Donate books to help fund our work. Learn more→

The Rudolf Steiner Archive

a project of Steiner Online Library, a public charity

Search results 951 through 960 of 6551

˂ 1 ... 94 95 96 97 98 ... 656 ˃
29. Collected Essays on Drama 1889–1900: Ludwig Tieck as a Dramatist 05 Mar 1898,
Translated by Steiner Online Library

Bischoff cites a variety of reasons for this unprecedented underestimation of Tieck. Tieck was regarded as the head of the Romantic school. This is why opponents of this literary movement hated him from the outset.
But Kleist once drew a hero whose fear of death is understandable from the nature of his soul. Bischoff correctly describes Tieck's relationship with Lessing.
In this respect Tieck is much closer to modern views than Goethe. He had no understanding of the fact that the actor must always turn three quarters of his face towards the audience, never play in profile, nor turn his back to the spectators.
29. Collected Essays on Drama 1889–1900: On the Art of Presentation 05 Mar 1898,
Translated by Steiner Online Library

In the case of the actor this deficiency is understandable to us, for we must admit that even where a drama can dispense with the sharp accentuation by the actor, the coarse-minded audience likes to give a strong success to the actor who puts on the lights. That we encounter the same deficiency in the art of performance is less understandable to us and also seems less excusable. Less excusable because here the pitfalls do not exist which make the task of the reproducer more difficult in drama and in its scenic representation. Less understandable because we are inclined to assume that this art, which is more shameful in all its reproaches and in its task, only attracts disciples to its path who are sufficiently capable of renunciation and have an excellent understanding of its simplicity and delicacy.
29. Collected Essays on Drama 1889–1900: Postscript to the Previous Essay 05 Mar 1898,
Translated by Steiner Online Library

Our time seems little inclined to count the art of performance among the arts at all. This is understandable when one considers that the current trend is not to restrict artistic means, but to expand them.
Today it is not even possible to distinguish the dilettante from the artist. Under such circumstances, it is only natural that the public "does not want to have anything recited to them", but believes that "it is more convenient to read things oneself". One must first learn to understand that this is just as accurate as saying: why do I need to see a painted landscape? I prefer to look at real nature.
29. Collected Essays on Drama 1889–1900: Another Word on the Art of Lecturing 19 Mar 1898,
Translated by Steiner Online Library

One is satisfied with general amateurish talk about artistic achievements in this field. People who understand whether a verse is spoken correctly or not are becoming increasingly rare. Artistic speaking is often regarded today as misguided idealism.
But we will only speak sympathetically if we have undergone training in the art of speaking.
29. Collected Essays on Drama 1889–1900: Mr. Harden as a Critic 26 Mar 1898,
Translated by Steiner Online Library

" out of Johannes; what does a Harden (perhaps also: a Harden should understand more -) understand of the conflict that rages through and tears apart this heroic soul, but through which it finally wrestles its way victoriously to the clear light of inner harmony, as Sudermann shows us?
The poet has masterfully posed this inner, religious problem to the hero within the framework of the external events with their colorful alternation up to the brutal outcome, something that the vast majority of critics have not yet understood. From act to act - the attentive will also note the highly instructive act endings - the solution is approached: the law-abiding preacher of repentance, who harshly rejects the children of Jehoshaphat together with Jael and the tender Miriam, only learns to love his disciples in the difficult struggle that breaks up his outer life and also shows him the limits of his prophetic work (end of Act IV), after he has already actually been able to love them.
But the entry of Jesus - not in Jerusalem, but in or near Machaerus (in the drama's so effective final image) is such an understandable poetic liberty that we can only speak of a "disdainful theatrical trick" in the scolding jargon of Mr.
29. Collected Essays on Drama 1889–1900: On Ibsen's Dramatic Technique 09 Apr 1898,
Translated by Steiner Online Library

And Steiger explains just as clearly how, under the influence of a different world view, Shakespeare had to develop a different dramatic technique.
That's why we don't need kings and heroes in poetry; the poorest devil of a worker can be more interesting to us under certain circumstances. After all, we don't want to paint crowns and purple cloaks, but only souls, living human souls - and who knows whether we would find one under the purple - at least the kind we need, a soul in which the great, torn century is reflected?
In the limited slice of reality that he presents to us, he suggests everything we need in order to draw our attention to the entire plot that is under consideration but not depicted. Steiger draws attention to individual such suggestive features.
29. Collected Essays on Drama 1889–1900: Drama as the Literary Force of the Present 16 Apr 1898,
Translated by Steiner Online Library

In general, Friedrich Spielhagen does not speak well of modern dramatic production; in individual cases, he will always be the first to show understanding and appreciation for real talent. Much of what he says should find unreserved approval even among the most obedient adherents of newer trends.
The professional criticism does not have a clarifying and ameliorating effect on these conditions. Today, individual critics are too much under the spell of some aesthetic direction. Only a few are capable of an unbiased dedication to artistic qualities.
The fact that a theater performance is much more readily understood by today's audience than a multi-volume novel is a decisive factor in this push. But there is something else to consider.
29. Collected Essays on Drama 1889–1900: New and Old Dramatics 16 Apr 1898,
Translated by Steiner Online Library

But these gentlemen are gifted. They will go even further in their understanding of Goethe. That's why we shouldn't judge them too harshly. Today they tell us things that we can do without, because we have them in our blood; they are trivialities for us.
For if today a truly artistic nature goes back to Goethe, it is for the truly easy-to-understand reason that Goethe wrote many a good thing after all. Points of view do not even come into consideration in relation to Goethe.
29. Collected Essays on Drama 1889–1900: Science and Criticism 09 Jul 1898,
Translated by Steiner Online Library

But I believe that not everyone will interpret these sentences correctly. Most people will understand them as follows: the lyricist should only be judged by the lyricist, the epicist by the epicist, the dramatist by the dramatist and so on.
A poet should judge a work of painting, a painter should judge a philosophical book on my account, a philosopher should judge a work of painting or a work of poetry. I presuppose, of course, that my readers understand that the philosopher is an artist. Every philosophical thought is a work of art like an Iyrian poem; and he who wants to be a philosopher without productive talent is a mere scientist.
29. Collected Essays on Drama 1889–1900: Another Shakespeare Secret 16 Jul 1898,
Translated by Steiner Online Library

He is not satisfied with looking at the abundance of plants and putting them into a system; he wants to discover in them a primal form, the original plant, which underlies them all; which cannot be seen, but which must be grasped in the idea. He does this in all areas.
Only those who have his basic view can depict people and their coexistence in the way he did. And this view can only be understood by those who have made Goethe's world view their own. This fact shows the dependence of Goethe's poetic technique on his world view.
Anyone who is unable to sense the deeper essences implied in the things and people he brings to the stage cannot understand Maeterlinck. Every gesture, every movement, every word on stage is an expression of the underlying world view.

Results 951 through 960 of 6551

˂ 1 ... 94 95 96 97 98 ... 656 ˃