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The Rudolf Steiner Archive

a project of Steiner Online Library, a public charity

Search results 5991 through 6000 of 6456

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30. Collected Essays on Philosophy, Science, Aesthetics and Psychology 1884–1901: Goethe and Medicine 13 Jan 1901, N/A

Rudolf Steiner
Once again, it was the physicians from whom he drew his most important inspiration. He studied anatomy in depth under the guidance of Court Councillor Loder. A manuscript he left behind (now published in Volume VIII of the Weimar Goethe Edition) shows how he pursued this science entirely in the spirit of a rational comparative method.
But this preoccupation also caused the poet to develop a deep understanding of medical science. The nature of this understanding is shown clearly enough by a description he gives in "Dichtung und Wahrheit" of the medical movement of the seventies of the last century.
A part of the letter to him is printed in Goethe's works under the title "Plastic Anatomy". Here he mentions that this "plastic anatomy" has been practiced in Florence for many years and adds the remark: "But should one not immediately think of Berlin when calling for such a location, where everything - science, art, taste and technology - is together and therefore a highly important, admittedly complicated undertaking could be carried out immediately by word and will?"
29. Collected Essays on Drama 1889–1900: Dr. Wüllner as Othello 01 Dec 1896, N/A
Translated by Steiner Online Library

Rudolf Steiner
I wanted to see Othello and all I saw all evening was Mr. Wüllner. I wanted to understand how Othello could gradually fall into this terrible rage of jealousy, and I only got to know the feelings that dominate Mr.
29. Collected Essays on Drama 1889–1900: On the Opening of the Marie Seebach Foundation 20 Apr 1895, N/A
Translated by Steiner Online Library

Rudolf Steiner
It can only be regarded as a fortunate and very grateful suggestion. However, the founder has understood how to set an example that is truly worthy of imitation. If imitation were to take place in abundance and if the same sure sense of what meets the needs were always demonstrated as with Marie Seebach, then an important social issue for German stage artists would indeed be solved.
29. Collected Essays on Drama 1889–1900: Ermete Zacconi 06 Nov 1897, N/A
Translated by Steiner Online Library

Rudolf Steiner
And I must confess that I, too, cannot quite understand the excitement in Vienna. Zacconi has taught me only one thing. When the art of acting emancipates itself from drama and appears obtrusive and self-important to us, it becomes repulsive.
This is the secret of the great actor for anyone of understanding. There is no other. Zacconi has not given us the slightest explanation of this problem. Basically, his art has nothing to do with this kind of acting.
29. Collected Essays on Drama 1889–1900: Adele Sandrock 28 May 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
They should therefore - in Adele Sandrock's opinion - have more understanding than men when it comes to working out these arrangements on stage. One thing is not taken into account: It is another to do a thing in real life, another to imitate it in the field of art.
29. Collected Essays on Drama 1889–1900: Theater Chronicles 1897-1899 N/A
Translated by Steiner Online Library

Rudolf Steiner
If one considers the tremendous success of the popular performances of the people of Schliersee everywhere, one can open up the best prospects for the future to undertakings such as the Alsatian folk theater. Such ventures are very much in line with a remarkable trend of our time.
And the term "good Europeans" is by no means a mere phrase today. Today, we understand the Parisian mores shown to us from the stage almost as well as those of our home town. In addition to this one extreme direction, however, there is another.
They want to live too, but the young man can't understand that. Today I say to myself: I have my taste, other people have a different one; whoever writes what I like is my author, but the others want their authors too, that's just cheap..."
29. Collected Essays on Drama 1889–1900: On My Departure 29 Sep 1900, N/A
Translated by Steiner Online Library

Rudolf Steiner
From the very beginning of my editorial work, I was under no illusion that my intentions could only be achieved through sacrifices of the most varied kind and, as the circumstances were, only through difficult struggles.
More than anything else, the fact that it has maintained its existence to this day testifies to the importance of this existence. Under different management, it will continue to serve art, science and public life. I am not handing over the reins with a light heart, because over the past three years I have become more attached to this magazine than I would like to say.
Cronbach and his publishing house, who have met me with true understanding, interest in the cause and willingness to make sacrifices. The fact that the publishing house is being continued by this company gives me particular satisfaction.
29. Collected Essays on Drama 1889–1900: The Maccabees by Otto Ludwig 25 Jan 1890, N/A
Translated by Steiner Online Library

Rudolf Steiner
He lives for a God who remains an inanimate, thoughtless abstraction to him. The Jew lacks all understanding for the real world of the immediate present, from which the tragic conflicts and actions arise.
He sought his effect through a special development of the vocal means, which failed to materialize because he ultimately lacked the strength. Mr. Wagner's Eleazar was played without understanding. Nowhere could one find that he was touched by Otto Ludwig's deep spirit. The turnaround at the end, where he goes into himself and yet seeks death with the brothers, was without the necessary psychological deepening of the portrayal.
29. Collected Essays on Drama 1889–1900: Heat Lightning of a New Era 22 Feb 1890, N/A
Translated by Steiner Online Library

Rudolf Steiner
We don't know what influence we have to thank for this, but it would be interesting to find out. For in view of the boundless lack of understanding with which the Viennese critics have received this "play", in view of their almost touching ignorance as to what is actually at stake here, we cannot but confess that we long to know who among the leading factors of the German people was able to recognize that for all Heiberg's dramatic ineptitude, for all the imperfection in the drawing of the characters, the weather light of a completely new age can already be felt in the work. The majority of our educated people seem to have just enough intellectual power to understand Ibsen, the last offshoot of a culture in decline. But this power is no longer sufficient to follow the man who makes the first - albeit still somewhat feeble - attempt to give artistic expression to a new moral world order.
Only the immature youth and those older people who have never understood that in our classical period the moral content of life of an outdated time has found a residue-free artistic expression that cannot be surpassed, only these two groups of educated people could fall prey to that unholy cult of Ibsen, which is nothing but the result of the most blatant lack of education.
29. Collected Essays on Drama 1889–1900: Education and Training 08 Apr 1893, N/A
Translated by Steiner Online Library

Rudolf Steiner
That is why a man who has read a lot about protective tariffs and free trade does not understand it, and - the play is rarely performed. But "Heimat" was trumpeted as a play of epoch-making importance by the all-knowing masters of the feuilleton.
Today, instead of a competent but constantly evolving view of things, we find arbitrary art and science recipes based on nothing; journalistic recruits use their clumsy shooting sticks as critical marshal batons. Under such conditions, it is no wonder that criticism is usually completely unfruitful for the productive spirit, and that an understanding of the value of contemporary literary products is virtually an impossibility.
Such judgments may well stem from subjective arbitrariness, but not from a true knowledge of the subject and a deeper understanding of the world. In the face of such circumstances, one would not like to pin one's judgment of contemporary literary products to the letterpress printer's material.

Results 5991 through 6000 of 6456

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