# The Origin and Development of Eurythmy 1912–1918

## GA 277a — Dornach

### On the Work in Berlin 1916/17

*Due to the war situation, travel was extremely difficult from 1914 to 1918. And so eurythmy developed in parallel in two places: in Dornach, under the direction of Marie Steiner and Tatiana Kisseleff, and in Berlin, when Rudolf Steiner and Marie Steiner stayed there for several months each year. Then the eurythmists living in Germany traveled to Berlin to work with Marie Steiner for a while. In the fall of 1918, the two streams of work came together in Dornach when it became easier to travel from Germany to Switzerland again. This led to the formation of the first stage group, which soon began performing in public. Marie Steiner reports on the work during these years in the article “Herbstwerden” (Autumn Coming).*

*The following section documents examples of the work in both places on the basis of a few poems selected from the wealth of material available. This clearly shows how the elements from the First and Second Courses were worked with in the years 1916-1918. Unfortunately, virtually no performance programs relating to the work in Berlin have survived, but it can be assumed that during the war there were few internal opportunities to show what had been worked on. It was more a question of continuing the eurythmic work during this period. The situation was different in Dornach. Weekly eurythmy performances took place there, and the programs were recorded in the performance diaries. Thus, we know when which pieces were performed there, but it is possible that Marie Steiner worked with the eurythmists in Berlin on the same texts.*

*The poems have been corrected according to current spelling rules, so there may sometimes be slight deviations from the original. The eurythmic instructions are given in italics next to or within the lines.*

*Marie Steiner: from “Herbstwerden” (Autumn Becoming)*

We were allowed to give one of our eurythmy teachers, Conrad Ferdinand Meyer, a voice and a place in the picture, not out of official convention, because we eurythmists have matured in our art thanks to him and owe him a great deal of gratitude. Our hearts are intertwined with his. When we received the first material for our art from Rudolf Steiner, it was mostly Conrad Ferdinand Meyer's poems that we used to develop our means of expression in eurythmic gesture. From him we learned objectification, style, line, unity, dramatic gesture, and mood. I tested the gestures that naturally arose from the dramatic feeling in his poems against the laws of eurythmy and found that they coincided. I rejoiced in these gestures reflected back to me in the mirror of eurythmy and recognized in them a source of renewal for dramatic art.

Ten years ago, we worked in this way in the pink room of our late friend Eugenie von Bredow. At that time, the world war threatened to stifle young art in its infancy, and no branch leader was willing to help the young girls in their seemingly untimely work. So I took them under my wing. We learned a lot from Conrad Ferdinand Meyer and later from Fercher von Steinwand. Annemarie Donath, Alice Fels, Erna Wolfram, Annemarie Groh, Lory Smits, Edith Röhrle, and Minnie Husemann were the ones who worked with me to develop eurythmy. And when I returned to Dornach, I found the fruits of Tatiana Kisseleff's labor, who had initially worked diligently in the modest room of Villa Hansi. Until we were able to move into the white hall that had fallen victim to the flames [...]. There, as a small group, we preserved what we call the grammatical forms, the lines that correspond to nouns, verbs, pronouns, conjunctions, etc. In it, based on what we had received, we laid out the first scenes of supernatural events from Faust, were allowed to perform our attempts in the carpentry workshop, and then, based on our modest achievements, received the immeasurable wealth of forms drawn by Rudolf Steiner himself for poems and pieces of music. Thus, one thing wove itself into the other. The golden buckets rose and fell. What had been put into practice became again and again the source of newly presented gifts.

*Annemarie Dubach-Donath, from: “The Art of Eurythmy. Memories”*

[...] in February 1916, one evening, Mrs. Fels suddenly called me and told me that Dr. Steiner wished to see me and that I should come to Motzstraße the next morning; The poem I was to show her—with Apollonian forms—would arrive with the morning post! Sure enough, at eight o'clock the next morning, I received a page-long poem by Friedrich Lienhard, transcribed by Mrs. Fels: “Franz von Assisi.” And I was to show it to Dr. Steiner at eleven o'clock in Motzstraße! I arrived there feeling indescribably excited and anxious, and while we waited in a large room suitable for eurythmy, Mrs. Fels teased me: “You look just like a twelve-year-old schoolgirl today!” This little teasing put me at ease again. I thought: Well, let's see.

Immediately afterwards, the doctor entered the room. Without much preparation, she read the poem I had been given, and I, with true contempt for death, performed Apollonian forms as they came to mind. But the doctor seemed to be satisfied. She said that she now wanted to work with us every morning. One of the following days, she read me the first monologue from “The Maid of Orleans,” which I was to improvise right away, followed later by passages from ‘Antigone’ and many other dramatic pieces.

