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Within the Mystery cultures of ancient history, art, science and religion formed a unity that offered direction and spiritual nourishment to the broader society. Today, art, science and religion can again be reunited. However, as Marie Steiner indicates in her introduction to these lectures, these aspects of our culture need rejuvenation through fresh spiritual understanding and knowledge. Art cannot be renewed through compromise, but only by returning to the spiritual foundations of life. As she says: "The remedy lies in unlocking the wisdom of the Mysteries and presenting it to humanity in a form adapted to contemporary needs." In these wide-ranging lectures, Rudolf Steiner offers spiritual insight for the modern day into a revitalised world of the arts. His themes include: the relation of art to technology, the moral experience of the worlds of colour and music, the legendary Norwegian Dream Song of Olaf Åsteson, and the relationship between the various arts of architecture, sculpture, painting, music, poetry, eurythmy and the human being.
14 lectures, Stuttgart, August 21-September 5, 1919 (CW 294) How do Waldorf teachers put their educational ideals into practice in the classroom? How does a teacher connect geography and art and language in a way that enlivens the souls of children? What does a child's respect for the teacher mean for later life? These are only a few practical aspects of this initial course for Waldorf teachers. During an intensive two weeks, Rudolf Steiner gave three simultaneous educational courses to those who would be the first teachers of the original Waldorf school. One course provided the foundational ideas behind Waldorf education (The Foundations of Human Experience); another provided a forum for questions and lively discussions on specific issues in the classroom (Discussions with Teachers). In this course, Steiner takes the middle-path by integrating theory and practice. Here, Steiner spoke of new ways to teach reading, writing, geography, geometry, language, and much more. His approach is tailored to the spiritual and physical needs of the children themselves, not to an arbitrary curriculum based solely on external results. At a time when public education is in a state of crisis, this book describes how children around the world are being guided into adulthood with a fuller sense of themselves and with a creative approach to life and the world around them. German source: Erziehungskunst. Methodisch-Didaktisches (GA 294).
A pivotal figure of modern isotericism, Rudolf Steiner (1861-1925) was a clairvoyant and supersensitive with a scientific and philosophical education. He believed that man can gain objective knowledge of higher worlds and apply these insights to all fields of human activity. Anthroposophy, the path of wisdom and knowledge he intiated, plots man’s struggle to attain full spiritual development through the practical application of the forces brought by Christ. Steiner saw the spirit as the creative element in evolution, and his work is increasingly accepted as a practical vitalizing force for today’s world.
The origins and nature of architecture; The formative influence of architectural forms; The history of architecture in the light of mankind's spiritual evolution; A new architecture as a means of uniting with spiritual forces; Art and architecture as manifestations of spiritual realities; Metamorphosis in architecture; Aspects of a new architecture; Rudolf Steiner on the first Goetheanum building; The second Goetheanum building; The architecture of a community in Dornach; The temple is the human being; The restoration of the lost temple.
The being of the arts; Goethe as the founder of a new science of aesthetics; Technology and art; At the turn of each new millennium; The task of modern art and architecture; The living walls; The glass windows; Colour on the walls; Form - moving the circle; The seven planetary capitals of the first Goetheanum; The model and the statue 'The Representative of Man'; Colour and faces; Physiognomies.
In the autumn of 1912, Rudolf Steiner presented the first eurythmy performance. It marked the revival, in modern form, of the sacred art of dance, which had been used in the ancient Mysteries to express the movements of the stars and the planets. In the years that followed, Steiner and his wife, Marie von Sivers, developed eurythmy further, broadening it beyond the artistic to encompass healing and educational elements as well. One of the pioneers of this new form of movement was the Russian anthroposophist Tatiana Kisseleff, who became a student of Steiner's and later a celebrated eurythmy teache. In this remarkable book, available for the first time in English, Kisseleff describes the spiritual foundations of eurythmy as they were explored in Steiner's lectures and recounts the instruction she received from him. This is both an eyewitness account of the origins of eurythmy and a record of a deeply personal journey of one person's efforts to master it. The book is illustrated throughout with photographs, drawings, facsimile reproductions from notebooks and posters advertising early eurythmy performances, alongside accounts of performances of various pieces including Shakespeare's The Tempest, Goethe's Faust, and Rudolf Steiner's own Mystery Dramas. This is a fascinating account for eurythmists and anyone who wants to delve more deeply into eurythmy's history and development.
