Max Frisch's fascination with the narrative of the Andorran Jew dates back to the years immediately following World War II. During this period, he crafted a sketch titled “Der andorranische Jude” ("The Andorran Jew"), which was later included in his publication, Tagebuch, 1946-1949 (1950; Sketchbook, 1946-1949, 1977). This early parable encapsulated nearly all the pivotal elements that would later emerge in his celebrated play, Andorra.

The play Andorra was initially intended as a centerpiece for the twentieth-anniversary celebration of the Schauspielhaus in Zurich during the 1958-1959 season. At that time, Frisch had recently completed Biedermann und die Brandstifter (1953; The Firebugs, 1961) and was residing in Ibiza, a setting that influenced the play’s stark, barren landscapes and its white backdrop. Despite his initial enthusiasm, Frisch faced significant challenges with this material, requiring several rewrites before finishing it in 1961.

Ultimately, Andorra made its debut in Zurich in 1962 under the direction of Kurt Hirschfeld, coinciding with the commencement of the Eichmann trials in Israel. This timing imbued the play with a contemporary resonance, particularly in Switzerland and West Germany, where it initially found considerable success. However, with time, its presence on stage faded, and it became more prevalent in educational settings, where it remains a popular study subject.

Frisch's ambition was to craft a play with universal themes, transcending the confines of any single historical period. Yet, audiences have frequently interpreted Andorra through the lens of the World War II era, drawing parallels to the pervasive anti-Semitic sentiments of that time. This historical context, while specific, continues to enrich the play’s narrative, offering layers of meaning that resonate in the classroom and beyond.