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DigiCat Publishing presents to you this special edition of "Four Mystery Plays" by Rudolf Steiner. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
First Mystery Drama by Rudolf Steiner,J. C. McCulloch Pdf
The four Mystery Dramas were created, produced and printed one each year, one after the other, from 1910-1913. They took place in different theatres in Munich but always in the month of August. The writing of the dramas, the creating of the scenery, the making of the costumes, the learning of roles, the general directing, the organization of the printing and all the other inummerable things connected with such a major production happened within a matter of weeks before the main performance. There was a literal whirlwind of activity, and it is reported that often the scenes were written during the night before a scheduled rehearsal, and that at five or six in the morning a boy would come from the press to pick up the manuscript for the printing of the scene for that day's rehearsal. All this activity centered around Rudolf Steiner who gave directions or advice on every aspect of the production down to the smallest details. He not only wrote the dramas themselves, but also indicated how such soul and spiritual pictures could be presented and played on stage. A fifth drama was also planned, which was to include scenes from Ancient Greece and its mystery centers, but the outbreak of the First World War in August 1914 meant that it had to be postponed. Rudolf Steiner's early death in 1925 resulted in it never coming to production, nor ever being written down.
First Mystery Drama by J. C. Mcculloch,Rudolf Steiner Pdf
The four Mystery Dramas were created, produced and printed one each year, one after the other, from 1910-1913. They took place in different theatres in Munich but always in the month of August. The writing of the dramas, the creating of the scenery, the making of the costumes, the learning of roles, the general directing, the organization of the printing and all the other inummerable things connected with such a major production happened within a matter of weeks before the main performance. There was a literal whirlwind of activity, and it is reported that often the scenes were written during the night before a scheduled rehearsal, and that at five or six in the morning a boy would come from the press to pick up the manuscript for the printing of the scene for that day's rehearsal. All this activity centered around Rudolf Steiner who gave directions or advice on every aspect of the production down to the smallest details. He not only wrote the dramas themselves, but also indicated how such soul and spiritual pictures could be presented and played on stage. A fifth drama was also planned, which was to include scenes from Ancient Greece and its mystery centers, but the outbreak of the First World War in August 1914 meant that it had to be postponed. Rudolf Steiner's early death in 1925 resulted in it never coming to production, nor ever being written down. The First Mystery Drama For ten years, Johannes has been working with Maria on art and on spiritual understanding. They both have the intention to make available the spiritual truths, which she is trying to research, in an artistic way, which he is trying to carry out, to the general public. Johannes has already had a relationship with a woman previously when he was younger, but he left her in order to work with Maria. She and Johannes had no intimate love relationship to begin with, but as time passed, Johannes has fallen in love with Maria and wishes to have such a relationship. She, however, wishes it to remain a platonic working partnership, since her main interest is in his art and in spiritual development. As Johannes reaches the crisis point where he has to admit to himself that the relationship he wishes with Maria will not come about, he is also thrown into uncertainity about the whole purpose and significance of his artistic development and the spiritual knowledge that he has also striven to master. Yet these two areas of crisis in his life do not, significantly, cause his complete emotional/ personal break down. At the key moment when these two crisis reach a peak, Johannes hears an address by Benedictus that illuminates very significant aspects of his soul life. This also causes him to be able to see other people in a new light, and on the basis of this, to be able to painfully reassess himself and his path in life. One consequence is that Johannes recognises that he is responisble for the moral failures that he has committed in the past, and the other consequence is that he recognises that how he acts with regard to other human beings now, will have consequences for their and his own soul-spiritual development in the future. This is turn allows him to see further into the realm of soul and spirit where he is able to understand that spiritual beings can and will act through us if we do not fully comprehend and lead ourselves. He sees how Maria is possessed by a certain being which takes advantage of something in her she is not aware of. When Benedictus, through his words, makes her aware of it, that being must leave Maria, and she is able to make a major step in her