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Die Dokumentation erzählt, wie Ingeborg Bachmann zum Mythos wurde.
Am 25. Juni 2026 feiert die literarische Welt den 100. Geburtstag der Namenspatronin eines der wichtigsten Literaturpreise im deutschsprachigen Raum.
Regisseurin Barbara Frank zeichnet das Porträt einer widersprüchlichen Frau,
die vieles war: das Mädchen aus der österreichischen Provinz, das zur Diva der Dichtkunst aufstieg.
Eine Frau, die die Männer gleichermaßen liebte und unter ihnen litt.
Eine Widerständige, die den Menschen unangenehme Wahrheiten zumutete.
Aber auch eine zutiefst Verletzte, die ihr Ende – nach einem mysteriösen Brandunfall in Rom –
durch unzählige Feuermetaphern in ihrem Werk literarisch vorweggenommen zu haben schien.
Die "zündende Kraft" im Werk Ingeborg Bachmanns wurde dagegen lange Zeit ausgeklammert und ignoriert.
Gerade sie gilt es – neben der wirklichkeitsverändernden Kraft der Sprache –
vor dem Hintergrund erschütternder Skandale rund um männliches Vorherrschaftsdenken wiederzuentdecken.
Frank präsentiert ihren Sensationsfund: Bachmanns jahrzehntelang verschollen geglaubtes Drehbuch zur Verfilmung ihres Hörspiels "Der gute Gott von Manhattan",
das nicht realisiert wurde, aber einen neuen Blick auf ihr Schreiben zulässt.
Zu Wort kommen der Literatur-Nobelpreisträger Peter Handke, die französische Bachmann-Expertin Françoise Rétif,
ihr Wegbegleiter, der Celan-Übersetzer Moshe Kahn, sowie Bachmanns Bruder Heinz Bachmann. (24.06.2026)
Am 25. Juni 2026 feiert die literarische Welt den 100. Geburtstag der Namenspatronin eines der wichtigsten Literaturpreise im deutschsprachigen Raum.
Regisseurin Barbara Frank zeichnet das Porträt einer widersprüchlichen Frau,
die vieles war: das Mädchen aus der österreichischen Provinz, das zur Diva der Dichtkunst aufstieg.
Eine Frau, die die Männer gleichermaßen liebte und unter ihnen litt.
Eine Widerständige, die den Menschen unangenehme Wahrheiten zumutete.
Aber auch eine zutiefst Verletzte, die ihr Ende – nach einem mysteriösen Brandunfall in Rom –
durch unzählige Feuermetaphern in ihrem Werk literarisch vorweggenommen zu haben schien.
Die "zündende Kraft" im Werk Ingeborg Bachmanns wurde dagegen lange Zeit ausgeklammert und ignoriert.
Gerade sie gilt es – neben der wirklichkeitsverändernden Kraft der Sprache –
vor dem Hintergrund erschütternder Skandale rund um männliches Vorherrschaftsdenken wiederzuentdecken.
Frank präsentiert ihren Sensationsfund: Bachmanns jahrzehntelang verschollen geglaubtes Drehbuch zur Verfilmung ihres Hörspiels "Der gute Gott von Manhattan",
das nicht realisiert wurde, aber einen neuen Blick auf ihr Schreiben zulässt.
Zu Wort kommen der Literatur-Nobelpreisträger Peter Handke, die französische Bachmann-Expertin Françoise Rétif,
ihr Wegbegleiter, der Celan-Übersetzer Moshe Kahn, sowie Bachmanns Bruder Heinz Bachmann. (24.06.2026)
Kategorie
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LernenTranskript
00:09How the writer tries to encourage others to the truth through representation,
00:18This is how others encourage him, when they make it clear to him through praise or criticism,
00:26that they demand the truth from him and want to reach a point where their eyes are opened.
00:35The truth, in fact, is something humans can bear.
01:11She came from Klagenfurt, but she was not a provincial.
01:15She was a cosmopolitan woman.
01:19She was a woman who was an independent thinker.
01:25So she loved the men despite all their flaws.
01:28I think she had an attraction for everyone.
01:32She possessed this authority without flaunting it, as many poets do.
01:39Especially in literature after 1945, there is simply no way around her.
02:00How do you tell the life story of a diva of poetry?
02:05who, as a girl from the provinces, became one of the most important authors of the 20th century,
02:11whose scandalous lives were followed by a mysterious, early death,
02:15the namesake, one of the largest literary prizes in the German-speaking world,
02:22Ingeborg Bachmann, born in Klagenfurt in 1926, died in Rome in 1973.
02:47I think she's the only poet I've ever danced with.
02:54But she danced with several poets. That's a different breed altogether.
03:05If there is a starting point for Ingeborg Bachmann's writing, then it is this piano.
03:11It is located in the attic of the house at Hänselstraße 26 in Klagenfurt.
03:16The house where Ingeborg Bachmann spent her childhood and youth and survived the war,
03:22when Klagenfurt was heavily bombed in 1944.
03:28Music was the greatest thing for me, and it always has been.
03:34And I started writing because nobody gave me the words for it.
03:39which I needed. So I wrote them myself.
03:54I thought long and hard about how to tell Ingeborg Bachmann's story,
03:58until I realized that her life only became a destiny through her death.
