STÁTNÍ TAJEMNÍK U ŘÍŠSKÉHO PROTEKTORA V ČECHÁCH A NA MORAVĚ, PRAHA, inv. 2538, sig. 109-12/185 (poškozeno) Page 108 · 108 of 129
STATE SECRET FOR THE RUSSIAN PROTECTOR IN THINGS AND IN MORAVA, PRAGUE, inv. 2538, sig. 109-12/185 (damaged)
English Translation
66 the portrayal of Goethe's world tragedy ver- Mankan: that from artistic point of view, as pointed out. An evil spirit — called the net-like un- underline from the + hnisch-material side. The unresolvable principle of the "game plan-D:-position" ("Beim In dem Uaterfang, ein Unreales in G stalt, ein erste sind wir frei; the second we are servants") intellectually designed into the playability of the game might add it then so that on Karsatur and ramp to let move, certainly that be- Easter Sunday in place of the closed play vibrates special, de: Bülne own, profound and enticing attraction. The Fausttragödie now "obeying the adversity, how to create a unique, immaterial dreaming, is shrugging at everyone, "bird dealers" and "pen resistances to the defiance of reality. One feels disparagingly uncelebrated next to each other, whether, as before something unexpected happiness, — always serve. A blatant critique, in turn, disarms the Jah. The press's review, sometimes diametrically divorced from the theater's — then notes in envy- From this its innermost, the irreality of valorized carelessness for the latent together-sworn beings, the theater cannot hang in anyone: "Guests came and guests went. Surprisingly, its divisions yielded as accurate results, such as orders, not always desired, and companies, the standardized products, for example. Instead of the cosmic calls of the Archangels, we had wise cast irons or typewriters, at the time of the Osterson ag, necessarily throw Mr. X's Drol-band onto the world market; by making concrete efforts for the unspeakable letter expectations. "L—11l" pass over us, after all, a stage of rank in its own- The theatre has in such cases even sought the most interest to defend the line of its pre-announcement possibility. It is often kept to it. On them, however, a "qui s'excuse, s'accuse" mat is the only thing that matters, not to the slavish. Arts and artists should act, i.e. hold fast to the letter of a necessarily un-appearing; do not explain, even less know premise. apologize. What do we have to expect from this? General But one forgets, ready for deeper insights, spoken: principles of value, directional accents, never that theatre is in every sense a well-defined one which determines the play plan as such and is in the first play, let us say calmly, impossibilities. best case significantly reshaping and reshape. GOETHE: IPHIGENY ON TAURIS INSTITUTION: SIEMS /SCHULTES 5