According to the Schulerduden literature, material is "the action that can be detached from the form-formed text" (Schulerduden Literatur, Mannheim 2000, p.345). In this context, form is understood as the "external appearance of a linguistic work of art".
However, this definition is not entirely unproblematic; it understands substance as the "summary" of a play or prose. However, if one approaches the concrete material, the problem becomes apparent: the Faust material, for example, was worked on several times in its history before Johann Wolfgang von Goethe created his drama.
Even after Goethe, many authors worked on this material, so that its tradition makes a mere summary of one of Goethe's plays impossible, since the other adaptations must be disregarded. The Faust material is therefore much more about the Faust figure - https://domyhomework.club (Faust's life, deeds and death) and his driving forces (this would be in the case of Goethe's Faust: "That I may know what holds the world / together in its innermost being." Faust I, v. 382/383), the pact between Faust and the devil, and the dissolution of this pact.
The Faust material must be recruited from the common ground of all adaptations. It does not matter whether Faust is a scientist or a charlatan. He makes a deal with the devil in some way in order to gain an advantage for himself. This advantage can be the acquisition of knowledge mentioned above. Goethe's Faust nevertheless reaches heaven ("Whoever strives, / Him we can redeem."). But Faust could just as well strive to be able to make or compose music so perfectly that he receives absolute admiration and frenetic applause for this art. Thomas Mann's novel "Doktor Faustus" describes "The life of the German composer Adrian Leverkuhn", who dedicates himself to the devil so that he will give him genius for 24 years. Leverkühn's soul belongs to the devil, only his body remains after the expiry of the period, so the hero is dead and alive.
In "Mephisto - Roman einer Karriere" (Mephisto - Novel of a Career), Klaus Mann describes the fate of the actor Hendrik Hofgen, who pacts with the National Socialists for the sake of his career. For this reason alone Höfgen must fail, since his soul no longer belongs to him.