04:05It is the story of a failure, of a woman, of all women.
04:10When Bachmann died at only 47 years old, she was just as old as me.
04:15That was a shock. Someone who, at 47 years old, 46,
04:22who is suddenly no longer there and who traveled as adventurously as Ingeborg Bachmann.
04:30Five years after we met, she was no longer there.
04:38It's a sentence I wouldn't have written myself.
04:41And I only use sentences that I wouldn't have written myself.
04:43With my burned hand, I write about the nature of fire.
04:53Because if you haven't burned your hand, you can't write about it.
04:57Bachmann's death following a fire accident in Rome remains an unsolved mystery to this day.
05:03For decades, her work has been stylized as the self-commentary of a poet burned both inwardly and outwardly.
05:10who is said to have foreshadowed her death in literature.
05:13I mean, yes, one should simply forget about authors' biographies and let their work speak for itself.
05:21But with some authors, it's impossible to forget.
05:25And in Bachmann's case, it is precisely this very strong sense of secrecy that is so important.
05:30which has naturally given rise to rumors time and again.
05:34This mysterious and, to this day, essentially unexplained death,
05:39which again has an eerie parallel to her writing.
05:44It's interesting that Marliner's last sentence says it was murder.
05:49His early death is somehow tragic, but so much has also been achieved.
05:54When you look at the work she has somehow managed to accomplish in 47 years of life.
06:02Bachmann knew best that every word of truth leaves something to be desired.
06:07and was ahead of her time in that respect, as well as ours.
06:12Her thinking was always focused on the future.
06:16And the thinking of humanity.
06:18And what's happening today would be especially shocking.
06:21When thinking is completely distorted and there is no longer any striving for truth, or hardly any at all.
06:36is
06:36in this whirlwind that never stops and is available 24 hours a day.
06:43Our time
06:45A cynical farce
06:49The Epstein case
06:52The Pelikou case
06:56Women in Iran and Afghanistan
07:00Worldwide, women are deprived of their human rights, silenced, and made to disappear.
07:07Bachmann's judgment on men
07:08His comments, even back then in conversation with literary critic Peter Hamm, were harsh.
07:13The men are terminally ill.
07:16Above all, are the men terminally ill?
07:22Well, they are.
07:24It's them.
07:24Don't you know that?
07:26If you tell me?
07:32All.
07:37Trying to talk about the apparently disturbed relationship between the sexes is like trying to find images for gravity.
07:44She doesn't show herself, but she moves everything.
07:47It is like the frame for something that remains invisible, or wants to remain invisible.
07:53War, destruction, and violence are inherent in all people.
07:57Yes.
07:59And this recurs again and again in these dreams.
08:01I also do not want to write anything about the war, neither in this book nor in later books.
08:09That's too easy.
08:12Too easy for me.
08:14Anyone can write something about war.
08:16War is always terrible.
08:17But to write something about peace, about what we call peace.
08:23Because that is war.
08:24The war, the real war, is only the explosion of this war, which is peace.
08:34Where the law of the strongest prevails, there can never be peace.
08:39Fascism doesn't begin with the first bombs being dropped.
08:43Not with terror.
08:45It begins primarily in the relationship between men and women.
08:49Bachmann knew this and had a great influence on feminism, without being a feminist herself.
08:57She deconstructs the masculine and feminine by transitioning from one to the other with astonishing ease.
09:05Her thinking is fluid.
09:06You can never fully grasp it, you can never freeze it, and you shouldn't freeze it.
09:12But all of that, and the fact that fascism was the first thing between a man and a woman,
09:19did not prevent her from loving men.
09:22She couldn't do without men in her life, and one has to admit that this was the case in her life.
09:33And she also had an unerring instinct for alpha males,
09:38with whom it can be possible to establish relationships and advance one's career.
09:44Well, that's certainly a trait that I think is rightly attributed to her.
09:54that she was very determined and very efficient.
10:01So she begins to write and, like so many others before and after her, moves away from Klagenfurt.
10:09The journey to Vienna for studying begins via Innsbruck and Graz.
10:13A journey that, in retrospect, will seem to her to be the longest of all.
10:17However, Bachmann soon found a connection to the literary scene surrounding the theater critic Hans Weigl,
10:23who usually meet at Café Raimund.
10:26Weigl, a first point of reference for someone who knows what she wants and takes it.
10:32There is a story that Hans Weigl told, which is relatively credible.
10:38that there was a premiere, a revue by Hans Weigl at the Theater in der Josefstadt in 1947.
10:46And before the premiere, a young female student speaking Carinthian dialect approaches him,
10:52who wants to schedule an interview meeting.
10:54And this interview was never published.
10:57But this moment marked the beginning of the liaison between Hans Weigl and Ingeborg Bachmann.
11:03And one can imagine that the encounter with Celan was for her
11:07then of course it was something completely different from the liaison with Hans Weigl during that time,
11:13but that was the encounter with literature.
11:17Imagine Ingeborg Bachmann, the daughter of an Austrian Nazi.
11:22and the poet Paul Celan, a survivor of the Shoah,
11:26After the war ended, they dared to make a new start.
11:29It's six weeks spent together in Vienna, about which we know virtually nothing.
