The Anthropology of Performance (IV)
(You can read it all in spanish at http://www.bramidointelectual.blogspot.com
Indeed, for Steiner, man has a determinant role in the economy of the universe. His position of interface between the visible and the invisible manifests itself in the 'Name'. Naming the creatures of Creation man lays a spiritual bridge that helps them to continue their spiritual development. [19] From this point of view, Steiner's Mystery-Dramas would illustrate a genuine 'qualitative performance' of cosmic language where the protagonists perform their inner world reality (thought, feeling and will) in its intrinsic rapport with a triple universe.
In relation to the ontological principle of the Word which rules all Steiner's work we must add that, besides being the description of the transition between an outdated form of initiation - related to mediumnism and the inferior levels of conscience - and a new one based on individual freedom, the Mystery-Dramas are entirely based on an artistic perspective of language where the physical aspect (gesture, sonority, rhythm, rime, etc) predominates over its intellectual content. [20] This is mostly evident in the case of eurhythmy ( a visible language).
In conclusion, according to the model of performance here enunciated which by manifesting the action of free man performs the temporalisation of space (time=psyche) the goal or destiny of man according to Steiner would be the performance of the language of universal reality. This implies the fact that cosmic reality is a language of macrocosmic proportions whose competence is integrated to human nature (Cf. 'cosmosophy').
It is in his condition of microcosm that free man performs his living experience of cosmic reality at the particular level of meaning determined by his individual intelligence. This total performance would execute the great transformation of the spatial-temporal limits of the universe (Cf. Rosicrucianism) inherent to the role of man as an universal interface. [20]
Then, the theme of this work partly concerns the vision of the world of Rudolf Steiner and the fundamental role played by art in his system of thought. A vision of history inasmuch as a dialectical process (thesis-antithesis-synthesis) between the inner world of man (through a process of self-awareness) and the measurable outer physical world of material reality, the object of experimental science. A dialectical process that condenses the whole of the human phenomenon.
Indeed, for Steiner, man has a determinant role in the economy of the universe. His position of interface between the visible and the invisible manifests itself in the 'Name'. Naming the creatures of Creation man lays a spiritual bridge that helps them to continue their spiritual development. [19] From this point of view, Steiner's Mystery-Dramas would illustrate a genuine 'qualitative performance' of cosmic language where the protagonists perform their inner world reality (thought, feeling and will) in its intrinsic rapport with a triple universe.
In relation to the ontological principle of the Word which rules all Steiner's work we must add that, besides being the description of the transition between an outdated form of initiation - related to mediumnism and the inferior levels of conscience - and a new one based on individual freedom, the Mystery-Dramas are entirely based on an artistic perspective of language where the physical aspect (gesture, sonority, rhythm, rime, etc) predominates over its intellectual content. [20] This is mostly evident in the case of eurhythmy ( a visible language).
In conclusion, according to the model of performance here enunciated which by manifesting the action of free man performs the temporalisation of space (time=psyche) the goal or destiny of man according to Steiner would be the performance of the language of universal reality. This implies the fact that cosmic reality is a language of macrocosmic proportions whose competence is integrated to human nature (Cf. 'cosmosophy').
It is in his condition of microcosm that free man performs his living experience of cosmic reality at the particular level of meaning determined by his individual intelligence. This total performance would execute the great transformation of the spatial-temporal limits of the universe (Cf. Rosicrucianism) inherent to the role of man as an universal interface. [20]
Then, the theme of this work partly concerns the vision of the world of Rudolf Steiner and the fundamental role played by art in his system of thought. A vision of history inasmuch as a dialectical process (thesis-antithesis-synthesis) between the inner world of man (through a process of self-awareness) and the measurable outer physical world of material reality, the object of experimental science. A dialectical process that condenses the whole of the human phenomenon.
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