Giving the Eternal Presence

Rehearsals are underway for the production of Faust at the Goetheanum. What kind of space is being created in this time of development? A conversation between Wolfgang Held and Andrea Pfaehler, director and artistic director of the production.

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Wolfgang Held: In October, twenty actors and a number of eurythmists will perform Goethe’s Faust. All very unique individuals. How will they become an ensemble?

Andrea Pfaehler: We are rehearsing with the premiere on October 10 as our goal. For each individual, it is a very unique journey—infinitely different. And yet the goal is the same for all of us. It’s a mystery how we all will come together from so many different paths for the performance. Not only is the path unique to each individual, but the pace of the journey is also unique. To continue with the image: the vehicle, too, is also different for everyone’s journey.

Are there any transfers or layovers on this trip?

Yes, in the rehearsals, but interestingly also in the periods when the work we’ve done is given over to rest and settle. The scenes then develop further in that space of rest. Then, we can build on that, but we can’t predict what will come inwardly. There’s no certainty.

What gives you trust in the process, then?

Sometimes I find it’s a bit of a mystery what gives me, us, this foundation, and there are also times when the questions and issues surrounding this nine-hour production pile up—this is missing here, that is missing there. I believe trust comes from two sides: first, from what the actors carry within them, the treasure that each of them brings; and second, from the play itself—Goethe’s Faust. It is so huge that it carries us all. And we’re not starting from scratch, but with the new cast, we can also draw on the production from 2020.

So, working as an ensemble inspires trust, but at the same time, it means trusting each other, right?

For the actors, rehearsing means revealing themselves completely. They give their all, everything they have in that moment. And that complete and total “yes” to one another can only happen in a safe space of trust. As a director, I see where things should develop. It is much more important for me to be completely open to each individual, because it is through them that the play actually takes place. That is what directing means to me: creating conditions in conversation, in seeing and hearing together, where everyone can unfold their potential. I’m also very happy about working with Rafael and the eurythmy ensemble. It’s an enrichment!

This text is an excerpt from an article published in the (online exclusive) Goetheanum Weekly. You can read the full article on the website. If you are not yet a subscriber, you can get to know the Goetheanum Weekly for 1 CHF./€.

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