11:35Celan's friend, Klaus Demos, however, has no fond memories of it.
11:39Ingeborg Bachmann, that was a tragic relationship.
11:47A tragic relationship.
11:49I felt terribly sorry for her, because she was, she abused.
11:59Bachmann and Celan met in Vienna in 1948.
12:03Bachmann was not yet well-known at that time.
12:06Her first poems were published by the magazine Lungius at the end of 1948.
12:14And Celan initially didn't take Bachmann seriously as a poet at all.
12:19I mean, he loved her as a woman.
12:21And only much later, in October 1956,
12:26when the collection Invocation of the Great Bear was published,
12:29Celan was in Germany and truly discovered their poetry and poems there.
12:36He read them before meeting them again in Cologne in 1957.
12:41And his entire book of poems, Sprachgitter, Grill de Parole, is, how should I say, inspired by Bachmann.
12:59For a very long time, Celan scholars have also said,
13:02Celan played an important role for Bachmann, but Bachmann did not play an important role for Celan.
13:07However, it is now also known that a dialogue did indeed take place.
13:11on the one hand a poetic and at the same time also a poetological one,
13:15so, where the question is how to write poems
13:18and what claims do we make regarding the Shoah when writing poetry?
13:26To reduce Bachmann solely to her relationships with men,
13:30That would be short-sighted and would not do her justice.
13:33Even if men like Paul Celan and Hans Weigl,
13:37but also the composer Hans-Werner Henze
13:39and especially the Swiss author Max Frisch
13:42played a significant role in their lives,
13:45For better or for worse.
13:47But in the end, it will always be literature,
13:50which is life-defining for them.
13:53The clair me love
13:58Your hat lifts gently, greets, floats in the wind.
14:01Your uncovered head has attracted clouds.
14:05Your heart has other things to do.
14:08Your mouth absorbs new languages
14:12Quaking grass is becoming rampant in the country
14:16Starflowers bloom in and out with the summer.
14:19Blinded by flakes, you raise your face
14:22You laugh and cry and you perish within yourself.
14:25What else can happen to you?
14:27Explain love to me
14:30It was once said that when she stood there
14:32and three men around her
14:35The term "gentlemen" is correct here.
14:36Then she immediately dropped something.
14:39A powder compact, a handkerchief
14:41And four gentlemen, the fourth one came right next door.
14:43immediately bent down for it
14:45And four heads, four gentlemen's heads collided beneath her.
14:49And that's how I think it was designed.
14:50That should happen
14:53On the one hand, she is certainly a victim
14:56And she suffered terribly.
14:58And some of their relationships with men are really...
15:02Not only those with Frisch, but also with other men.
15:06It has been very stressful and difficult.
15:09But on the other hand, if you read, for example
15:13How important men in important positions
15:18You could say they really rolled out the red carpet for her.
15:23They offered their jobs
15:26They have simply laid all kinds of possibilities at your feet.
15:32Then she definitely benefited from it too.
15:35That she simply exerted such a fascination on these men
15:42This is a success story.
15:44A woman of all women
15:47Because Ingeborg Bachmann was many
15:49A woman with many faces, images, and roles
15:53That Der Spiegel dedicated a cover story to her in 1954
15:58This is just the beginning
15:59She became the most photographed author of her time.
16:05So, if I'm not mistaken
16:06Was Bachmann already a textbook author in my time?
16:10So, with poetry, not with prose.
16:12But with the poetry
16:14That was actually literary history.
16:16That was a protected national cultural treasure under monument protection.
16:23During Marliner I
16:24That's all I can remember.
16:25I actually bought it much later in Paris.
16:28Speaking German during a stay in Paris
16:30And that was actually one of the things for me
16:34Perhaps not necessarily positive
16:37But one of the strongest impressions
16:39which I was able to obtain through literature
16:42Because of this very topic
16:43An insecure and unprotected female existence
16:48First time for me
16:49My own insecurity
16:53He made it clear
16:57Bachmann first appeared in the Federal Republic of Germany in the 1950s.
17:01Suddenly into the literary public eye
17:04By participating in a meeting of Group 47
17:06And the poetry collection
17:09The deferred time
17:10It was published at the end of 1952
17:13He then made her famous
17:15Along with this appearance at Group 47
17:18And together with a cover image
17:21In the magazine Der Spiegel
17:23Here we have a very self-confident woman.
17:25modern young woman
17:27With short hair
17:28Dark hair
17:30Heavily made up
17:31And in the text you read about a shy deer.
17:34With long, blond hair
17:37Very shy
17:38That shows you something's not right.
17:41The way she presents herself
17:43And how the male gaze then interprets her
17:47I think there's a lot of masculine conditioning involved.
17:50Such a wishful projection
17:52Which is also partly addressed there
17:57Ingeborg Bachmann placed her own writing above everything else.
18:00And as a woman
18:02Self-determined and uncompromising
18:04They lived exclusively according to their own rules.
18:08Where the post-war period sets limits for women
18:11She intertwined it, she who had written her dissertation on Heidegger's Being and Time.
18:15Philosophy and language criticism in the sense of Ludwig Wittgenstein on literature
18:19Even if at the cost of that
18:22What would commonly be described today as a successful life
18:25A family, financial security, and reaching old age in good health
18:31Bachmann didn't benefit from it.
