Performing as Actors and Eurythmists in the Mystery Dramas

by Maria Ver Eecke

Working on the Mystery Dramas is a bit like an active participation in Karmic Relationships, a Who’s Who of many characters in relationship to each other and to different life times! Rudolf Steiner’s depictions of human karma and life’s challenges come alive with these characters. And then there are the soul and spiritual beings to represent, which is best done in eurythmy. Rudolf Steiner portrays these as pure, living archetypes, who speak a spiritual truth:

“Neither the spiritual and soul events nor the spirit beings are intended to be mere symbols or allegories. To anyone interpreting them as such, the real character and being of the spirit world will remain closed.” — Rudolf Steiner, The Souls’ Awakening, August 1913

Listening to the dialogue of the many human characters in their very human encounters with each other, trying to follow such deep content, and being a witness to what comes to life dramatically on stage, is an intense activity for the audience. Eurythmy enhances the experience, lifting, breathing, moving those who behold it. In the Mystery Drama productions I have seen, when eurythmists move onstage, the eurythmy creates breath for my feeling. It is the best way I can think to express it.

What impresses me most in being a part of these productions of the Threefold Mystery Drama Group is how Director Barbara Renold leaves one free to find one’s character. She knows the dramas so very well, having seen them for the first time at the impressionable age of 18 at the Goetheanum. Actors and eurythmists alike have long discussions as to the development of these characters. Questions are asked as to how a spiritual entity appears for the first time, in a landscape or out of an individual’s imagination? As archetypes, are they only two-dimensional imaginations, “active as soul,” when first perceived? How do these great spiritual beings progress through the plays? What is their development, especially in relation to the humans who actually see (or hear) them and then come to know them?

How is it possible that Maria can conquer Ahriman, but Lucifer continues to battle it out, with more unexpected tricks? And what a mighty battle it is! Professor Capesius loses his mind due to the Luciferic tendency; Maria leaves her body following her loved one and curses her teacher Benedictus; the artist Johannes Thomasius (his very name is an indication of his double nature, knowing, yet doubting) is foiled by his double who desires the seeress Theodora, which results in her death; Doctor Strader visits Ahriman’s Kingdom and later faces his own abyss. (This is a common theme, how does one face one’s own abyss?) Not only does Johannes meet and recognize his double, but he encounters the Spirit of his Youth, as well, “…a karmically enchanted part of his being that he has to liberate from its spellbound existence.” How comforting it is to read that “…Benedictus Maria Ver Eecke performing in a Mystery Drama should not be considered as merely standing above his students, but as interwoven with his own soul destiny in the inner experiences of his students.”

Thankfully the retrospects give us something out of history to hold onto, scenes in Medieval and Egyptian ages. And then the twelve peasants reincarnate in the next play, appearing as spiritual entities, as ‘realities’ in Ahriman’s Kingdom. We witness how this Prince of Darkness influences our business meetings, mostly unconsciously, of course. Temple scenes of the Occult Brotherhood may be on or in the earth, hidden as a mystery place. Realms of Sun and Saturn spheres appear as spiritual tableau.

Maria Ver Eecke performing in a Mystery Drama should not be considered as merely standing above his students, but as interwoven with his own soul destiny in the inner experiences of his students.”

How are we able to attempt to portray such lofty imaginations? As the players come to know their characters, we invite them onto the stage and step into the roles, with intention. The demands on one’s personal self (even one’s health) would be great, if we did not then take leave of these characters after the play. It is intense, to say the least. And yet, it is with great joy we create the plays together, as we play our parts. It is all about the How. That is the Art. And it is real. When Barbara came backstage (after the second play) to tell me, “Maria, that was the direction to go—only ten times greater—for Lucifer in his kingdom” (in the third play), I was thrown back on myself, suddenly it was just me, a mere mortal, deflated from the largeness of playing an other-worldly spiritual force. Barbara always asks her players for more, stretching us far beyond the comfort zone.

