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CHILD'S HOROSCOPEfor Friedrich Dürrenmatt,born 5 January 1921 View chart for Friedrich Dürrenmatt More Information about the "Child's Horoscope"
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A child of nature Outer and inner worlds collide As Friedrich grows older, creative hobbies are essential to provide an emotional release and a channel for imaginative self-expression. If he shows a definite interest in or preference for some particular type of creative activity, it would be a great help if this were encouraged. He may show quickness or cleverness with his hands, or display a pleasing coordination of the body which might reflect talent at sport or dance. Or he may love the world of nature, and long to explore it. Because Friedrich is likely to grow into such a deeply responsible and essentially caring child, there is not much likelihood of his taking life and others for granted. But there are real creative gifts here which should not be overlooked, either by others or by Friedrich himself. This is a child with a complex yet fascinating nature and a rare blend of practical ability and imagination - but as is so often the case in life, the best things are unlikely to be displayed in the shop window all at once. ... A child with a dedicated spirit Friedrich is earthy, solid and sensible at heart, and well adapted to the world in which he finds himself. Yet as he grows up there is a spirit within him which will restlessly strive toward something beyond ordinary everyday life. During childhood this inner spirit may reveal itself as a rare capacity for dedication to whomever or whatever he cares for - whether this is a beloved parent, a sibling, a pet or a friend. His ability to devote himself wholeheartedly to something outside himself is unusual in one so young, and the ordinary self-centredness and subjectivity of childhood seem somehow lacking in the face of his strangely mature loyalty. Throughout his life he will need to feel that there is some purpose to his existence beyond the gratification of his own needs, and in his early years this search for meaning is likely to be expressed through devotion and dedication. Once he reaches school age, he may demonstrate his qualities of spirit through the taking up of causes - the championing of the class scapegoat or the rights of other pupils unfairly treated by a teacher or headmaster. To Friedrich love is only valid if expressed through active service on behalf of the loved one, and his instinctive perception of goodness is synonymous with good actions and not just with good intentions. Despite his healthy appetites and appreciation of the good things of this world, his guiding spirit will always seek some reality beyond the physical one. A conflict between inner and outer Faith in the future Coping with powerful emotional needs Loyalty to an inner voice Thus Friedrich is fascinating and complex, containing within him two powerful extremes - an intense emotional and instinctual nature and a highly active imaginative and spiritual life. In adulthood these two poles of his nature will probably find their best expression through commitment to a vocation in which he can contribute something practical to life which also fulfills his deeply felt ideals. But during childhood he may find it very difficult to balance two such opposing elements, since the ideals are not yet formed and he will need time to learn containment of his powerful instinctual needs. He needs structure and stability in his material environment yet at the same time requires room for his imagination and inquisitive mind to explore both the inner and outer worlds. The more parents and family members can help Friedrich to get to recognise his internal dichotomy and value both sides, the more confident he will feel in expressing both his earthiness and his innate spirituality. The glue which binds his complex nature is his deep commitment to life and his profound capacity for love and loyalty - precious qualities which should never be exploited but will always be appreciated and valued by those who are fortunate enough to have his love. A child with an honest soul Learning compassion through father Friedrich loves his father not for any fantasised perfection, but for the ordinary human flaws and weaknesses which he instinctively perceives. It is therefore important that his father allows himself to be seen as a real human being and does not hide behind some collective image of paternal authority in order to make himself feel stronger. At the core of the boy's deep attachment to his father is a profound sense of compassion - perhaps unformulated and unsophisticated, but genuine nonetheless. Although it may seem strange for a child to have such adult feelings toward a parent, Friedrich's father is for his son a figure of fallible humanity, and whatever failings this parent may possess do not lessen his son's love of him. This sense of the father as a fellow human being caught in life's toils like everyone else will form the basis of Friedrich's developing qualities of empathy, which will flower as he reaches adulthood. Such a subtle bond might be uncomfortable for some parents because it is too disturbingly honest. Friedrich may therefore provoke anger in his father, or a belief that this parent's authority is being undermined. But what the boy needs most from his father is not some superhuman authority figure who always gets everything right. He seeks emotional honesty, understanding and a willingness to share his