18:34Everything else, however, in excess.
18:38I was touched by this strange, helpless girlishness.
18:43Which she had within herself
18:46And yet, not despite, she was simultaneously sovereign.
18:51In her way of being, she was both sovereign and helpless.
18:57As Wittgenstein, whom she studied, says
19:01Ingeborg
19:02The world is everything that is the case.
19:05And Ingeborg Bachmann was everything that is the case.
19:09Almost everything, right?
19:11She always maintained a utopian outlook.
19:14She fought for this utopian idea.
19:17She wrote for this utopian idea
19:20She always said, a day will come.
19:22This is a refrain in her novel Malina
19:26And I know very well that no such day will come.
19:30But if I didn't believe in this day
19:33Then I wouldn't be able to write
19:37When did we stop believing in a better world?
19:41We sleep
19:42Yes, they are sleepers out of fear
19:45To have to perceive ourselves and our world
19:47Bachmann writes in her Frankfurt lectures
19:50In her writing, she knows herself to be unavoidable.
19:54Equipped with a task
19:56A problem constant
19:58At their end
19:59The fragmentary novel cycle "Ways of Dying" will be
20:04She stops writing poems.
20:06When she herself begins to suspect
20:09She could do it now
20:10Even if the inner compulsion to do it
20:12It should be missed once
20:17If you look at it historically
20:19There have always been different phases.
20:21So, in the 1950s, poetry was very, very important.
20:24Then, in the 70s and 80s, came prose.
20:28The Death Types Project also took place in the 1990s.
20:30With the critical edition
20:32And now, perhaps, we can rediscover poetry in a completely new way.
20:36Which was neglected for some time
20:39So I believe that Bachmann is indeed the complete work of art.
20:47Don't change your clothes
20:49Lace up your shoe
20:51Chase the dogs back
20:53Throw the fish into the sea
20:55Extinguish the lupins
20:58Harder days are coming.
21:04Where there is nothing left to improve
21:06Nothing new to see
21:08And to think
21:10There is something to invent
21:11The world is dead there.
21:14Literature, however
21:15For Bachmann, this means being constantly on the move.
21:18To a new language
21:19Which means no less
21:21As the rewriting of man
21:23Yes
21:24A new human race
21:29Thinking is a consequence of language.
21:32Is the product of language
21:34So if you speak badly
21:36If you greatly simplify the language and grammar
21:40Does thinking become narrower?
21:41Does thinking become impoverished?
21:43And I think that's something
21:45That is also very important today.
21:48And something we should think about
21:52Every day
21:55The war
21:56It will not be explained further.
21:59But continued
22:01The Unheard-of
22:04It has become commonplace.
22:07The hero
22:09Stay away from the fighting.
22:11The weak one
22:13Has moved into the fire zones
22:15These political poems
22:18Wars are no longer explained.
22:22And so forth
22:24That's all.
22:25Today
22:28That is the attitude
22:30From politicians
22:31Today
22:32And she did that
22:35Suspected
22:36Or
22:37Not just suspected
22:39But that's more than just a clue.
22:41She saw that quite clearly.
22:43A Clairevoyance
22:45If you take that in
22:47French
22:48The
22:48The
22:50She possessed it as a great poet
22:52The poem
22:53Every day
23:23Was it after the Second World War?
23:23And that's with the biographical facts.
23:26Does not match
23:27But there is still some truth in it
23:30In that sense
23:31That National Socialism
23:33That was their childhood and youth
23:35Just overshadowed
23:37And that also goes into her family history.
23:40As we know
23:41Her father was a member of the Nazi Party.
23:43And then he was in the Second World War
23:45When the team arrived for the crime
23:47But anyway
23:48Later in life
23:49Has she
23:50Then again and again
23:52This concept of truth as well
23:53Of course with
23:55Yes
23:58sensitivity
23:59In contrast to language
24:00Associated
24:01To what extent can one
24:01Truth in language
24:03To express at all
24:05For Bachmann, this applies
24:07No writing is without risk.
24:09Especially for Malina
24:11Her first novel on death
24:13The one in Vienna's Ungergasse
24:15It is located
24:16But she writes it in Rome
24:17And even multiple times
24:19has been described as a composition
24:22The change of the poet
24:24On prose
24:25Will literary criticism speak to her?
24:27But not forgive
24:28One speaks of the
24:30Fallen poet
24:31The great lyric poet
24:34Ingeborg Bachmann
24:35The ones we the volumes
24:36Invocation of the Great Bear
24:38And owe deferred time
24:40Everything from me
24:41Very respectful
24:43Honored works
24:44Full of admiration
24:45For individual stories
24:46And when I read the book
24:48I read Malina
24:49What I had to write about
24:50The assignment for the time
24:52Did I receive the criticism?
24:53Half written
24:54And that was the moment.
24:56When Paul Celan
24:57committed suicide
24:58And he said
24:59I'm writing the review
25:01No further
25:02I informed the time
25:03I'm sorry
25:04I am appalled
25:05Celan is in the flag
25:07Jumped
25:08I don't want the responsibility
25:10This is what we do
25:11When Ingeborg Bachmann
25:12brings into the kibble
25:14I'm thinking about love
25:16Regarding the injections
25:19From reality
25:20To her reproach
25:22So few hours only
25:24To the next
25:26The stronger injection
25:28I think in silence
25:30I think
25:32That it is late
25:33It is incurable
25:35And it's too late.
