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Peter Hacks
Peter Hacks
Peter Hacks
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Peter Hacks in 1956.

Peter Hacks (21 March 1928 – 28 August 2003) was a German playwright, author, and essayist.

Hacks was born in Breslau (Wrocław), Lower Silesia. Displaced by World War II, Hacks settled in Munich in 1947, where he made acquaintance with Thomas Mann and Bertolt Brecht. Hacks then followed Brecht to East Berlin in 1955. However, a continued cooperation between him and Brecht did not arise. From 1960 Hacks worked as a dramaturge at the Deutsches Theater (DT) in Berlin.

When the staging of his play Die Sorgen und die Macht (1962) sparked criticism from officials, he gave up his position as a dramaturge at the DT and lived again as a freelance [1] writer. His success on the world stage – most notably with Ein Gespräch im Hause Stein über den abwesenden Herrn von Goethe (English title: Charlotte) – led to his literary acceptance within GDR and West-Germany.

Hacks was a communist and supported the East German government's 1976 expatriation of the singer Wolf Biermann. His correspondence with the communist historian Kurt Gossweiler has been published.

He won the Alex Wedding Prize (1992)[2] and the Deutscher Jugendliteraturpreis (1998).

Hacks died in Groß Machnow.

Together with his wife Hacks used the pseudonym Saul O’Hara through which they could write and publish boulevard comedies (Risky Marriage).

Publications

[edit]
  • With Kurt Gossweiler, in: Am Ende verstehen sie es: Politische Schriften 1988–2003. (Edited by André Thiele.) Berlin: Eulenspiegel, 2005. ISBN 978-3-359-01626-7
  • Der Schuhu und die fliegende Prinzessin, fairy-tale, base for an opera by Udo Zimmermann

References

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Peter Hacks

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Peter Hacks is a German playwright, poet, and essayist known for his influential career in the German Democratic Republic, where he produced fifty plays blending Brechtian epic theater with classical and mythological themes to advance socialist ideas. Born on 21 March 1928 in Breslau (now Wrocław, Poland) and deceased on 28 August 2003 in Berlin, he studied sociology, philosophy, German literature, and theater in Munich, earning a doctorate in 1951 before relocating from West to East Germany in 1955 to join Bertolt Brecht's Berliner Ensemble. Hacks established himself as one of the GDR's most prominent dramatists with early works such as Die Schlacht bei Lobositz and Der Müller von Sanssouci, but faced official criticism and bans on plays like Die Sorgen und die Macht and Moritz Tassow due to perceived ideological deviations, prompting a shift toward historical, satirical, and mythological dramas including Die schöne Helena, Amphitryon, Omphale, Adam und Eva, and his best-known piece Ein Gespräch im Haus Stein über den abwesenden Herrn von Goethe. He also authored children's books, essays, poetry collections, and adaptations, receiving multiple awards including the Lessingpreis, the GDR Nationalpreis (twice), and the Heinrich-Mann-Preis. A committed Marxist who never joined the Communist Party but sought accommodation with GDR authorities, Hacks remained a vocal defender of socialism even after German reunification, describing the fall of the Berlin Wall as a "counterrevolution." Although his political stance made him controversial and led to a period of relative obscurity after his death, his linguistic mastery and humorous style have prompted a posthumous renaissance of interest in his work among scholars and younger admirers.

Early life and education

Childhood in Breslau and post-war displacement

Peter Hacks was born on 21 March 1928 in Breslau, Lower Silesia (now Wrocław, Poland), as the son of a lawyer. The city was then part of Germany, and his early childhood unfolded there amid the political tensions of the late Weimar Republic and the rise of National Socialism. With the defeat of Nazi Germany in 1945 and the Potsdam Agreement's assignment of Lower Silesia to Poland, the German population of the region—including the Hacks family—was subjected to forced displacement and expulsion. The family left Breslau and resettled in West Germany, where Hacks completed his grammar-school education in Wuppertal. This post-war upheaval marked the end of his childhood in the eastern territories and his transition to life in the western zones of occupied Germany.