One day, the doctor also came to watch. I was to perform “The Demon” from Goethe's “Orphic Primordial Words.” After I had done so, the doctor said I should start again and “move across the whole room” during the first lines. I thought I should project the sound more loudly and gathered all my strength inwardly. Then the doctor called out, “I mean the forms!” That was easier, of course. He then specified the part of the room in which I should distribute the form for each of the following lines. First in the foreground, then on the right side, then in the background, and for the last line – “Imprinted form that develops itself” – a large continuous movement should be placed in the background across the entire width of the room. [...]

On another day, the doctor came back, and I was allowed to show him the above-mentioned poem by Lienhard, “Franz von Assisi.” And then he gave a highly interesting instruction, especially for actors. In the first part of the poem, where the mood was medieval-mystical and somewhat tormented, I was to make all sounds with “bent joints.” Dr. Steiner demonstrated it himself: a # gesture that was not stretched out, but slightly twisted and bent at the elbow and even at the shoulder joint, as well as an a. It was amazing how one immediately had the impression of seeing a medieval person in front of one. Afterwards, in the last part of the poem, when the content became more generally human and the mood harmoniously faded away, I was to make the movements as usual. The contrast was incredibly strong, and even then one could sense the great possibilities and means of expression that eurythmy could offer for the dramatic arts. - Dr. Steiner's female friends were often present during these wonderful hours of work.

***Conrad Ferdinand Meyer: “Schiller's Funeral”***

*Whether, when, and where this poem was performed is unknown.*


> Schiller's Funeral

A pair of poor, gloomy, burning torches, which the storm  
And rain threaten to extinguish at any moment.  
A fluttering pall. A common pine coffin  
With no wreath, not even the most meager, and no escort!

As if someone were hastily bringing a sacrilege to the grave.  
The bearers hurried. Only one stranger,  
Wrapped in the bold swing of a wide cloak,  
Followed this bier. It was the genius of humanity.

***Conrad Ferdinand Meyer: “Encounter”***

*This poem was performed on June 28 in Berlin and on June 30, 1918, in Hamburg; see the speech and program on pp. 505-510.*


> A quiet path, deeply snow-covered, led me through the pine forest,  
> There, without the sound of hooves,  
> I suddenly saw a horseman.
> I suddenly saw a rider.
> Neither facing me nor turning away,  
> He came, his cloak turned up,  
> It seemed to me that I knew him  
> From days long past and forgotten.
> The wild power of his young eyes,  
> The defiance and harsh silence of his mouth,  
> A trace of dream and passion  
> Touched me so deeply and strangely.
> His little horse trotted along the white path  
> Passing by with unheard hooves.  
> I am seized with desire and dread  
> To call out a greeting and his name.
> But I found no name  
> Other than my own,  
> For horse and rider had already disappeared  
> Behind the fir trees and the snowflakes.

***Conrad Ferdinand Meyer: “Unter den Sternen” (Under the Stars)***

*The poem was first performed by Edith Röhrle on June 30, 1918, in Hamburg.*


> *Under the Stars.*
> *Röhrle*
> Who fights in the sun, a son of the heir,  
> And fiery poison the team of horses,  
> Who wrestles passionately; after a distant goal,  
> Clouded by dust — how did he believe in the stars?
> *Pause*
> But the team slows down, the paths darken,  
> The eternal lights begin to twinkle,  
> The sacred laws become visible.  
> The battle cries fall silent. The day is coming to an end.
> *a horizontal abgehen wie herein*

***Conrad Ferdinand Meyer: “Der Botenlauf”***

*No performance of this poem has been recorded.*


> *The Messenger's Run Position, relaxed, imploring solemnity*  
> Eyes turned to the sky, outstretched imploring arms!  
> Murmurs and resounding cries from kneeling girls and women: look up "Gods, give wings to the messenger! [Cry] Decision rather than fear!  
> Since the sun rose, the city and Tarquin have been wrestling.  
> [Cry] Behold, the sun [stands] sinking! [illegible] Fellow combatants, [cry] Castor and Pollux, look up  
> Tension Think of the abandoned women, [suffering] send [excitement] the messenger quickly!" / Listen! Eightfold clanging uphill. Two friendly horsemen!  
> Already at the sacred spring they wash their weapons clean.  
> Then, two mighty youths, stand [courage] on the towering castle, courage  
> One has turned toward the trembling [err.] women: Outburst of emotion "Joy, budding [call] girl! Determined [call] Roman woman, joy!  
> A glorious victory has been won! Are you going to meet the army?" [Questions]  
> One speaks, and the other listens, turning to his brother.  
> Now the horses leap up into the fading light.  
> One of the young men disappears into the evening, the other disappears,  
> For like a loving couple, the brothers do not leave each other. Communication  
> Above the mighty Roman fortress, darkening outline