To further live into the part, we have fun calling each other by our stage names (Call me Luci; Lory answers to Maria, my real name; I no longer notice when it is called). Stepping into character becomes real, no matter how grand, how huge, or how incomprehensible, because a true archetype stands behind you or plays through you, as though demanding to be realized. The soul forces are best portrayed in eurythmy: Astrid, as thinking; Philia, as feeling; Luna, as will; the Other Philia, a cohort of Lucifer’s, who hinders our ability to unite with the cosmos. What is new, is that eurythmists are playing Lucifer and Ahriman (since the fourth play) and we are reworking this into the previous plays, as well. I cannot imagine how we could present ‘thought-forms’ without eurythmy! And elemental beings, gnomes and sylphs. Thankfully, Rudolf Steiner created eurythmy forms for many of the scenes. And we are so blessed to have Dorothea Mier present at many rehearsals giving her expert advice, with an untiring dedication to artistry, to eurythmy. Last fall, Dorothea gave six well-attended sessions open to the public on an “Exploration of Eurythmy in the Mystery Dramas.”

This is indeed (and in deeds) a labor of love; the Mystery Drama is the catalyst. It is amazing to witness this group of actors developing their roles over the four plays. Some are professional actors; most of us rehearse in our free time amidst a fullwork schedule. Some cast members travel from other countries to join the summer productions. We are fortunate to have many glorious costumes created by Anne Bingham. Lighting by Matthew Messner and music directed by Laura Langford Schnur add the magic! [You can hear some of the music, along with an interesting interview of Laura about creating music for the dramas, posted on YouTube. Other actors and friends contribute to the question: How do young people find their destiny?]

Yes, we are working throughout this year to do the impossible, to prepare all four Mystery Dramas for production next summer. It takes great courage and insight to lead us, as Barbara is able and willing to do; Barbara lives these plays. It would not be possible without the support from anonymous donors and the Threefold Educational Foundation. Green Meadow Waldorf School’s new air conditioned auditorium, Rose Hall, provides the perfect venue with comfortable seating and temperature. Suggestions may be honored, from those who wish to view the productions more than once, in open dress rehearsals to the public. And from the cast: We hope to see you there!

In closing, what makes the plays seems so revolutionary, is that karma is resolved and these examples of human beings face and stand up to the adversarial forces. And most importantly, as seekers of spiritual truth, can one aspire to Maria’s “holy, solemn vow” to be loyal to the light? Maria and Benedictus speak the name of Christ three times in the last scene of the third play, The Guardian of the Threshold. Her statement is in the Pauline sense: “Not I, but Christ lives in my life and being.” This is followed by Benedictus acknowledging Earth’s salvation as “… Christ will warmingly shine forth a spirit sense of love in wisdom’s hallowed place.” And thirdly, Christ is named as the dissolver of karmic blood-ties.

It seems apparent that the Mystery Dramas must be close to Rudolf Steiner’s heart. When laying the Foundation Stone for the Goetheanum, as part of his speech for the festive occasion, he speaks of the unconscious fear of the Spirit “buried in the human soul” by the forces of darkness. And then, he includes the last lines of Benedictus, who remains standing alone on stage in the closing scene from the fourth play, The Souls’ Awakening. In The Gospel of Knowledge and its Prayer: The Laying of the Foundation Stone, Rudolf Steiner speaks the words of Benedictus (here in italics): “Feel this, and you will be able to arm yourselves for your spiritual task and as revealers of the Spirit-Light will prove endowed with power of thought, at such times, too, when the fierce, dark Ahriman, suppressing wisdom, attempts to spread Chaos’ gloomy night over fully awakened spiritual sight.”

It has been an amazing experience for me to work on these dramas over the past seven years, learning to know them more deeply: actually living anthroposophy. It has been an honor to work with the artists drawn to this work. Many of the twenty-three actors, eleven eurythmists, six musicians, and lighting technician, who came together for this play last summer, expressed that it is a most harmonious experience. Rehearsals continue this year, our goal set on the festival next August, presenting all four dramas together, with the greatest anticipation!

Maria Ver Eecke (editor@eana.org) is a eurythmist and editor for the Eurythmy Association of North America (www.eana.org) and for the Association for Therapeutic Eurythmy in North America (www.therapeuticeurythmy.org).