University studies in Munich

Peter Hacks enrolled at the Ludwig Maximilian University of Munich in 1947, where he pursued studies in sociology, philosophy, German literature (Germanistik), and theater studies (Theaterwissenschaft) over eight semesters. He completed his doctorate (Dr. phil.) in 1951, with a dissertation on the theater play of the Biedermeier period (1815–1840). Following his graduation, Hacks remained in Munich as a freelance writer from 1951 onward, contributing texts to theater, cabaret, and radio, including essays and reviews for the Bayerischer Rundfunk, as well as translations and occasional appearances in Schwabing venues. His first play, Eröffnung des indischen Zeitalters, a work about Columbus, premiered at the Münchner Kammerspiele in 1954. The play earned him the First Prize in the City of Munich's competition for young authors (also referred to as the Dramatiker-Preis der Stadt München), marking an early recognition of his dramatic talent.

Relocation to the German Democratic Republic

Decision to move from West to East Germany

Peter Hacks relocated from West Germany to East Berlin in the German Democratic Republic on 16 July 1955, accompanied by his wife, the writer Anna Elisabeth Wiede. The move was carefully planned and deliberate, reflecting his conviction that meaningful societal reconstruction was underway in the GDR rather than in the early Federal Republic, which he regarded as a restorative state dominated by reactionary politics. Hacks' decision was influenced by his strong enthusiasm for Bertolt Brecht, whose invitation to work in East Berlin he accepted following the positive reception of his first play in Munich. He explicitly described West Germany as the "rotten apple," signaling his deep disillusionment with its political direction. At the time, West Germany appeared to be shifting further rightward, with the Communist Party facing an impending ban (which occurred in 1956), while the Soviet bloc was experiencing a political thaw after the Stalin era. These factors combined to reinforce his preference for the socialist project in the East.

Association with Bertolt Brecht

In 1955, Peter Hacks accepted Bertolt Brecht's job offer and joined the Berliner Ensemble in East Berlin, following the award-winning production of one of his early plays in Munich that had attracted Brecht's attention. This move solidified his direct association with Brecht, whom he regarded as a key influence, and aligned with his relocation to the German Democratic Republic. Hacks identified himself as a disciple of Brecht during the 1950s and sought to apply Brecht's techniques in his own dramaturgy, particularly aiming to create serious comedies and didactic plays that combined aesthetic pleasure with instructional purpose. His view of theater in this period closely mirrored Brecht's emphasis on epic theater, which he actively defended in theoretical writings as a superior alternative to Aristotelian traditions. Hacks' early dramatic efforts reflected Brechtian stylistic elements, such as the use of epic forms to promote critical reflection and revolutionary perspectives on society. While this influence shaped his initial approach, Hacks' later theoretical development diverged toward a distinct socialist classicism that granted greater autonomy to aesthetic concerns over purely didactic or agitational functions.

Career in the GDR

Early work and positions in East Berlin theaters

Peter Hacks quickly established himself in the East Berlin theater landscape after relocating to the German Democratic Republic in 1955. Influenced by Bertolt Brecht, under whom he initially worked at the Berliner Ensemble, Hacks produced historical comedies that aligned with socialist realist principles while employing epic theater techniques. His play Die Schlacht bei Lobositz premiered in 1956, followed by Der Müller von Sanssouci in 1957, both of which marked his early successes in the GDR theater system. In 1956, Hacks received the Lessingpreis der DDR for his dramatic works, including Die Schlacht bei Lobositz and earlier pieces like Eröffnung des indischen Zeitalters. From 1960, he served as a dramaturge at the Deutsches Theater in Berlin, contributing to the repertoire and production processes of one of the GDR's premier stages. He held this position until 1963, when he was dismissed amid controversy, after which he transitioned to working as a freelance writer.

