IV. The Symbolism of the Building at Dornach II

Just think what, let us say, for example, the drama has achieved. Drama, at the end of the 19th century, in the culmination of materialism, began to be materialistic as well. There were people sitting in the auditorium watching dramatic performances of Arno Holz or Gerhart Hauptmann and so on, and now they didn't have something dramatic in the old Shakespearean, Schillerian or Goethean sense, where great series of events that are far apart are summarized, but a back house, a front house, or something like that, which was to be recreated in a very naturalistic way. The people should not talk about anything other than what is usually talked about in three hours. What kind of naturalism is that? It is the naturalism that, just like today's natural science, only takes into account the extra-human, which also, in the artistic, only takes into account the extra-human: can it be seen? If you wanted to be a model for a drama, you would have to remove the third wall so that everyone could see inside; then you could see what happens in three hours and recreate it from the stage.