25:37But I will survive.
25:39And think
25:40And I think
25:42It won't be Ivan
25:44Whatever comes
25:46It will be something different
25:48I live in Ivan
25:51I won't survive, Ivan.
25:56Malina is just so unconventional.
25:58In keeping with the spirit of the times
25:59So the book was published in 1971.
26:03And that was it
26:04Three years after '68
26:06And there was...
26:08Such a mainstream
26:10A left
26:11Literature must be political
26:13Be committed
26:14And the novel
26:15Has been noticed
26:16As a document
26:18One
26:18As it was called back then
26:20New Subjectivity
26:21New inner life
26:23As if
26:25This self
26:26That's the majority.
26:28The novel speaks through
26:30Only in their own
26:31Eccentric
26:33And whimsical
26:34living in a fantasy world
26:36The many fire symbols
26:38In Bachmann's work
26:39If you read here in Rome
26:41Much more positive
26:42Not as a premonition of death
26:44But as spirit
26:46And igniting power
26:47To mark
26:49Against violence against women
26:50To set
26:50Is at the university
26:52La Sapienza in Rome
26:53A graffiti project
26:54Initiated
26:55It is called
26:56female writers
26:58As oxygen
26:59Bachmann was the first
27:00And every year
27:01Every day
27:03Against violence against women
27:04Another image is added
27:06We also have
27:07Maria Zambrano
27:08Colette
27:10Toni Morrison
27:12And all
27:13What connects us
27:15These women
27:16Their writings also
27:18They are women
27:20Those who with their word
27:21Against violence
27:23And against war
27:25have expressed their views
27:26And Bachmann was really
27:28One starting point
27:32The difficult thing to explain, however, is
27:35That I live in Rome
27:37But a double life
27:38For the
27:38At that moment
27:39In which I
27:40I go to my study
27:41Am I in Vienna?
27:43And not in Rome
27:45That is of course
27:46A somewhat strenuous one
27:47Or schizophrenic type
27:48To live
27:50But I'm better off in Vienna
27:51Because I am in Rome
27:53Because
27:54Without this distance
27:56Could I imagine it?
27:57Not for work
27:59Pres
28:00So, the apartment search
28:03Was part
28:04Her
28:05In Italian
28:07They say
28:08Erranza
28:09Erranza
28:10Is the madman
28:12In a double sense
28:14So one is mistaken.
28:16One is a vagrant
28:18And makes mistakes
28:22In the Roman Jesuit collection
28:25The Collegium Germanicum
28:26In Rome
28:27Bachmann reads
28:29Excerpts from the
28:30Unpublished
28:31novel
28:32Malina before
28:34The priest candidates
28:35We are so excited!
28:36Von Bachmann
28:37That she her
28:38During the move
28:39From the Boca de Leone
28:40Into the Via Giulia
28:41Help
28:41So quite obviously
28:43Have some students
28:45To their particularly
28:46Good connection
28:47found
28:47And Ingeborg Bachmann
28:49Then generous
28:50The students
28:51Said
28:51You can
28:52books
28:53From her library
28:54Take it to college.
28:56So that we now
28:57Something like that.
28:58400 books
28:59From her library
29:00Here with us we have
29:01These are
29:02Fictional works
29:04That is philosophy.
29:05And history
29:07Ah yes, here
29:09Urs Wittmer
29:10Alois
29:11narrative
29:12Donum
29:13Dr. Ingeborg Bachmann
29:14library
29:16Collegii
29:16Germanici
29:17Hungarici
29:21Looking back
29:22Will the move
29:24Into the Via Giulia
29:25The last stop
29:26their odyssey
29:28Her Eranza
29:29Being in Rome
29:29There it will be
29:31During the night
29:32As of September 26, 1973
29:34In addition to the fire accident
29:40I want
29:42Something that has never been before
29:45No end
29:49And remain behind
29:50Will a bed
29:51At one end of it
29:53The icebergs collide
29:55And to his
29:57bottom edge
29:58Someone sets fires
30:02Of all things
30:02The good God
30:03From Manhattan
30:04Bachmann's work
30:05On the impossibility
30:06Love
30:07In the world
30:08Marks the beginning
30:09The relationship
30:10With Max Frisch
30:11He lets himself
30:12The radio play
30:131958
30:13In Hamburg
30:15audition
30:15And do you write
30:17It is
30:18It is the beginning
31:15Completely different
31:17In a space
31:18In a space
31:18Where she can live
31:19Where she can work
31:20A room of her arms
31:21This is in the sense of
31:22Regina Wolf
31:23Very, very important
31:25For this relationship
31:25And then they
31:27The agreement was reached
31:28For their time
31:30Very, very unusual
31:32That it is
31:33Actually an open
31:34The relationship should be
31:36And how helpless!