Controversies and banned plays

Peter Hacks' plays in the early 1960s provoked significant official criticism in the GDR, leading to bans and personal consequences. His production piece Die Sorgen und die Macht (third version, 1962) premiered at the Deutsches Theater in October 1962 under Intendant Wolfgang Langhoff, depicting workers in a briquette factory who overfulfill the plan but produce unusable low-quality briquettes for a downstream glass factory customer. The central conflict resolves through the workers' independent change in socialist consciousness and more emancipated behavior, notably without direct Party guidance, which became a primary point of contention. The play included lines such as those spoken by worker Emma Holdefleiß describing communism as the opposite of the present "grauen Tinten der Gegenwart" (gray inks of the present), interpreted as a skeptical portrayal of GDR reality despite the optimistic resolution. Violent official attacks followed the premiere, resulting in the piece being removed from the repertoire for political reasons in 1962/63, the forced resignation of Langhoff as Intendant, and Hacks' dismissal from his position as dramaturg at the Deutsches Theater in 1963. In 1965, Hacks faced further repercussions with Moritz Tassow, a contemporary comedy about post-war land reform and agricultural policy development in the GDR, which premiered in October at the Berliner Volksbühne. The play was withdrawn from performance immediately after the 11th Plenum of the SED Central Committee in December 1965, amid broader Party attacks on cultural figures for perceived skeptical and negative tendencies. These events, involving the banning of both plays despite their narrative resolutions, effectively excluded Hacks from permanent theater positions, leading him to work as a freelance author thereafter.

Shift to historical and mythological themes

After the banning of Die Sorgen und die Macht in 1962/63 and associated criticism, Peter Hacks began shifting his dramatic focus from contemporary GDR settings toward historical, classical, and mythological subjects, with this transition becoming more pronounced following the banning of Moritz Tassow in 1965 and criticism at the 11th Plenum of the SED Central Committee in 1965. This development reflected his theoretical evolution toward a socialist classicism suited to a post-revolutionary phase of socialism, where the revolution's success rendered overt agitation and didacticism obsolete. Hacks argued that socialist society could now engage with pre-existing, "poetized" material from myths, ancient history, and classical stories, which had acquired universal validity over time and allowed for the expression of communist ideas in an entertaining, non-didactic, and aesthetically pleasurable form. He prioritized timeless poetic forms, such as verse drama, and the assimilation of bourgeois cultural heritage into socialist culture, focusing on themes of human perfection, social roles, and non-antagonistic conflicts resolvable through synthesis rather than partisan struggle. Representative examples of this shift include the comedies Die schöne Helena (1964), Amphitryon (1968), Omphale (1970), and Adam und Eva (1973), which drew on mythological and classical sources to explore ideas relevant to socialist society. Despite earlier bans and critical setbacks, Hacks achieved continued success and recognition as one of the most prominent German dramatists of his era through these works.

Major dramatic works

Early historical plays

Peter Hacks' early historical plays from the mid-1950s established his reputation as a dramatist engaging with major historical figures and events to explore themes of power, discovery, and justice. His debut major work, Eröffnung des indischen Zeitalters, premiered in 1954 at the Münchner Kammerspiele and centers on Christopher Columbus' voyage, portraying the opening of a new era through the European discovery of America. This play, written before his relocation to the GDR, received positive attention and marked his initial success on stage. After settling in East Berlin in 1955, Hacks turned to Prussian history with Die Schlacht bei Lobositz, premiered in 1956 at the Deutsches Theater Berlin. The comedy is set against the 1756 Battle of Lobositz, the first major engagement of the Seven Years' War between Prussia and Austria, using the military conflict to examine leadership, strategy, and the human costs of war in an Austro-Prussian context. Hacks followed with Der Müller von Sanssouci in 1957, which premiered the following year at the Kammerspiele of the Deutsches Theater Berlin under Wolfgang Langhoff's direction. This bourgeois comedy draws on the legendary anecdote of a miller who defends his property rights against Frederick the Great's plans, emphasizing questions of legal justice and the boundaries of royal authority in an absolutist state. These works demonstrate Hacks' early preference for historical settings as vehicles for dramatic commentary, occasionally reflecting Brechtian influences in their epic structure and social critique.

