Thu, 01 Apr 2004

Curtain rises on Goethe’s Faust in Dornach – Opening press conference

Dornach, 1 April (NNA) – Theatre enthusiasts can enter the world of Goethe’s “Faust” at the Goetheanum Stage in Dornach, Switzerland, from today, where the curtain rises this evening on the premiere of the full and classic version of the greatest drama in the German language. Between now and August, a total of 17 performances – including special events at Easter and Whitsun as well as special festivals for young people – will take place.

At an opening press conference, representatives from the General Anthroposophical Society (GAS) and the Goetheanum Stage spoke about their version of “Faust”, a drama which has been performed in Dornach since 1915. In one-and-a-half years of rehearsals, a slimmed down concept was developed which also took account of increasing pressures to reduce costs at the Goetheanum, the headquarters of the GAS.

Speaking to journalists, Paul Mackay from the GAS executive council referred to the topicality of the search for knowledge in Goethe’s “Faust”. Not everything that could be done should be done, something which had become clear as scientific research today entered uncharted waters. The key factor now was to allow human intelligence, which comprised “more than just the intellect“, to develop in full. That was also the theme of Goethe’s “Faust”. Goethe’s decision not to publish the second part of “Faust” during his lifetime had given a clear signal of the forward-looking nature of the piece. With the new staging, the Goetheanum had sought to take account of the wish to make the piece relevant for the twenty-first century while at the same time honouring Goethe’s intentions in the drama.

Director Wilfried Hammacher placed his production in the tradition of “Faust” performances at the Goetheanum Stage over many years: “The good things have been left untouched while the less good things have been replaced,” he said. On the other hand, the direction of the production had also been determined by the limitation on resources. Thus savings had to be made with regard to the set – something which had required a considerable change of approach from the actors who were used to opulent scenery. The benefit for the audience was that there was less distraction through special effects and overwhelming sets. Hammacher emphasised that this was a “full-length” production, but challenged the idea that there was a single “true“ interpretation: “I have studied this work throughout my life and I have to say that as I grow older it becomes more and more enigmatic,” he said.

Thomas Didden, chief executive of the Goetheanum Stage, gave details about “’Faust’ as an enterprise“. The Stage had sought a form which took account of the changed financial circumstances and which enabled a person to see the whole of “Faust” without being “forced to take a whole week’s holiday”. Performing the whole work in just three days was also an experiment for the ensemble, the outcome of which was eagerly anticipated. Didden said that so far 5,500 tickets for the performances had been bought in advance, a figure with which the Goetheanum Stage was “very satisfied”. In total, ten million Swiss Francs (£4,300,000; US$7,800,000) had been spent on the performance, whereas Peter Stein’s production of the whole of “Faust” at the Expo 2000 in Germany had been able to draw on about 30m Marks (£10,300,000; US$18,700,000), he explained. One set at the Goetheanum cost about 40,000 to 50,000 Swiss Francs (£17,000 - £21,400; US$31,300 - US$39,000), whereas another Swiss stage was happy if it managed with 90,000 Swiss Francs (£38,600; US$70,400).

Didden also emphasised the “cultural representative character” of the Dornach production for Switzerland. Various Swiss public bodies had supported production costs with significant sums, including the cantons of Basle Region and Basle City as well as Solothurn and Bern with a total of 770,000 Swiss Francs (£330,000; US$602,100). The Stage was calculating 5.1m Swiss Francs (£2,190,000; US$3,988,000) from ticket sales.

In conclusion, the representatives from the GAS and the Goetheanum Stage praised the importance of eurythmy in the Dornach “Faust” staging. The opportunities for using this art of movement introduced by Rudolf Steiner had “not been exhausted by a long chalk,” they emphasised. Whereas the team of actors largely comprised German speaking artists, the eurythmy ensemble comprised many nationalities, including artists from South Africa, Italy, France and Siberia.

The “Faust” premiere starts on 1 April at 6.30 p.m. and ends on Saturday 3 April at 7 p.m..

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N040401-01EN Date: 1 April 2004

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