31:38Both of them with this situation
31:40have dealt with
31:40This is also evident in
31:41That they even
31:42They had no vocabulary
31:43To maintain this relationship
31:44To address
31:45So, get it
31:46So terms before
31:47Like Mr. and Mark
31:48For example
31:49Because they simply
31:50No other yet
31:51had vocabulary
31:52To discuss their relationship
31:54To speak
31:55The lives of the two
31:56It takes place next to Rome
31:58Also in Zurich from
31:59The crisis
32:01Immediately after the
32:01Getting to know each other begins
32:02The topic of addiction
32:04Plays in life
32:05This couple
32:06Not an insignificant role
32:07This is a recurring issue.
32:10So Max Frisch
32:11She also writes letters.
32:12Where he then also
32:13oneself
32:13Accused of being a drunk
32:15I am now, after all
32:16A drinker
32:18When Bachmann in mid-April 1962
32:20In the noble
32:22Hamburg Atlantic Hotel is located
32:24In order to prepare for a planned
32:25Film project
32:26In the screenplay version
32:27From
32:28The good god of Manhattan
32:29To write
32:30On the one hand, does she have
32:31An affair
32:32With the Germanist
32:33Paolo Chiarini
32:34And on the other hand
32:36serious health issues
32:37Damaged
32:38Max Frisch
32:39Do you write
32:40Your unwillingness to wake up
32:43Your dozing
32:44Since we got this apartment
32:45Your escape into narcotics
32:47It was frightening.
32:49When the film thing came up
32:51You know it
32:52How glad I was about that!
32:53That you again
32:54You had the initiative
32:57The film thing
32:59Ingeborg Bachmann's screenplay
33:01Remains missing for decades
33:03Researchers have been searching for this for a long time.
33:05And I too
33:06Sometime
33:07One night
33:08But suddenly it appears
33:10A name on
33:10The one who wasn't there before
33:12Egon Monk
33:13A German director
33:15I'll fire up the search engine.
33:17Then goes
33:18At least in my memory
33:20Everything very quickly
33:21The Egon Monk Archive in Berlin
33:24Recorded
33:25Ten entries
33:26On Ingeborg Bachmann
33:27And her 227-page screenplay to
33:31The good god of Manhattan
33:34I hold my breath
33:38For them, cinema meant the auteurs.
33:40She used that term once, too.
33:42The literary figure, the literary woman
33:44Is not just a supplier
33:46And delivers a screenplay
33:47But it also determines the course
33:51The design of the film with
33:52That's how she put it.
33:54She wants to be involved in the entire production process.
33:57You can also have a say in the details.
33:58What one then, so to speak, afterwards
34:00On the screen it looks
34:02And so she had apparently also discussed this with Monk.
34:05That such cooperative work should also take place there.
34:09Andrea Kresimon
34:10Egon Monk had claimed
34:12Not having the screenplay
34:14In his estate
34:16Is there also a hint of this?
34:18Why the film project failed back then
34:21A certain, unidentified Dr. P
34:25harbors open doubts
34:27In the present version
34:29Apparently, no one was interested in love back then.
34:32Bachmann will never be able to realize her film ambitions.
34:36Her film remains a utopia.
34:38A piece of unfinished history
34:41Until now
34:43And so one can now
34:45When you go into the archive
34:48With thoughts, with ideas, with visions
34:52The artists
34:53In the case of Bachmann and Monk
34:54Dispute
34:56And get a sense of it
34:58What the film would have looked like
35:02For Bachmann, thinking was not a private matter.
35:04And not to separate art from society.
35:07But their lives
35:09That should definitely remain private.
35:12As in 2011
35:13In the basement of a bank in Zurich
35:15Two save files will be opened.
35:17A new chapter begins
35:19In Bachmann historiography
35:21The waiting period
35:22For the estate of Max Frisch
35:24Falls
35:25He once spoke about his deep freezer
35:28From his freezer
35:30And at the same time, it also means
35:32Something you put in the freezer
35:35That's at least what's expected.
35:36That it will thaw out one day
35:39After thawing
35:41So, with the publication of the correspondence
35:44Bachmann-Frisch
35:45Was it time to tidy up?
35:47With ancient myths
35:48And old enmities
35:50Which still divide us today
35:52Literary studies
35:54The Swiss sensation
35:58Normality terrorist
35:58The murderer of Ingeborg Bachmann
36:01The incurably healthy
36:02Those were always labels like that.
36:05The one that was attached to Max Frisch
36:06When it comes to this story
36:08With Ingeborg Bachmann
36:09So I was kind of like
36:11Divorce lawyer in the Bachmann team
36:14Together with Hans Höller
36:16The one who shared this edition with me
36:18The Bachmann correspondence
36:20From Bachmann's perspective
36:22Made
36:24And it really was like that.
36:26That our conflicts
36:27Then really simple
36:30What
36:33reflected
36:34What the two simply did during their lifetime
36:36We were unable to clarify
36:38We were unable to clarify
37:06Or did you want to
37:09The shared apartment in Irtikon
37:12The shared apartment in Irtikon
37:36Unfortunately, there's no sugar for black coffee.
37:39That our dog
37:40I imagine
37:41We have a dog
37:42With his snoring under the table
37:44Nothing contributes to the question
37:46Did Ernst Jünger undergo a transformation?