Mythological and classical comedies

In the mid-1960s, following censorship and bans on his plays addressing contemporary GDR issues, Peter Hacks shifted toward mythological and classical subjects in his comedies, enabling indirect exploration of social, political, and philosophical themes while achieving broader theatrical success. This phase marked one of the most productive and performed periods of his career. Many plays from this period premiered outside the GDR due to censorship constraints. Die schöne Helena (1964) recast the Trojan War legend as a lighthearted comedy, drawing on Jacques Offenbach's operetta La belle Hélène to satirize desire and human folly. Amphitryon (1968), which premiered in West Germany at Deutsches Theater Göttingen, reinterpreted the classical myth of Zeus assuming the form of Amphitryon to seduce his wife Alcmene, blending humor with reflections on identity and deception. The play later received an American premiere at Lincoln Center in 1970. Omphale (1970) drew on the Hercules legend to examine gender roles, portraying the hero's period of servitude to Queen Omphale as a reversal of traditional male and female social positions. Margarete in Aix (1969), which premiered at Basler Theater in Switzerland, engaged with historical and political dynamics through the figure of Margarete, highlighting power striving devoid of substantive content. Adam und Eva (1973) offered a comedic yet probing interpretation of the biblical Fall, reexamining themes of temptation, knowledge, and human responsibility. These works collectively demonstrated Hacks' skill in adapting ancient and mythological material to address modern concerns with wit and critical depth.

Best-known monodrama and later plays

Peter Hacks achieved one of his greatest stage successes with the monodrama Ein Gespräch im Hause Stein über den abwesenden Herrn von Goethe (1976), commonly known as Charlotte. This one-person piece (though structurally involving a silent husband) presents Charlotte von Stein delivering a bitter monologue to her husband Josias, reflecting on her decade-long relationship with Goethe after his secret departure from Weimar, justifying their affair while unconsciously exposing her own social and moral limitations through contradictions and illusions about his affection. Widely regarded as the height of Hacks' "socialist classicism," the work paradoxically became one of his most performed plays in West Germany and internationally despite his GDR context. The monodrama premiered on March 20, 1976, at the Staatstheater Dresden and gained notable international recognition, including a 1980 New York production titled Charlotte starring Uta Hagen as Charlotte von Stein opposite Charles Nelson Reilly in the near-silent role of Josias von Stein. Hagen's performance was widely praised for transforming the monologue into a compelling theatrical event through her commanding presence and inventive acting. Among Hacks' later plays, Fredegunde (1983) stands out for its classical historical framework, depicting ruthless Merovingian power struggles in which five women actively pursue political interests on behalf of their men, ultimately underscoring the futility of such machinations without leading to broader order or progress. It premiered in 1989 at the Staatstheater Braunschweig. Many of these later dramatic works, along with others from his classical period, were gathered in the collections Die späten Stücke (1999) and the multi-volume Hacks Werke (2003).

Other literary contributions

Children's literature

Peter Hacks made notable contributions to children's literature, authoring more than a dozen books and fairy tales that blend whimsical storytelling, poetic language, and subtle social commentary suitable for young readers. His works in this area often feature imaginative narratives with animal characters or fantastical elements, reflecting his broader literary versatility while maintaining an accessible tone for children. Among his most recognized children's works is the fairy tale Der Schuhu und die fliegende Prinzessin, which combines adventure and moral insight and later served as the basis for an opera adaptation. Other prominent titles include Der Bär auf dem Försterball (1972), a humorous story involving a bear at a foresters' ball, and Onkel Mo (1986), which draws on family-oriented themes with Hacks' characteristic wit. In 1998, Hacks received the Deutscher Jugendliteraturpreis for his overall body of work in children's literature, honoring the lasting impact and quality of his contributions to the genre. These books remain part of his diverse oeuvre, appreciated for their charm and intelligence aimed at younger audiences.

