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The Anthroposophical Theatre of Rudolf and Marie Steiner

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Part of the Palgrave Studies in Theatre and Performance History book series (PSTPH)

Abstract

Although Rudolf Steiner (1861–1925) never used the term “religion” to define his occult worldview, Anthroposophy, his four Anthroposophical mystery dramas were written to achieve a religious purpose: they represented Steiner’s descriptions of a supersensory world peopled with spiritual beings. Steiner taught that human beings can develop the power of clairvoyance and perceive this supersensible realm.1 For Steiner, theatre was an intermediary that, as Faivre puts it, serves to reveal the mundus imaginalis, “render the invisible visible,” and enlarge the initiate’s “prosaic vision.”2

Keywords

Physical Body Human Soul Spiritual Development Spirit World Speech Formation 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Rudolf Steiner, The True Nature of the Second Coming (1904; reprint, London: Rudolf Steiner Press, 1971), 48.Google Scholar
  2. See also Rudolf Steiner, Theosophy: An Introduction to the Supersensible Knowledge of the World and the Destination of Man (New York: Anthroposophic Press, 1971);Google Scholar
  3. Rudolf Steiner, An Outline of Occult Science (Spring Valley, NY: Anthroposophic Press, 1972).Google Scholar
  4. 2.
    Antoine Faivre, Access to Western Esotericism (Albany: State University of New York, 1994), 13.Google Scholar
  5. 3.
    Rudolf Steiner, quoted in Rex Raabe, Arne Klingborg, and Ake Fant, Eloquent Concrete (London: Rudolf Steiner Press, 1979), 31.Google Scholar
  6. 5.
    Frantisek Deak, Symbolist Theater: Formation of an Avant-Garde (Baltimore, MD: Johns Hopkins University Press, 1993), 171–177.Google Scholar
  7. 7.
    Maria Carlson, “No Religion Higher Than the Truth”: A History of the Theosophical Movement in Russia, 1875–1922 (Princeton, NJ: Princeton University Press, 1993), 177.Google Scholar
  8. 9.
    Michael Chekhov, On the Technique of Acting (New York: Harper Perennial, 1991), 74–77.;Google Scholar
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  10. 12.
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    Johannes Hemleben, Rudolf Steiner: A Documentary Biography (East Grinstead, Sussex: Henry Goulden, 1975).Google Scholar
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    Rudolf Steiner, Goethe’s Conception of the World (New York: Haskell House, 1973), 189.Google Scholar
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  14. 20.
    Annie Besant to Wilhelm Hübbe-Schleiden, June 7, 1907, quoted in Rudolf Steiner, Rosicrucianism Renewed: The Unity of Art Science and Religion, edited by Joan deRis Allen (Great Barrington, MA: Steinerbooks, 2007), 24.Google Scholar
  15. 22.
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  19. 33.
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  20. 49.
    Ninian Smart, The World’s Religions: Old Traditions and Modern Transformations (1989; reprint, Cambridge: Cambridge University Press, 1993), 215–216.Google Scholar
  21. 50.
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  22. 53.
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  24. 68.
    Rudolf Steiner, The Arts and Their Mission (New York: Anthroposophic Press, 1964), 81.Google Scholar
  25. 88.
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  26. 106.
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  27. 109.
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  29. 113.
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  34. 149.
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  35. 151.
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  36. 153.
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  37. 154.
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© Edmund B. Lingan 2014

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