Speech and DramaSteinerBooks, 2007 M10 24 - 418 pages 19 lectures, Dornach, April 10, 1921 and September 5-23, 1924 (CW 282) This course was designed for students and professionals in the stage arts and given in the Section for the Arts of Speech and Music School of Spiritual Science at the Goetheanum. Rudolf Steiner begins with a fundamental and spiritually-rooted appreciation of human speech and what actually takes place during human communication. Speech is a spiritual activity as well as an art form, lending itself to real interaction with both higher spiritual worlds and the human world of social conversation. Steiner shows that speech is a powerful tool for any serious dramatist in conveying the reality of worlds, whether visible or invisible, to the individual souls in the audience. This is an essential book for anyone involved in speech work, communication arts, and many kinds of therapies. This volume is a translation from German of Sprachgestaltung und Dramatische Kunst (GA 282). |
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... thought of within quite narrow limits . I should perhaps not say thought of ' , for it was with eurhythmy as it is with everything within the Anthroposophical Movement that comes about in the right way : one responds to a demand of ...
... thought in speech . Looking first into his life of feeling , we find it was not like ours to - day . In comparison with it , our feelings tend to remain in the abstract . Primeval man , in the very moment of feeling , were it even a ...
... thoughts ; primeval man spoke within , talked within . Such then was the character of primeval speech . It con- tained feeling within it , and thought . It was , so to say , the treasure - casket in man for feeling and thought . Thought ...
... thought . For the speaker of drama , the ' object ' of his speaking is present in its full reality , the person he addresses is standing there in front of him . There then you have the distinguishing characteristics of lyric , epic and ...
... thought , and by means of the magic that lies in his speech he is continually ' citing ' this object . The artist of the epic is pre - eminently a ' re - citer ' . So here we have recitation . The speaker of the lyric expresses himself ...