Poetry, essays, and boulevard comedies

Peter Hacks contributed significantly to poetry through various collections that showcased his formal versatility and thematic range, from classical structures to politically inflected verses. His Poesiealbum 57, published in 1972 by Verlag Neues Leben, exemplifies this with works that demonstrate artistic mastery in diverse forms such as sonnets, ballads, and songs, often addressing Marxist history, love, peace, and contemporary issues while incorporating lively children's elements. In 1987, he released Der blaue Hund, a volume of verses accompanied by illustrations from Anne Heseler and issued by Insel-Verlag. Alongside his primary dramatic work, Hacks co-authored boulevard comedies under the pseudonym Saul O’Hara in collaboration with his wife Anna Elisabeth Wiede to enable performances in West Germany during a period when his name faced restrictions there due to his GDR affiliations. The most successful of these was Heiraten ist immer ein Risiko (also known as Risky Marriage), initially presented in 1960 and becoming the most performed play of the 1963/64 season in the Federal Republic. In his later years, Hacks produced political essays and correspondence reflecting his enduring Marxist perspective, which were collected posthumously in Am Ende verstehen sie es: Politische Schriften 1988–2003, including his letter exchange with Kurt Gossweiler from 1996 to 2003 and published by Eulenspiegel Verlag in 2006.

Political views and public positions

Commitment to Marxism and GDR support

Peter Hacks identified himself as a committed Marxist and communist throughout his life in the German Democratic Republic, regarding socialism as the superior historical alternative to capitalism. He expressed his ideological alignment openly in essays and interviews, arguing that the GDR represented the authentic German path to socialism and that Marxism provided the only scientific framework for understanding society and art. Hacks accommodated himself with the Socialist Unity Party of Germany (SED), participating in its cultural institutions and publicly defending the party's leadership and policies as essential to building socialism. His works and statements frequently reflected an effort to reconcile artistic freedom with loyalty to the state socialist system, and he rejected Western criticisms of the GDR as ideologically motivated attacks on socialism. In several public interventions, Hacks sharply attacked Aleksandr Solzhenitsyn, accusing him of distorting Soviet history and serving counter-revolutionary interests through his writings. He similarly criticized Heinrich Böll, portraying him as a representative of bourgeois liberalism that undermined socialist principles. Hacks also defended Soviet positions on dissidents, including Andrei Sakharov, arguing that their actions threatened the socialist order and justified state measures against them. His consistent support for the GDR and Soviet Union positioned him as one of the most prominent intellectual defenders of East German socialism among writers in the country.

Key controversies including the Biermann affair

Peter Hacks faced criticism from the Socialist Unity Party of Germany (SED) in connection with the 11th Plenum of the SED Central Committee in December 1965, which imposed stricter cultural controls. His verse comedy Moritz Tassow, which had premiered in October 1965 at the Berliner Volksbühne, was promptly banned and removed from the repertoire shortly after the Plenum. Official critiques accused the play of "boorish obscenity" and faulted its depiction of the party secretary Mattukat for displaying traits alien to a true party representative, while promoting a simplistic pragmatism that elevated practical utility to the status of truth. These charges reflected broader ideological concerns about deviations from socialist principles in cultural works, and revisions to the play were demanded in collaboration with the author. A major controversy arose in 1976 during the expatriation of singer-songwriter Wolf Biermann. On November 16, 1976, the GDR revoked Biermann's citizenship while he was on a concert tour in West Germany, prompting a rare collective protest from numerous prominent GDR intellectuals, including Christa Wolf, Stefan Heym, and Heiner Müller, who signed open letters and resolutions condemning the measure. In contrast, Hacks expressly supported the SED leadership's decision and refused to sign any protest petitions against the expatriation. A Stasi report from November 19, 1976, documented his strict refusal to endorse the resolutions, confirming his alignment with the official line. Hacks further defended the GDR's action in an essay published in Die Weltbühne, where he sharply criticized Biermann's lyrics and songs as featuring poor rhymes, clumsy verses, and confused thoughts, comparing them dismissively to folksongs. This stance, which also included attacks on figures like Heinrich Böll, marked a significant turning point that isolated Hacks from many fellow intellectuals and contributed to declining performances of his works in West German theaters. Throughout his later career, Hacks remained a subject of Stasi interest, with informant reports tracking his political positions and activities, including his refusal to join protests against Biermann's expatriation. He consistently defended GDR policies and institutions, even as he faced surveillance from the state security apparatus.

