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The Rudolf Steiner Archive

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29. Collected Essays on Drama 1889–1900: A Book on Viennese Theater Life 01 Mar 1890, N/A
Translated by Steiner Online Library

Rudolf Steiner
We have shown that stage managers and critics are losing their understanding and audiences are losing their receptiveness to artistic value, and that there is now only a need for light merchandise, sensational plays and frivolous entertainment.
29. Collected Essays on Drama 1889–1900: The Old and the Young 02 Mar 1890, N/A
Translated by Steiner Online Library

Rudolf Steiner
We appreciate youth because we love strength. We also understand the Sturm und Drang that overshoots the mark, but we firmly reject youthful, powerless, rabble-rousing megalomania.
We know well what will be said about these lines in the circles concerned: this is written by a person who is still afflicted by the "old" view of art, who still believes in this garbage of aesthetics and so on, a person who lacks any understanding of the spirit of the age. But my dear "young ones", only believe this: if anything is easy to understand, it is you. For the rest of us need only remember what we understood before we learned anything, then we can grasp you. We are not impressed by such shallowness, by such immaturity.
29. Collected Essays on Drama 1889–1900: The Cologne Hänneschen Theater 08 Jan 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
To unfold the dramatic action in such a way that these simple forces underlie and dominate the process is the poet's art. The characters who appear in dramatic creations can be reduced to a few basic types.
In Heinrich Laube's case, it was particularly praised that as a director he understood the art of thread drawing. This thread-drawing consists of nothing other than bringing complicated dramatic processes back to a simple basic structure.
29. Collected Essays on Drama 1889–1900: The State National Theater 15 Jan 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
Those who disagree are not talking about real states, but about an ideal state that leads its existence in cloud cuckoo land. Anyone who has an understanding of the nature and conditions of existence of art would have to admit that a higher branch of culture cannot be better served than by keeping it as free as possible from the influence of the state.
29. Collected Essays on Drama 1889–1900: Vienna's Burgtheater Crisis 15 Jan 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
When Dr. Max Burckhard took office, no one with understanding could stand up for him. Of all the candidates considered at the time, he must have seemed the least suitable.
The public is much less conservative in artistic matters than the so-called "authoritative circles". The public has been forced to understand Arnold Böcklin! Those who only a few years ago would shrug their shoulders as they walked past Böcklin's Pieta now stand before it in adoration, as they always did before the Sistine Madonna.
29. Collected Essays on Drama 1889–1900: Theater and Criticism 05 Feb 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
It is least of all edifying for the theater professionals themselves. What can't be found under the heading "theater" in our newspapers and journals? Perhaps nowhere is dilettantism more rampant than in this field.
29. Collected Essays on Drama 1889–1900: The Insignificant 12 Feb 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
Then both poets and actors will recognize it. And then both categories of artists will understand each other. At present, such an understanding is lacking.
29. Collected Essays on Drama 1889–1900: Max Burckhard 19 Feb 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
You literally have to force yourself to talk about them, because they come across to us with the most perfect naturalness. I don't think Burckhard can ever understand why people talk so much about his merits. He will hardly consider himself much more than a decent man.
He tells people that they are a "bagasche", but in a tone that also makes them understand: it's not your fault. He'll say the strongest things in the warmest, kindest way. Burckhard really is above the things he deals with.
I don't think he holds it against the people who forced him out of the Burgtheater, because he understands them... He knows that they could not do otherwise, and he has his proper judgment about this ability...
29. Collected Essays on Drama 1889–1900: An Attack on the Theater 19 Feb 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
"Aesthetic education will always be as low as it is today if we do not fully understand that the stage and art have nothing at all to do with each other, that a play and a drama are two very different things."
Let's finally stop talking about it like an art institution." No one who understands the nature of the arts and their means can take this path. And now that I have written all this down, I would like to consider a third explanation for Hart's failure against the 'theater.
Shakespeare demonstrably arranged the first scenes of his plays in such a way that those who arrive late can understand the course of events. And quite sensible people have maintained that the dramatist in this playwright was so great because he was a great actor.
29. Collected Essays on Drama 1889–1900: From the Actor 26 Feb 1898, N/A
Translated by Steiner Online Library

Rudolf Steiner
Naturalism transferred to the stage has done a great deal to overcome it. Under its influence it has been recognized that there are no two identical human individuals, and that it is therefore impossible to reduce all the characters to be portrayed on stage to five or six typical figures.

Results 6051 through 6060 of 6456

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