weiss' best-known work is the play Marat/Sade (1963), first performed in West Berlin in 1964, which brought him widespread international attention. The following year, legendary director Peter Brook staged a famous production in New York City. It studies the power in society through two extreme and extremely different historical persons, Jean-Paul Marat, a brutal hero of the French Revolution, and the Marquis de Sade, for whom sadism was named. In Marat/Sade, Weiss uses a technique which, to quote from the play itself, speaks of the play within a play within itself: "Our play's chief aim has been to take to bits great propositions and their opposites, see how they work, and let them fight it out." The play is considered a classic, and is still performed, although less regularly.
Weiss was honored with the Charles Veillon Award, 1963; the Lessing Prize, 1965; the Heinrich Mann Prize, 1966; the Carl Albert Anderson Prize, 1967; the Thomas Dehler Prize, 1978; the Cologne Literature Prize, 1981; the Bremen Literature Prize, 1982; the De Nios Prize, 1982; the Swedish Theatre Critics Prize, 1982; and the Georg Büchner Prize, 1982.
A translation of Weiss' L'instruction (Die Ermittlung) was performed at London's Young Vic theater by a Rwandan company in November 2007. The production presented a dramatic contrast between the play's view on the Holocaust and the Rwandan actors' own experience with their nation's genocide.
Selected works
All works were originally written in German unless otherwise noted. English translations are in parentheses.
Plays
- 1949 Der Turm (The Tower)
- 1952 Die Versicherung
- 1963 Nacht mit Gästen (Night with Guests)
- 1963/5 Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade) - generally known as Marat/Sade
- 1963/8 Wie dem Herrn Mockinpott das Leiden ausgetrieben wird (How Mr. Mockinpott was cured of his Sufferings)
- 1965 Die Ermittlung (The Investigation)
- 1967 Gesang vom lusitanischen Popanz (Song of the Lusitanien Bogey)
- 1968 Diskurs über die Vorgeschichte und den Verlauf des lang andauernden Befreiungskrieges in Viet Nam als Beispiel für die Notwendigkeit des bewaffneten Kampfes der Unterdrückten gegen ihre Unterdrücker sowie über die Versuche der Vereinigten Staaten von Amerika die Grundlagen der Revolution zu vernichten (Discourse on the Progress of the Prolonged War of Liberation in Viet Nam and the Events Leading up to it as Illustration of the Necessity for Armed Resistance against Oppression and on the Attempts of the United States of America to Destroy the Foundations of Revolution) - generally known as Viet Nam Diskurs
- 1969 Trotzki im Exil (Trotsky in Exile)
- 1971 Hölderlin
- 1974 Der Prozeß - adaptation of Franz Kafka's novel
- 1982 Der neue Prozeß (The New Trial)
Fiction
- 1944 Från ö till ö (From Island to Island; written in Swedish; German: Von Insel zu Insel)
- 1948 De besegrade (The Conquered; written in Swedish; German: Die Besiegten)
- 1948 Der Vogelfreie (published as Dokument I in Swedish (1949) and in German as Der Fremde under the pseudonym Sinclair)
- 1951 Duellen (The Duel; written in Swedish; German: Das Duell)
- 1952 Der Schatten des Körpers des Kutschers (The Shadow of the Coachman's Body)
- 1956 Situationen (The Situation; written in Swedish; German: Die Situation)
- 1960 Abschied von den Eltern (Leavetaking)
- 1961 Fluchtpunkt (Vanishing Point)
- 1962 Das Gespräch der drei Gehenden (The Conversation of the Three Walkers)
- 1975-1981 Die Ästhetik des Widerstands (Published in 3 volumes, I: 1975; II: 1978; III: 1981) (The Aesthetics of Resistance)
Other writings
- 1956 Avantgarde Film (written in Swedish)
- 1968 Rapporte
- 1970 Rekonvaleszenz
- 1971 Rapporte 2
- 1971-1980 Notizbücher
Films
- 1952 Studie I (Uppvaknandet) Sweden, 16mm, 6min)
- 1952 Studie II (Hallucinationer) / Study II (Hallucinations) (Sweden, 16mm, 6min)
- 1953 Studie III / Study III (Sweden, 16mm, 6min)
- 1954 Studie IV (Frigörelse) / Study IV (Liberation), (Sweden, 16mm, 9min)
- 1955 Studie V (Växelspel)/Study V (Interplay),(Sweden, 16mm, 9min)
- 1956 Ateljeinteriör / Dr. Fausts Studierstube(Atelierinterieur) (Sweden, 10 min)
- 1956 Ansikten I Skugga / Faces in the shadow (Sweden, 13 min)
- 1957 Enligt Lag / According To Law (co-dir. Hans Nordenström, Sweden, 16mm, 18 min)
- 1958 Vad ska vi göra nu da? / Was machen wir jetzt? (Sweden, 20min)
- 1959 Hägringen / Fata Morgana (Sweden, 81min) Starring: Staffan Lamm and Gunilla Palmstierna.
External links
 |
Wikiquote has a collection of quotations related to: Peter Weiss |
- Peter Weiss pages by emmyBCA
- Profile at imagi-nation
- Profile at IMDb
- Marat/Sade at the complete review
- Inferno at the complete review
- The Investigation at the complete review
- "The Political Aesthetics of Holocaust Literature: Peter Weiss's The Investigation and Its Critics" by Robert Cohen, History and Memory Vol. 10, No. 2 (Fall 1998)
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