development. Johannes is also able to see how other characters meet certain spiritual beings, whether fully consciously or only partly consciously, and these perceptions then allow further progress in his development. Thus he enters right into the soul-spiritual realm and eventually can perceive those who have full consciousness in that realm and their activities. He can come fully to the understanding that he himself wishes to take part in that realm in a postitive way. Johannes is not yet able to perceive or recognise his true spiritual essence, but Maria does acheive this and through her Johannes can perceive a true soul copy of it and then know he wishes to come to a perception of it for himself. Thus is presented the beginning of what was traditionally called the path of initiation, but now in a completely modern way which is appropriate for our modern society. Although the central characters of the First Mystery Drama are Johannes Thomasius and Maria, the other main characters who play around them may be seen as individualized or specialized aspects of their characters. Together, the first two form a sort of soul unit, while Strader, Capesius, The Other Philia, and Felix Bald together, form a sort of second level soul-unit around them. That is to say, the latter four present archetypal aspects of the soul and spiritual nature of the first two as a unity, while at the same time presenting their own selves. Other characters can be seen as still a third layer around the second one. Johannes's progress in understanding his inner self and the spiritual world is closely dependent on Maria's own progress, and she on his. For both of them, the progress of the four individuals of the second level will also indicate progress for each of them. The perception by Maria and Johannes of the real soul and spiritual events happening to the four others is at one and the same time an indication of the ability Maria and Johannes have now acheived to see and experience the real world of soul and spirit, but yet also, this seeing and experiencing then gives them concrete material with which they themselves must work and with which the two of them can advance themselves and each other still further. Thus each is dependent on every other, but there is a whole and it's progress is dependent on what each once can acheive. This is the fundamental law of soul-spiritual relationships, and it lies at the basis of an understanding of Karma. Out of an inner picture of what each character is and wants to achieve, or can achieve, the reader/viewer can come to the perception that what the character actually does is also dependent on a set of forces within that character that have come over from the character's past. A still longer perspective on these inner forces indicates that some of them, or some part of them, must even have come into this life at the birth of the character and that they may well have been brought over from an earlier life on earth. Thus, reincarnation is brought into relationship with Karma, extending the complication of the situation and the characters immeasurably. The way of consecration may thus be seen as a striving to acheive something for oneself, and on the other hand, as a striving to bring something to others. In so far as one can understand something about one's own soul-spiritual nature, one can put one's own Karma in order; in so far as one can put one's own Karma in order, one can help others on their path of striving, and this then will form a basis for one's own further progress. Unrecognized by most people, these soul-spiritual relationships continually play into our everyday lives; thus everyday people and their characters can be chosen as representatives for these relationships. When these relationships are presented with all the outer aspects stripped away, a viewer/reader can begin to see clear lines of development of a soul-spiritual nature. One begins to 'see' into the soul and spiritual world.
Rudolf Steiner wrote four mystery dramas intended to portray the spiritual path of self-knowledge as described by spiritual science, or Anthroposophy. Those plays are not merely symbolic but realistic depictions in a spiritual sense. In this book, Steiner describes how "The Portal of Initiation" (the first of his dramas) portrays the intense and tempestuous inner events of initiation as experienced by a young painter. He explains the spiritual background of this character's "karmic" tests and higher guidance. He also discusses the Rosicrucian nature of this play, as well as the "symbolism and fantasy" of the second drama, "The Soul's Probation." Steiner also emphasizes the power of certain fairy tales and poetry for bridging the gap between the spiritual and material worlds. As one of the mystery dramas shows, this is especially valuable for those who tend to be intellectuals. Rudolf Steiner portrayed much of the wisdom of his spiritual science in the mystery dramas and intended them to graphically depict what he taught all his life. As he said, "If people will exert themselves...to work with the drama, I will not have to give any more lectures for a long time." THE LECTURES: Self-knowledge as Portrayed in the Rosicrucian Mystery, The Portal of Initiation (Basel, Sept. 17, 1910) On the Rosicrucian Mystery, The Portal of Initiation (Berlin, Oct. 31, 1911) Symbolism and Phantasy in Relation to the Mystery Drama The Soul's Probation (Berlin, Dec. 19, 1911)
