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The Rudolf Steiner Archive

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289. The Ideas Behind the Building of the Goetheanum: The Building as a Setting for the Mystery Plays 02 Oct 1920, Dornach

They withdraw into the closed rooms of the laboratory and the observatory, and devote themselves to specialized investigations in these fields, but in so doing they distance themselves from a truly living understanding of the totality of the world. One withdraws as a human being from real cooperation with practical life, and as a result one arrives at a closed intellectuality.
For only from the human being in his head comes what modern language has created for our science and our popular literature, and what today's people, if you listen to them, are able to understand. You have to touch the deeper sides of their minds if you want to speak to them what anthroposophical spiritual science actually has to say.
289. The Ideas Behind the Building of the Goetheanum: The Double Dome Room and Its Interior Design 16 Oct 1920, Dornach

You know that in the case of all the buildings that are actually designed to enclose something, we are dealing with a completely different architecture. Perhaps we can reach an understanding if we point to older building forms that draw their style, their architectural concept, from completely different premises.
I know all the arguments that can be used against this transfer of the idea of construction from the dynamic-mathematical to the organic-living, and I understand every one of the artists who cling to the old in this direction; I feel for them. But a start had to be made sometime with what time, from its depths, demands of us humans in the present and for the near future.
Here it was not even ventured out of the abstract, but it was undertaken because a second, an artistic branch wanted to emerge from the same roots from which spiritual science itself emerged.
289. The Ideas Behind the Building of the Goetheanum: The Idea of Building in Dornach 28 Feb 1921, The Hague

The aim is not to somehow embody the ideas that are presented through images, that would be inartistic. Rather, the one spiritual life that underlies it can be shaped artistically at one time, and at another time it can be shaped ideally, in thought, scientifically.
This is what was attempted in Dornach. There (Fig. 64) you first see what is under the dome, the architrave motif, directly above the group that is to be placed in the east of the building as the sculptural center of this building, so to speak.
For this, however, it will be particularly necessary to have the international understanding that I described yesterday as the basis for a world school association that works towards the liberation of spiritual life as one member of the tripartite social organism.
289. The Ideas Behind the Building of the Goetheanum: Guided Tour of the Goetheanum 25 Aug 1921, Dornach

It is certain, of course, that the development of humanity is moving towards these forms of building, and when we again have the impulses of clairvoyant experience, I believe that these forms of building will play the first, leading role. This building should be understood in the same way through its relationship with the organizing forces of nature as the previous buildings are understood through their relationship with the geometric-static-symmetrizing forces of nature.
If one wants to depict something like this as a motif in a picture or in words, one can only put into the word what is already in the picture itself. It must be clearly understood, however, that such a picture can only be understood by someone who lives in the world view from which it originated.
It seemed to happen by chance here – but of course there is always an inner necessity underlying it. When I saw the Nordic slate in Norway from the train, I knew that it was the right thing to cover the building with.
289. The Ideas Behind the Building of the Goetheanum: About the Goetheanum 27 Aug 1921, Dornach

And even when we were able to present dramatic performances based on the impulses of the anthroposophical worldview, starting in 1909, we initially had to limit ourselves to having these performances in ordinary theaters and under ordinary theater conditions. As our anthroposophical movement grew, a large number of our friends came up with the idea of building a house for anthroposophy.
[IMAGE REMOVED FROM PREVIEW] Figure 67 Psychically, it is only summarized in the Christ group (Fig. 93), which is a nine-meter-high wooden group that will stand in the far east and show the representative of humanity in the middle, who can be understood as the Christ – but must be understood in the feeling – [and] has the Luciferic principle above him and the Ahrimanic principle below him.
[IMAGE REMOVED FROM PREVIEW] Figure 87 The next image (Fig. 88) then represents Ahriman under the representative of humanity – Ahriman, who is embraced with his love rays as if by a crushing lightning bolt.
289. The Ideas Behind the Building of the Goetheanum: The Building Idea of Dornach 07 Sep 1921, Stuttgart

We are dealing with something that comes from the bottom of the heart, with something that is taken from the whole soul by someone who truly understands. This can be felt. And it may be demanded of the one who can feel it that this is now translated into contemplation.
The building had to appear as a unified whole, and, I would say, fate brought it about: While I was still occupied with the idea of building, I had to undertake a lecture tour in Norway, from Kristiania to Bergen, and from a train I saw the wonderful slate quarries of Voss.
The next picture (Fig. 87): the figure of Lucifer in itself – here the figure of Christ would be underneath – this has been brought out of the red. [IMAGE REMOVED FROM PREVIEW] Figure 87 The next picture (Fig. 88): the Ahrimanic figure by itself.
289. The Ideas Behind the Building of the Goetheanum: The Ideas Behind the Building of the Goetheanum I 28 Dec 1921, Dornach
Translated by Peter Stewart

[ 9 ] I can well understand that those who feel firmly rooted in the older styles of architecture, and who see in these older styles something which they once had brought to a certain understanding, feel that what is now departing in such a radical way from everything they were accustomed to before is dilettantish. I can fully understand that. But we had to take the risk of transforming the more mathematical-dynamic style into an organic-living style.
We have performed mystery plays in Munich, in which characters appear, created characters, which one should understand as they walk across the stage. I was asked whether this character in these plays meant the etheric body, another manas, another buddhi.
289. The Ideas Behind the Building of the Goetheanum: The Ideas Behind the Building of the Goetheanum II 30 Dec 1921, Dornach
Translated by Peter Stewart

And since everything in an organic building must be based on connecting with the creative forces of nature and of the world-being in general, it is only understandable that that number should emerge which is, so to speak, the leading number for manifold natural phenomena.
The building will finally be completed here in the east by the fact that under this motif, which is painted in the middle, there will be a wooden sculpture of the same motif.1 There you will also see the figure of the Christ in connection with Luciferic and Ahrimanic beings.
You can then see how this blue Faust-like figure has emerged here,5 underneath it a kind of skeleton, the brown figure, then this orange angel, actually a child, floating towards the face of Faust.
291. Colour: The Creative World of Colour 26 Jul 1914, Dornach
Translated by Harry Collison

This is what arose again in a single man, in Goethe, as he was at the turn of the eighteenth and nineteenth centuries. And it is this which is so little understood in our time, namely, that Herman Grimm was inclined to wait for the year 2000 for such an understanding to become possible for the world again.
He may be the greatest mathematician or the greatest metaphysician, but he does not understand how to live with colour, because for him it moves from one place to another like a dead substance.
People will come who can do more than “intend”—if perhaps only at the date Herman Grimm assumes that Goethe will be fully understood. A certain modestly is requisite to understand such a saying and this is rare in the intellectual life of today.
291. Colour: Artistic and Moral Experience 01 Jan 1915, Dornach
Translated by Harry Collison

The understanding of the spiritual-scientific view of life not merely with the mind but with the heart has as a result a corresponding revolution in artistic creation and enjoyment.
Then we can also experience how red can express itself plastically in space. We can then understand how we can experience a Being who radiates goodness, who is filled with divine goodness and mercy, a Being such as we long to experience in space.
We shall learn to experience something of the Spirits of Form, who as spirits are the Elohim. And we shall then understand how the forms of the colours can be realities as is indicated in my first and second Mystery Plays, and we shall understand a little of how the colour-surface becomes something we have overcome, because we go out with colour into the Universe.

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