37:48Frisch writes
37:50My name is Gantenbein
37:51The Bachmann-Malina
37:53And calls it her intellectual autobiography
37:56At its end
37:57The female self
37:58In favor of his male doppelganger
38:01disappears into the wall
38:04I believe that the women
38:05From the beginning
38:07To fulfill usefulness
38:10to be trimmed
38:11And these
38:13To do something for its own sake
38:15It's just very masculine.
38:17And art is indeed
38:18Also, to do something for their own sake.
38:22And this transgression
38:25Conditionally, on the other hand
38:27Apparently
38:27This
38:29Not just the desire to disappear
38:30But consciousness
38:33To not exist at all
38:35Because I believe that women
38:37Art production
38:38They literally paid with their lives.
38:41She never lived carefully
38:43She also didn't write carefully.
38:44And she probably thinks that's the case.
38:47Also perished
38:49Was that necessary?
38:51I have recently
38:53When she sat there
38:55And if that struck me as odd
38:56Their destruction
38:58Actually, despite all the Roman splendor
39:00She said
39:01Ingeborg, you must go back
39:03Into the Geiltal
39:05Where she came from
39:06Or to Klagenfurt
39:09And she has no airs.
39:10With great seriousness
39:12Then always listened
39:13She held the
39:14I believe
39:15For one possibility
39:16I said
39:16Then life
39:17And then there's the writing
39:18Maybe it will be okay again.
39:48Early April 1963
39:49Means and so on
39:50I knew that in Berlin
39:53Any medical treatment
39:55It also took place
39:56Which wasn't right
39:58And then of course there was
40:00The infamous Mrs. Auer
40:02That's practically speaking from my point of view
40:06So, it has promoted
40:07You have a headache.
40:09Take that
40:10You can't sleep
40:11Take something else
40:12And so forth
40:13And that's an increase.
40:14Which then became unstoppable
40:18And even back then, no one knew.
40:20How to treat this
40:23End of 1965
40:25Is she leaving Germany?
40:26And goes back to Rome
40:28She is separating in protest
40:30From Pipa Publishing
40:31Because the former Nazi poet
40:33Hans Baumann
40:34Instead of Paul Celan
40:36With the translation of
40:37Anna Akhmatova texts
40:38is entrusted
40:39Never, however,
40:40Does she talk about the
40:42Nazi past
40:43Her father
40:43Not even with Moshe Khan
40:46Celan's translator
40:47Into Italian
40:48Will her
40:49In the last years of her life
40:51In Rome to the confidant
40:52He is the messenger
40:54Bachmann the news
40:55On Celan's suicide
40:57In the Seine, he delivers
41:01After I found that out
41:04I immediately
41:06Ingeborg called
41:08And she asked
41:10Whether they received the news
41:12The terrible news
41:14I received
41:15And she said
41:16What message
41:17And I said
41:18Paul is dead
41:27Bachmann writes
41:29The finished book
41:30Malina
41:30Then again
41:32After Celan's death
41:34Did she insert passages?
41:36About the Princess of Krakran
41:38And in this
41:39Fairytale passage
41:41Then a Celan figure appears
41:43And that is
41:45Their way of remembering
41:46To Celan
41:47And that's where the relationship becomes
41:49To Celan
41:50Reflecting once more
41:53As
41:53The actual attempt
41:56Literature and Life
41:57to reconcile
41:58And it also
41:59Used for a very long time
42:00Until literary studies
42:02These Celan allusions
42:03In Malina
42:04He recognized
42:34The last journey
42:35100 Gitan
42:37So this black tobacco
42:39This very strong tobacco
42:41She managed to do it in one day
42:43From morning till night
42:45100
42:45And then in the evening she was so wound up
42:49That she couldn't sleep
42:51And then had
42:53I took a sleeping pill
42:56From which they must imagine
42:58That I have half
43:00That was enough
43:01When I couldn't sleep
43:03And wanted to fall asleep
43:04She has 13
43:06Taken from this
43:07As she herself told me
43:0913
43:11And that's permanent.
43:17Ingeborg Bachmann dies alone
43:19On October 17, 1973
43:23In the burn unit
43:25The Roman clinic San Eugenio
43:2736% of her skin was burned
43:30No death sentence at first
43:32But then
43:33Does her condition begin
43:35to get worse and worse
43:36Your friends will no longer
43:39She was let in.
43:40Officially, only doctors have
43:42And the nursing staff access
43:44Speak with her
43:45Is it only possible via a
43:47wall-mounted
43:48Black phone
43:50But at the other end
43:52Will it ever become quiet?
43:54And I tried
43:56Something tender
43:57To say to my sister
43:59No response
44:00No
44:01The doctors fought for 19 days.
44:04To ensure their survival
44:05Administer 28 liters of blood
44:08And suspect withdrawal symptoms
44:10Know the trigger
44:12For the cramps
44:13Those who suffer from epileptic seizures
44:14Remember, but not
44:16Her brother Heinz believes
44:18That the only person
44:20Who still had the rudder
44:21can tear around
44:22Her friend Heidi Auer
44:24It would have been
44:26She has his sister
44:29Together with her husband
44:30Sports doctor Fred
44:32Provided with medication for years
44:34Letters
44:36In which Bachmann
44:38With Heidi Auer
44:39For the sleep aid
44:40Seresta thanks
44:41Does this theory seem to
44:43To support my brother
44:45The doctors
44:46We were looking for something
44:48Because she had cramps
44:50Because it's obvious
44:51Reactions to any
44:53dependence was
44:54And Mrs. Auer knew that.