The Doorway of Initiation – The Trial of the Soul – The Guardian of the Threshold – The Souls Awaken Rudolf Steiner's four modern mystery dramas are powerful portrayals of the complex laws of reincarnation and karma, transporting us to landscapes of soul and spirit where supra-sensory beings are visible, active and influential. Through perception of these hidden worlds, we are given tools to comprehend the background to the struggles we face in everyday life – both in human relationships and in our attempts to practise spiritual development. Written between the years 1910 and 1913, during periods of intense inner and outer work, the dramas are powerful testimonies to Steiner's artistic creativity. By manifesting soul and spirit forms on stage, they foreshadow a dramatic art of the future. Rudolf Steiner planned for all four mystery dramas to be performed in August 1923, but this was no longer possible because of the burning of the first Goetheanum on New Year's Eve, 1922. They were eventually performed together for the first time in 1930 and since then have been staged regularly, in many languages, throughout the world. This fresh rendering into English by Richard Ramsbotham also features an extensive introduction by him. >GA 14
The Language of Color in the First Goetheanum by Hilde Raske Pdf
Rudolf Steiner’s architectural masterpiece, the double-domed building known as the first Goetheanum, featured decorated ceilings that were designed and partly painted by Steiner himself, utilizing vegetable colors and a new layering technique. Steiner emphasized that he was seeking a new artistic conception based on a conscious understanding of the nature of color. Contemporaries report the extraordinary effect of the domed ceilings’ paintings combined with the multicolored light emanating from the engraved glass windows. The cupolas depicted the creation and ages of the world, the initiators of the various cultural epochs and the figure of Christ. Tragically, the ‘complete work of art’ that was the first Goetheanum burned down on New Year’s Eve 1922 – so today we can only get an impression of the lost paintings and windows from Rudolf Steiner’s pastel sketches and drawings and a handful of photographs. In this lavish volume, the result of decades of research and study, Hilde Raske provides a detailed examination of the artistic work on the two cupolas, including Rudolf Steiner’s draft sketches and his written and verbal statements. Featuring 30 color and more than 100 black-and-white illustrations, this printing is a high-quality facsimile of the long out-of-print original edition from 1983.
The philosopher and educationalist Rudolf Steiner was also a radical dramatist who wrote four lengthy and complex plays. The first of these, The Portal of Initiation, is rich in content and artistically presented, but leaves us with questions: Why is the first scene so long and many speeches so lengthy? Why are our usual expectations of drama not met? Was Steiner really a competent dramatist? In this essential guide, Trevor Dance suggests that the first step to appreciating The Portal of Initiation is to understand Steiner's methods. The play belongs to the tradition of Mystery Dramas from ancient times – artistic works intended as vehicles for inner development. Steiner thus combines aspects of Goethe's alchemical fable The Green Snake and the Beautiful Lily with the spiritual growth of contemporary individuals – all in the broader context of reincarnation and karma. With accessibility in mind, the author provides a clear synopsis of each scene and introduces us to the characters – a collection of rustics, sophisticates, hierophants and spiritual entities. Their dilemmas and challenges take place on many layers of reality: from a room in Sophia's house to the exalted Sun Temple. Revealing the enigmas behind the creation and content of The Portal of Initiation, Dance enables us not only to enjoy the play, but also to love it. His lucid guide – the first of its kind – is an ideal introduction for both individual readers and study groups.
Mystery drama is a contemporary manifestation of a movement first expressed in early Greek drama. Rudolf Steiner renewed this form and viewed his mystery plays as an extension of the European theater tradition of realism, encompassing also the realism of experiences beyon the sensory world. After working with Rudolf Steiner's mystery dramas for some years, Christopher Marcus and his performance group felt the need to stage a contemporary work. The result is Black Earth, a bold and powerful drama of soul and spirit, based around themes of technology, art, destiny, and metamorphosis. First presented in 1999 by Circle-X Arts-an international group of artists, directors, writers, and producers-and performed around Europe to much acclaim, Black Earth is published here for the first time.
10 Classic Mystery and Suspense Plays of the Modern Theatre by Stanley Richards Pdf
A collection of ten detective, mystery, and thriller plays first produced in the mid-twentieth century, several of which were later adapted into motion pictures.
