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The Rudolf Steiner Archive

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Search results 961 through 970 of 6551

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29. Collected Essays on Drama 1889–1900: A Patriotic Aesthetician 20 Aug 1898,
Translated by Steiner Online Library

This renunciation expresses the nobility of the aesthete. If he does not renounce, but nevertheless undertakes to create something that belongs to the field he is talking about, he shows that he does not deserve to be taken seriously.
29. Collected Essays on Drama 1889–1900: On the Psychology of the Phrase 27 Aug 1898,
Translated by Steiner Online Library

It was certainly a great task for anyone who wanted to undertake an exhaustive description of the power of the catchphrase. For there will be few things in the world that are as suggestive as the catchphrase, and whose effects are so mysterious.
For the great multitude loves nothing so much as words; and for nothing is it so little to be had as for understanding the meaning of words. People's linguistic tools are animated by a tremendous urge to be active; the tools of thought are the most powerful organs an organism possesses.
29. Collected Essays on Drama 1889–1900: Tragic Guilt 27 Aug 1898,
Translated by Steiner Online Library

This gives rise to the conflict of wills, which under all circumstances causes moral displeasure. This gives rise to the moral idea of right, which is intended to prevent conflict.
This fifth moral idea must be the starting point if the concept of tragic guilt is to be understood. He who disturbs the harmony of the will-powers and thereby evokes in us the feeling that punishment must occur to compensate for the disturbed harmony is guilty.
Carriere's "Aesthetics" reads: "Guilt from passion, suffering from guilt, selfish arrogance and retributive justice, loyalty for one's better self in a reluctant world or courageous heroism for an ideal conviction, for the goods that make life worth living, a causal connection that the mind recognizes and the mind delights in, and the reign of the moral world order, as reason and conscience demand it, represented in significant characters, in attractive situations; a free play of manifold forces, and yet in all of them an organizing basic idea: this is the true tragedy: a simple story with great motives, clear in themselves and sympathetic to us, firm outlines of the plot, strict connection excluding the accidental, and the outcome a judgment of God. " This is precisely what the modern consciousness does not understand: the outcome is a judgment of God. The old consciousness says: here is suffering, therefore there must be guilt somewhere.
29. Collected Essays on Drama 1889–1900: The Value of the Monologue 17 Sep 1898,
Translated by Steiner Online Library

The author of the above essay, on the other hand, leaves the question he raises unanswered. But I also believe that he underestimates the expressive power of the word. Basically, the word hints at more than it clearly expresses.
29. Collected Essays on Drama 1889–1900: Theatrical Scandal 12 Nov 1898,
Translated by Steiner Online Library

This interesting lecture was followed by a discussion. The undersigned opened it. He pointed out that there is a kind of rejection of a drama that is absolutely fatal for it, but which therefore has nothing in common with the repulsive behavior of the audience on October 29 in the Lessing Theater.
29. Collected Essays on Drama 1889–1900: Schlenther's Direction 15 Jan 1899,
Translated by Steiner Online Library

But this did not earn him an impressive reputation. Under Laube, all directors were superfluous. He stood on the stage every day, leading, overseeing, the master of the house. An older court actor was once asked what the directors had to do under Laube. "Oh, they had a strictly regulated job," he reported, "the director on duty had to bring the director his sandwich every day at ten o'clock - on time, otherwise the old man would get very angry. But that was the end of the director's functions." Under Schlenther, the directors were given other tasks after all. And the mistrust that is always shown in theater circles towards a proper man of letters grew.
29. Collected Essays on Drama 1889–1900: The Beginning of German Theater 04 Mar 1899,
Translated by Steiner Online Library

In Germany itself, at the time when the theater was under the influence of the English, only dramatic poems were created, which were worthless for the real theater.
29. Collected Essays on Drama 1889–1900: Ibsen as a Tragedian 25 Mar 1899,
Translated by Steiner Online Library

Alving and Oswald are placed in a generally human, tragic situation, which is based on the insoluble contradiction between man's urge for full freedom and self-confidence and his helpless inferiority under the terrible and inexorable laws of heredity. On the other hand, they are very reminiscent of the ancient tragedy of fate. - They have no guilt upon them that can explain such a terrible fate." - This "can explain" is not complete.
29. Collected Essays on Drama 1889–1900: Vienna Theater 1892–1898 15 Apr 1899,
Translated by Steiner Online Library

His course of development is not a natural one. When he was young, he did not understand the aesthetics of Vischer and Speidel. But he fought against them. Others took this aesthetic as their starting point.
Due to the one-sidedness of these principles, they initially did not understand the tasks of the new art. Today they understand its demands. They judge the new according to the standard provided by the good old aesthetics and which they have developed accordingly.
29. Collected Essays on Drama 1889–1900: Los von Hauptmann 30 Jun 1900,
Translated by Steiner Online Library

I find the work written by Hans Landsberg under the above title (Berlin 1900) less interesting as an individual achievement than as a symptom of the times.
Only someone who has once grasped or even just sensed the full depth of a great work of art understands the reality of these concepts. A statue by Michelangelo, a symphony by Beethoven, a poem by Goethe, they are all symbols, individual embodiments of the universe, they are all mystical because they rise from unfathomable depths.
This is Hans Landsberg's opinion. But he does not understand how a world view comes about. He only understands the small science, which, with its abstract concepts, with its idealistic shells that it wraps around things, has nothing to do with worldview.

Results 961 through 970 of 6551

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