# The Origin and Development of Eurythmy 1918–1920

## GA 277b — 27 February 1919, Winterthur

### 5. Eurythmy Performance

*The program of this second public performance was the same as the previous one in Zurich*

Dear attendees!

Allow me to say a few words about our performance. This will seem all the more justified given that the art form we want to present cannot yet be considered complete, but rather a beginning, a will, or I could also say the inclination towards a will, to express the human soul in a certain way in a particular art form. We know very well that more accomplished things are being done in the related fields, of which there are many today, in terms of artistic perfection. We know that we cannot compete with what is being achieved in the related arts. But we do not want to compete with them either.

For us, it is not about dance-like or similar art creations in addition to others, but rather about seeking forms of movement art based on certain foundations that are not otherwise sought. This means seeking the expression of spiritual experience through movements of the human organism, through the positions of groups of people in relation to each other, and also through the movement of positions of groups of people in relation to each other. What I have just described, which underlies the matter as a basis, is something that is rooted in Goethe's world view. Goethe's great, powerful world view is expressed in various fields. Above all, it expresses itself in the fact that Goethe found ways to judge that which lives and exists in the world from a certain deeper, spiritual point of view.

Our endeavor is based, first of all, on the way in which Goethe himself observed life and the forms of living beings. Goethe's great and significant theory of metamorphosis is fundamental. I do not wish to be theoretical in these introductory remarks, but only to point out how Goethe observed the growth and weaving of plants, and then also of animals and humans, and how it became clear to him that a deeper, intuitive look at this growth shows how each individual organ is a metamorphosis, a transformation of another organ of the same being. Goethe saw the leaf in the plant blossom, and in turn the plant blossom in the fruit; the same applies to animals and human beings. But now it becomes clear to Goethe that not only is each individual organ a transforming organ of other organs, but that the whole living being is also only a transformation of an [organ], so to speak: every organ is the whole plant, the whole animal.

What Goethe first saw, I would say more scientifically, can also be fully felt artistically, without becoming soberly intellectual. And it is an attempt to feel artistically with regard to the movement systems within the human being. If I want to briefly describe in a few words what underlies our art form, I would say: the whole human being should express movements that represent him as a single larynx. So that one can see in what the human being expresses through his movements that which one otherwise hears when the human being, through the individual members of the organism, through the larynx and its neighboring organs, forms sounds, combinations of sounds, and tones and combinations of tones out of himself.

There is, however, a need to look artistically and intuitively at the whole area that underlies the human larynx. Then we find that in what the human being does not see in the processes of the cabbage head, but which is expressed only in what then becomes speech and sound, there is something that is more determined in the disposition than in what actually comes to expression and what passes over into the manifestation of word and sound, of word combinations and sound combinations. All that is expressed through the larynx can be visibly expressed by the whole human being. We express this by letting the whole human being make movements that proceed in the same way as the movements that the larynx produces when speaking, singing, and so on.

But there is something else in all that a person can express through the larynx. The whole soul speaks along with the sensations and movements that we express. When we express ourselves through speech, there is an underlying mood of the soul to what is revealed through language: rhythm, pure artistic assonance is expressed. This is in turn expressed by us by bringing groups into movement and into position in relation to one another. First of all, what we present through individual people is a representation of the whole human being as a large larynx, but visible, not audible. Everything we present in groups is what permeates word and sound as sensation, glows as mood and the like, presented in language as purely artistic rhythm, alliteration, assonance and so on.

And one can say: In this way we are trying to achieve an art form that does not give an instantaneous expression of the human soul, but which, according to certain laws, gives a lasting expression of the soul. Just as in speech, the larynx makes movements that are based on certain laws, whereby combinations of sounds and tones arise, and just as there is something in the lawfulness as there is in the organ, we do not try to express the soul life through facial expressions or pantomime. We do not seek to achieve our art form in this way, but by basing our movements on an inner lawfulness, which is just as internally structured as the musical work of art itself is internally structured in harmony and melody. In our system, the individual or groups of people cannot express anything that flows out of them only in the moment through pantomime or mime. Rather, what is subjectively expressed by the individual person is about the same as the relationship between the performance of a Beethoven sonata by one artist and that of another. In this way, we exclude everything arbitrary, everything subjective; all facial expressions, pantomime plays no role for us, not the individual gesture, but only the connection with the individual work of art. If you do see gestures, pantomime, facial expressions, then please consider this an imperfection of our art form; we have certainly not yet reached the stage where we would like you to see them, as I have just mentioned.

Of course, our art is supported by music and recitation, so that on the one hand the soul can be heard, and on the other hand, as I said, through the whole person, who has become the larynx, it comes to visible representation.

Dear esteemed audience, please do not take this evening's performance as something we imagine is already a perfect art – you will see many imperfections. But take it as a beginning, and you may do it justice to such an extent that you see: one can also dare this attempt in this field alongside related arts. Do us the favor of characterizing from this point of view; forgive the mistakes that you may see. We will endeavor to correct the mistakes, and from this beginning, through us or through others who work in this field, much more perfect work in this field will yet come about.