Ellery Queen's Japanese Mystery Stories by Ellery Queen Pdf
"As an anthologist, Ellery Queen is without peer, his taste unequalled. As a bibliographer and a collector of the detective short story, Queen is, again, a historical personage. Indeed, Ellery Queen clearly is, after Poe, the most important American in mystery fiction." — Otto Penzler, from Detectionary: A Biographical Dictionary of Leading Characters in Mystery Fiction A newspaper receives a letter from a man claiming to have been murdered—it's impossible but the truth is not so simple; five strangers who share the same initials are invited to spend the night in a luxury hotel but one of them is a murderer. The 12 stories in this book will lead you through dramatic twists and unexpected turns. The legendary Ellery Queen selected these stories by award-winning Japanese authors from among many thousands published in postwar Japan. Each story features an unusual crime and a complex set of clues investigated by a diverse and colorful cast of characters that includes a calculating inspector, a tenacious journalist, and a determined scientist. The thrilling stories in this volume include: "Perfectly Lovely Ladies" by Kawabata Award winner Yasutaka Tsutsui: Eight women fight the high cost of living using violent means but will they get away with murder? "The Cooperative Defendant" by Akutagawa Prize winner Seicho Matsumoto: After a man confesses to a killing, he retracts his confession and accuses the detectives of coercion. But who is right? "Devil of a Boy" by Edogawa Rampo Prize winner Seiichi Morimura: A schoolboy may still be very young but he is as sinister as the most hardened of criminals…or is someone else involved? "The Kindly Blackmailer" by Mystery Writers of Japan Award winner Kyotaro Nishimura: A man involved in a fatal hit-and-run is blackmailed by a mysterious witness. Who is this enigmatic stranger? Ellery Queen's Japanese Mystery Stories is a collection that is sure to delight lovers of great detective and crime fiction. The book features a new foreword by Japanese detective fiction expert Satoru Saito which places the stories within the context of Japanese society and modern Japanese literature.
Speaking during the early stages of the First World War – with the Western Front just miles away and thousands of young men dying – Rudolf Steiner focuses on the subject of death. In particular, he addresses the difficult question of why some people die prematurely, particularly in youth. Steiner also speaks of the deaths of three of his acquaintances, having made contact with their living souls in the afterlife. He voices their own words and describes the first stages of their journeys after death. Rudolf Steiner strikes a second chord with the description of the task of Central Europe in the context of the various ‘Folk-souls’. The influences of these spiritual entities are reflected in the culture and life of various peoples, but do not promote nationalism. In fact, nationalism can only be transcended when we understand and recognize our differences. This approach is based on phenomenology rather than value-judgements. The third main theme running through these lectures relates to understanding the impulses and connections active in history. Reaching beyond simple notions of ‘fate’, are we able to allow for the workings of the impulse of Christ? These extraordinary lectures, previously unpublished in English, are presented here with an introduction, notes and an index. Trans. by S. Blaxland-de Lange; Intro. by U. Dietler (Fifteen lectures, various cities, Jan.–Jun. 1915, GA 159)
Rudolf Steiner said of his mystery dramas--written between 1910 and 1913--that they contain the whole essence of Anthroposophy and that if, through some unlikely chance, only these dramas were to survive, the essential content of Anthroposophy would nevertheless be preserved. Steiner's dramas powerfully portray the complex processes of reincarnation and karma. In them, we are led to inhabit the living landscape of the human soul and spirit, where suprasensory beings weave destinies. Here we find a connection with the spiritual reality of human life itself by following the dramatic interplay of the joy and sorrow, struggle and striving of a group of individuals attempting to apply spiritual knowledge to their practical lives and relationships. To read, watch, or act in these plays is an initiation experience. In The Souls' Awakening--Steiner's fourth mystery drama--an enlightened entrepreneur appoints a scientist, a historian, and an artist to use their spiritual perceptions to transform his business into one that serves spiritual as well as practical needs. A long-standing colleague objects, and a series of conflicts and crises develops. As the plot unfolds, we follow the characters on a journey that moves from business meetings through various states of consciousness, into worlds known before birth and previous lives in Egypt. This classic translation by Ruth and Hans Pusch was revised for this volume by Ruth Pusch. Included is Hans Pusch's "Thoughts on the Seal," in which he discusses the Rosicrucian meaning of the seal represented on the cover. This book is a translation of "Der Seelen Erwachen," published as part four of Vier Mysteriendramen The Four Mystery Dramas), which includes "The Portal of Initiation"; "The Soul's Probation"; "The Guardian of the Threshold"; and "The Souls' Awakening."