***Conrad Ferdinand Meyer: “The Ride into Death”***

*The notes are by Marie Steiner. Performed on October 12, 1918, by Edith Röhrle. Alice Fels reports: “When a eurythmist with spread fingers and great fervor eurythmized this poem [...] and we as spectators made fun of it, we heard Rudolf Steiner say as he was leaving, ‘That was the best thing today.’”*


> Let us “grab” you, my young, fiery animal,  
> Feel Once more I grow centaur-like with you! I want to
> Feel Shatter me, trumpets! Raise the sound! I want to  
> The Latin defeated the son of Manlius! I want to
> right rear Forward with the trophies! The Latin spear!  
> The conquered helmet! The captured armor! Center bottom
> Thought Dueling is frowned upon on pain of the axe ... Irony  
> Right rear But he lies Persistence?, who mocks the Roman she-wolf!
> Courage Lictors, fulfill your father's command!  
> I possess the wreath and deserve death —
> r r Before rolling forward, dusted in the sand behind,  
> I raise my head in eternal jubilation!"


> O thou Holy One / Verse 1./  
> Mary / Mary /2 Shepherds /3  
> D Mary / 4 Despair /  
> 5 as 1/ or / I look  
> up

> O Holy One  
> You virginal  
> Gracious Mother Mary!  
> Blessed and praised,  
> Glorious and proven,  
> Hail to you, high Mary!
> Consecrated to God!  
> Blessed!  
> Angels and shepherds rejoice  
> Heavenly songs  
> Sound down:  
> Hail to you, Mother Mary!
> You humbly  
> Remain silent and bow  
> To your little child, Mary - Pause  
> Hear the wise men.  
> Praise you blessed:  
> Hail to you, lovely Mary!
> O innocent,  
> O patient  
> Faithful Mother Mary!  
> Ah, in your heart  
> Wounds and pain!  
> Woe, Mother Mary!
> Proven faithful,  
> Highly glorified,  
> Holy Mother, Mary!  
> Now with the Son  
> The crown adorns you  
> Praise you, praise you, Mary! [Hope / ab /]  
> Reverence or devotion

***From: Fercher von Steinwand: “Urtrieb” (Primordial Drive), I and II***

*Before Rudolf Steiner gave the first “standard forms” for Fercher von Steinwand's “Chor der Urträume” (Choir of Primordial Dreams) and “Chor der Urtriebe” (Choir of Primordial Drives) in the fall of 1918, Marie Steiner worked with the eurythmists in Berlin to develop forms based on the specifications given in the two eurythmy courses in 1912 and 1915.*


> Tender encounters,  
> Joyful kisses,  
> Loving blessings  
> Counterflows!  
> "Finest creators of the first creations,  
> Wisest speakers of the highest reason!  
> Meaning and inventions of your covenant  
> Let us perceive, we who unfold  
> Your discovery,  
> We who are twin siblings of age!  
> Think—of thinking  
> Snuggles up the creative  
> Comfort of words,  
> Think—what we dare,  
> You will guide!  
> You are determined,  
> Always in rapture  
> To dream the most beautiful,  
> To see in dreams,  
> We, in the making  
> To forge beauty  
> It is our destiny,  
> Never to delay. —  
> Nights tormented by weary desolation,  
> Know, they know,  
> What you are striving for.  
> Who would bring it to us! Stand:  
> Longing Sighs of darkness Sad powers.  
> Awaken yourselves The groaning storm of desire  
> The pleasure of giving —  
> What else is there to cling to?  
> The torment of deprivation,  
> Courage of desire,  
> Time of receiving,  
> Happiness of multiplying —  
> What else is there to cling to?  
> Share and exude the warmth you show,  
> Willing enthusiasts!"  
> Hear what the thinking heights tell us  
> Let us chase away!  
> Let what is felt feel the times,  
> Call what is called to rise into being,  
> Let what seeks itself find itself with rejoicing,  
> Connect warmly!
> *Play of the sun's forces Sun orbit*  
> Is it a swelling,  
> is it a surging, all sounds  
> breaking out of all belts?  
> Where we lovingly moved in,  
> there is direction, there is weight.  
> Have our will and desire betrayed us?  
> Are we powers, are we not?  
> Whatever it may be, we demand light —  
> And it comes in beautiful arcs! *Inner circle of the sun*  
> To every dispute MSt in: Fiv.


> Light to guide us!  
> Swift vibrations  
> Delicate excitement  
> Wide entanglements  
> Deep movement  
> It must succeed,  
> Soon to penetrate the lingering,  
> Painfully embarrassing  
> Nights.  
> Above the reasons,  
> Above the mild  
> Hovering formations  
> It must be proclaimed,  
> Spirits ignite,  
> Hearts become wild.  
> Has it struck, *Activity*  
> Find it open to you! *Call*