questions and concerns about life's more difficult and painful face. Recognising mother's unconventionality Friedrich has an image of his mother as a free spirit longing to fly. He looks to her for the courage to transcend or transform rigid social and sexual roles. This mythic image of a free feminine spirit will also colour his appreciation of women's independent personalities when he reaches adulthood. Even if his mother feels tired, stressed and anything but free and courageous, Friedrich does not see her merely as "mother" - she is to him a fascinating individual in her own right, unpredictable and exciting, with gifts and potentials perhaps unlived but nonetheless real. At the core of this relationship is a highly creative mental bond. Although his need for comfort and affection is the same as that of any other child, on the most profound level he looks to his mother for friendship, communication and mental rapport - a relationship of individuals who genuinely like each other and find each other interesting without depending solely on ties of blood or instinctual needs. Friedrich's mother may help him greatly by recognising that fanatical adherence to the collective role of "mother" may not suit her son any more than it suits her. She may need to find the courage to be truly herself, for it is this independent spirit that Friedrich most loves and admires in her and needs as a model for his own developing sense of individuality. Making an impact on life Friedrich's perception of life tends toward the dramatic, and this may incline him toward creative subjects - particularly the arts. Genuine interest from parents and personal attention from teachers are also extremely important as he is highly receptive to others' feelings. A smaller educational establishment which encourages plenty of creative self-expression and gives value to languages, theatre, literature, music and visual arts may be preferable to a larger, more collective institution which places its focus solely on academic achievement or "social" interaction. |
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Friedrich Dürrenmatt
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Friedrich Dürrenmatt was a Swiss author and dramatist. He was a proponent of epic theater whose plays reflected the recent experiences of World War II. The politically active author's work included avant-garde dramas, philosophically deep crime novels, and often macabre satire. One of his leading sentences was: "A story is not finished, until it has taken the worst turn".[1] Dürrenmatt was a member of the Gruppe Olten. v Dürrenmatt was born in Konolfingen, in the Emmental (canton of Bern), the son of a Protestant pastor. His grandfather, Ulrich Dürrenmatt, was a conservative politician. The family moved to Bern in 1935. Dürrenmatt began studies in philosophy and German language and literature at the University of Zurich in 1941, but moved to the University of Bern after one semester. In 1943, he decided to become an author and dramatist and dropped his academic career. In 1945-46, he wrote his first play It is written. On 11 October 1946, he married the actress Lotti Geissler. She died on 16 January 1983, and Dürrenmatt married again in 1984 to another actress, Charlotte Kerr. Dürrenmatt also enjoyed painting. Some of his own works and his drawings were exhibited in Neuchâtel in 1976 and 1985, as well as in Zürich in 1978. Like Brecht, Dürrenmatt explored the dramatic possibilities of epic theater. His plays are meant to involve the audience in a theoretical debate, rather than act as purely passive entertainment. When he was 26, his first play, It Is Written, premiered to great controversy. The story of the play revolves around a battle between a sensation-craving cynic and a religious fanatic who takes scripture literally, all of this taking place while the city they live in is under siege. The play's opening night in April, 1947, caused fights and protests in the audience. His first major success was the play Romulus the Great. Set in the year A.D. 476, the play explores the last days of the Roman Empire, presided over, and brought about by its last emperor. The Visit (Der Besuch der alten Dame, 1956) is a grotesque fusion of comedy and tragedy that creates a superb dramaturgic effect. It is the work best known in the United States. The satirical drama The Physicists (Die Physiker, 1962), which deals with issues concerning science and its responsibility for dramatic and even dangerous changes to our world, has also been presented in translation. Radio plays published in English include Hercules in the Augean Stables (Herkules und der Stall des Augias, 1954), Incident at Twilight (Abendstunde im Spätherbst, 1952) and The Mission of the Vega (Das Unternehmen der Wega, 1954). The two late works "Labyrinth" and "Turmbau zu Babel" are a collection of unfinished ideas, stories, and philosophical thoughts. In 1990, he gave two famous speeches, one in honour of Václav Havel (Die Schweiz, ein Gefängnis? / Switzerland a Prison?), and the other in honour of Mikhail Gorbachev (Kants Hoffnung / Kant's Hope). Dürrenmatt often compared the three Abrahamic religions and Marxism, which he also saw as a religion. Even if there are several parallels between Dürrenmatt and Brecht, Dürrenmatt never took a political position, but represented a pragmatic philosophy of life. In 1969, he traveled in the USA, in 1974 to Israel, and in 1990 to Auschwitz in Poland. Dürrenmatt died on 14 December 1990 in Neuchâtel. Source: WikipediaPictures from www.snl.admin.ch |