Personal life

Marriage and family

Peter Hacks married the writer Anna Elisabeth Wiede on February 23, 1955. Wiede (1928–2009), a dramatist, translator, and editor, shared both personal and professional ties with Hacks. Shortly after their marriage, on July 16, 1955, the couple relocated from Munich to East Berlin in the German Democratic Republic, driven by Hacks' political convictions and desire to contribute to socialist society building. The pair collaborated on literary projects, including translations and boulevard comedies written under the joint pseudonym Saul O’Hara to enable staging in West Germany despite Hacks' communist affiliations. Their joint efforts extended to adapting works such as plays by J. M. Synge, credited to the husband-and-wife team. Hacks also worked professionally with actress Karin Gregorek, who became renowned for interpreting his plays, including prominent performances in his monodramas, although she was not his spouse.

Later years and death

Peter Hacks spent his later years as a freelance writer in Groß Machnow, a village near Berlin to which he had relocated from the city. He resided there in his country house Fenne from 1974 onward, continuing to produce work including political writings between 1988 and 2003. Peter Hacks died on 28 August 2003 in Groß Machnow at the age of 75.

Awards and recognition

Major literary prizes received

Peter Hacks received several major literary prizes during his career, spanning his time in the German Democratic Republic and the period after German reunification. These awards recognized his achievements as a dramatist, poet, essayist, and author of children's literature. Early in his career, Hacks was awarded the Lessingpreis in 1956. He subsequently received the F.C. Weiskopf Preis in 1965 and the Kritikerpreis der BRD in 1971. He went on to receive the Nationalpreis of the GDR in second class in 1974 and in first class in 1977. In 1981, he was honored with the Heinrich-Mann-Preis. In the years following German reunification, Hacks received the Alex-Wedding-Preis in 1993 for his contributions to children's and youth literature. He was also awarded the Deutscher Jugendliteraturpreis (special prize for his overall work in children's literature) in 1998.

References

  1. https://www.independent.co.uk/news/obituaries/peter-hacks-37132.html
  2. https://biography.jrank.org/pages/532/Hacks-Peter-1928-2003.html
  3. https://www.newyorker.com/books/page-turner/in-berlin-a-peter-hacks-renaissance
  4. https://tdz.de/person/e3bf70d4-9509-4169-a4ec-46094c4bbd89
  5. https://kulturstiftung.org/biographien/hacks-peter-2
  6. https://www.peter-hacks-gesellschaft.de/meldungen/572-rueber-gegangen-vor-70-jahren-zog-peter-hacks-in-die-ddr.html
  7. https://www.the-independent.com/news/obituaries/peter-hacks-37132.html
  8. https://www.thetimes.com/article/peter-hacks-5dqlnbzfmd6
  9. https://ecommons.udayton.edu/cgi/viewcontent.cgi?article=1320&context=udr
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  12. https://www.spiegel.de/kultur/die-grauen-tinten-des-peter-hacks-a-e0ec491a-0002-0001-0000-000041001990
  13. https://www.bundesstiftung-aufarbeitung.de/de/recherche/kataloge-datenbanken/biographische-datenbanken/peter-hacks
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  20. https://www.peter-hacks-gesellschaft.de/peter-hacks.html
  21. https://edition-nautilus.de/programm/die-erzaehlungen/
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  25. https://www.dergruenewagen.at/heiratenistimmereinrisiko.html
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  28. https://www.spiegel.de/kultur/richtung-und-wahrheit-a-a8ddabb0-0002-0001-0000-000046453123
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  31. https://www.volksstimme.de/kultur/der-widerspruchliche-peter-hacks-957295
  32. https://www.deutsche-biographie.de/gnd118544330.html
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  34. https://www.umass.edu/defa/people/1186/
  35. https://www.verlagberlinbrandenburg.de/programm/titel/peter-hacks-auf-der-fenne-in-gross-machnow-1974-2003.html
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  37. https://www.peter-hacks-gesellschaft.de/biografie.html
  38. https://edition-nautilus.de/autorinnen/hacks-peter/
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