44:56And said nothing
44:58What remains
44:59It's a painfully open ending.
45:01Regarding the question
45:02What happened on the night of the fire accident
45:05In Ingeborg Bachmann's apartment
45:07What happened
45:08A girlfriend
45:09She had it at 11 pm
45:12Called again
45:13And in this half-sleep
45:16in which she had already been
45:18So to speak, did she
45:24Automatic, motorized, robotic
45:27To the cigarette on her nightstand
45:29Grasped
45:31Did it catch fire?
45:33And fell asleep over it
45:35While the cigarette
45:36On her nylon
45:38Negligee fell
45:41And since this slow fire
45:45caused
45:46This is our idea
45:49Had the fire accident not occurred
45:51Ingeborg Bachmann would have been the next day
45:54With her friend Christine Koschl
45:56traveled to Bad Gastein
45:57To begin a six-week detoxification program
46:00This trip will never take place
46:03Some friends don't believe it was an accident.
46:06And file a murder complaint.
46:08The police have suspended the investigation.
46:11Only after months
46:12My attempt
46:14Find out more
46:16Fails
46:17The request for access to files
46:19Rejected without explanation
46:21murder
46:23I don't believe
46:25That she was killed
46:26The atmosphere was bad.
46:31A difficult atmosphere
46:33At the time
46:34In Rome
46:35I believe
46:35This aura
46:37From Mystery
46:38On sacrifice
46:40From the Unfortunate
46:42Has her strength actually
46:45Their igniting power
46:48Out of service
46:51Set
46:52I believe
46:55In the year of Bachmann's death
46:57Will Peter Handke receive
46:58Awarded the Georg Büchner Prize
47:00And dedicates it to the poet
47:02One
47:03In the best sense
47:05Questionable figure
47:06As he says today
47:07The then 25-year-old
47:10Had Bachmann
47:11Who herself was a Büchner Prize winner
47:13One day at the Piper Club
47:16I met in Rome
47:17And I can always remember that.
47:20Like dancing
47:21Like dancing
47:23Such a lovely, delicate dance.
47:26Friendly dancing
47:27Shaped body
47:28To feel it
47:29And that was such a reckless moment.
47:32That's how I remember it.
47:35He wanted nothing
47:36But sometimes dancing is
47:38Heard
47:40Yes
47:40To
47:42To the lovely
47:43Not overly sweet
47:45To the sweet melody of life
48:06I always love to imagine what it would be like if Elfriede Jelinek and Ingeborg Bachmann kept coming together.
48:13would meet sometime
48:14And exchange ideas
48:16About politics
48:18About the men
48:19About life
48:20About women
48:21About literature
48:22Above all
48:23Not least about the music
48:25So, an early death.
48:27That's really brutal.
48:28Because it is said
48:30You have to die young, after all.
48:31To become a myth
48:34I think she would have too
48:35A living legend
48:37They can be up to this day
48:38How much a single brilliant idea can achieve
48:43This became clear in Klagenfurt in 1977.
48:46The first Ingeborg Bachmann Prize is taking place.
48:51Today it is an important benchmark for contemporary literature.
48:55I think she would be somewhat surprised
48:59But also very positively inclined
49:01Because it was also important to her
49:03The development of language naturally continues.
49:08And there need to be new writers.
49:13The Bachmann House at Hänselstraße 26 has been converted into a museum.
49:18Her books have found a permanent home at the University of Klagenfurt.
49:24Her estate, consisting of 16,000 individual sheets, however
49:28It is located in the National Library in Vienna.
49:31And it is part of the UNESCO World Heritage Site
49:34Produced by language work
49:37Yes, the linguistic efforts of Ingeborg Bachmann
49:40Their Death Methods Project
49:42Planned as a novel cycle about 20th-century Austrian society
49:48with female characters
49:49Those who suffer a certain type of death
49:52And appearing here as main characters and there as supporting characters.
49:56Except for Marlena, it remains unfinished.
50:00And how she would have continued writing
50:03So this is one of the great mysteries we will never solve.
50:07But I'm sure she would have been in the next type of death - primal man
50:11Something completely new has been developed again
50:14Not like these fragments.
50:17The book Franzer and the book Goldmann
50:19I believe she left it there for good reason.
50:23Because she realized it had to be something completely different.
50:27And Marlena was something completely different.
50:33For us today, reading Bachmann's work, it must be clear
50:37This author reveals more about us than we might like.
50:42That the war will never end
50:46But also that our strength extends further than our misfortune.
50:50And one is disappointed
50:52And that really just means...
50:54To live without deception
51:00If it's me, then it's at every
51:03He is as much as I
51:05I don't want anything more for myself.
51:07I want to perish
51:11Bottom, that is to say to the sea
51:14There I find Bohemia again
51:17ruined
51:19I wake up peacefully
51:21I now know from the ground up
51:25And I am not lost.
51:56Subtitling by ZDF for funk, 2017
51:58Thank you
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