A Life with Colour is the first complete survey of Gerard Wagner’s biography and his artistic intentions, featuring dozens of illustrations and more than 120 colour plates. The life and work of Gerard Wagner (1906-1999) were closely aligned to the artistic-spiritual stream connected with the Goetheanum in Dornach, Switzerland. He first heard of the Goetheanum – and of its destruction by fire at New Year 1922/23 – whilst still a youth. In 1926, he made his first visit to Dornach, but his intended stay of a week turned into a lifelong sojourn of over 73 years. He found there an active, striving community with which he felt intimately connected. From the start, Gerard Wagner immersed himself in the various artistic impulses that Rudolf Steiner had instigated. This, together with an intensive study of anthroposophy, formed the basis upon which he forged his own approach to painting. The many years he spent in colour experimentation led him to discover objective principles within the language of colour and form that are an inspiration to many today. His paintings, first shown at the Goetheanum in the early 1940s, were exhibited internationally, most notably at the Menshikov Palace, Hermitage Museum, St Petersburg, Russia, in 1997. ‘[Wagner’s] whole being bowed before the mystery of colour in a loving, joyful yet serious way, full of devotion and dignity. His life and work itself became a living metaphor of the creative power of colour.’ – Christian Hitsch ‘ Caroline Chanter has not only accomplished a great and seminal study that illuminates the life and work of Gerard Wagner, but has done a great service also to the Goetheanum and its School of Spiritual Science.’ – Peter Selg ‘[Gerard Wagner was] a soul which on earth was devoted so selflessly and in such purity to the beings that are revealed… in forms and colours. He helped them to utterance and manifestation in this world of ours.’ – Sergei O. Prokofieff
Rudolf Steiner's original contribution to human knowledge was based on his ability to conduct 'spiritual research', the investigation of metaphysical dimensions of existence. Samples of his work are to be found in this introductory reader in which Beth Usher brings together excerpts from Steiner's many talks and writings on Eurythmy. The volume also features an editorial introduction, commentary and notes.Chapters: In the beginning, God created out of movement; School eurythmy - a kind of spiritual gymnastics; Eurythmy therapy - the word of the heavens is the being of man; Silent soul: speaking soul. Eurythmy as a performing art; How eurythmy arises out of anthroposophy.
Rudolf Steiner understood that the history of art is a field in which the evolution of consciousness is symptomatically and transparently revealed. This informal sequence of thirteen lectures was given during the darkest hours of World War I. It was a moment when the negative consequences of what he called the age of the consciousness soul, which began around 1417, were made most terribly apparent. In these lectures he sought to provide an antidote to pessimism. After describing the movement of consciousness from Greece into Rome, coupled with influences from the Orthodox East, he showed how these influences transformed as the Middle Ages became the Renaissance. The process that begins with Cimabue and Giotto develops, deepens, and becomes more conscious in the great Renaissance masters Leonardo, Michelangelo, and Raphael. Then this movement continues with the Northern masters, D rer and Holbein, as well as the German tradition. One entire lecture is devoted to Rembrandt, followed by one on Dutch and Flemish paintings. Themes are woven together to show how past epochs of consciousness and art live again in our consciousness-soul period. Replete with interesting information and more than 600 color and black-and-white images, these lectures are rich and dense with ideas, enabling us to understand both the art of the Renaissance and the transformation of consciousness it announced. These lectures demonstrate (to paraphrase Shelley) that artists truly are the unacknowledged legislators of the age.
Following his lecture-course Eurythmy as Visible Singing, these fundamental lectures on speech eurythmy – offered in response to specific requests – gave Rudolf Steiner the opportunity to complete the foundations of the new art of movement. Speaking to eurythmists and invited artists, Steiner connects to the centuries-old esoteric and exoteric Western traditions of ‘the Word’ – the creative power in the sounds of the divine-human alphabet – giving it concrete form and expression in the performing arts, education and therapy. In addition to the fifteen lectures in the course, this special edition features supporting lectures and reports by Rudolf Steiner, dozens of photographs and line drawings, as well as introductions, commentary, notes and supplementary essays compiled by editor Alan Stott, including ‘Eurythmy and the English Language’ by Annelies Davidson. Although aimed primarily at the professional concerns of eurythmists who perform, teach or work as therapists, the lectures offer a wealth of suggestions and insights to those with artistic questions and concerns. ‘Only someone who creatively unfolds a sense for art from an inner calling, an inner enthusiasm, can work as an artist in eurythmy. To manifest those possibilities of form and movement inherent in the human organisation, the soul must inwardly be completely occupied with art. This all-embracing character of eurythmy was the foundation for all that was presented.’ – Rudolf Steiner ‘For the poet, for the thinker, and for the movement artist who thinks with his/her whole body, the highest mental act is done with all their heart and with all their mind and with all their soul.’ – Alan Stott