# The Origin and Development of Eurythmy 1918–1920

## GA 277b — 23 March 1919, Dornach

### 8. Eurythmy Performance

> *Marie Steiner wrote the following announcement for these performances: “Dear Friends! As a result of the interest shown by visitors to our eurhythmic performances in this new art form and the many requests to see them again, we have decided to give two further public performances on Sunday, March 23, at 5 p.m., and on Monday, March 24, at 8 p.m., in the carpentry workshop at the Goetheanum. We have decided to organize two evenings in order to give every member the opportunity to attend and to bring friends. The program includes a number of new performances, including a scene from “Faust”. Tickets at 3, 2, 1 francs are available at Hug & Co (Freiestrasse, Basel), at Fräulein Kessler (Reformgeschäft Arlesheim) and at the box office. We are grateful for any publicity for the event; for this purpose, programs are available at the Geering Bookstore (Bäumleingasse, Basel) and at the Dornach canteen.*


Dear attendees,Allow me to say a few words before our eurythmic performance. This seems all the more justified as the art form in which we are attempting to present eurythmic is not something of which we believe that even a moderate degree of perfection is acceptable , but we know exactly: it is an attempt, perhaps even only the intention of an attempt, but an attempt in an art form that is not otherwise cultivated today, which should represent something new in a certain direction.

What is being attempted here can be compared with neighboring arts, with all kinds of dance-like arts and the like, and in relation to what has already been achieved, it will be found that ours is certainly the more imperfect of the two. But we would also be misunderstood if it were believed that we wanted to compete with any neighboring arts. We readily admit that in these neighboring arts, in terms of their nature, something much, much more perfect is already being achieved today than can be achieved in our country. But, as I said, it is not about such competition. The point is that something essentially new is to be inaugurated. And what we are seeking is based, just like everything else that is to develop in these rooms, on the Goethean world view developed for our present time, for our modern ideas and perceptions and feelings. That is why our building bears the name Goetheanum, and rightly so.

What we want to develop as the eurythmic art is, as far as we can see, truly derived from Goetheanism. However, if one wants to understand this Goethean basis of the eurythmic art, one must consider the whole great and powerful way in which Goethe's artistic sense, how Goethe's whole artistic direction is based on the grandiose of Goethe's world view, which is completely unlike today's sober direction, which is usually taken as the basis of world views. In order to characterize the basic impulse of our eurythmic art in a few words, I will have to point out what, I would like to say, I can show in a nutshell, which direction Goethe's ways of looking at things took when they wanted to penetrate into the essence of things, especially into the essence of living things. I will have to point out the very peculiarity of what is known as Goethe's theory of metamorphosis.

This doctrine of metamorphosis is based on the fact that living things are constantly transforming the individual elements they contain in their formation, so that all the individual elements of a living being are transformations of each other. And the whole, in turn, represents a single element only in a certain transformation. Goethe saw how the colored petals of a plant are only transformations, metamorphoses, of the green leaves, how even those organs that do not resemble leaves at all on the outside - such as the stamens or the pistil - are only transformed leaves, how the whole plant is basically a complicated leaf and how each individual leaf is a whole plant. For Goethe, the peculiar thing is that the parts of a living being are always a certain expression of the whole, and that the whole, in turn, is an expression of a single part.

Through such contemplation, one does indeed penetrate deeply into the essence of things. Thus Goethe not only contemplated the simple plant, he contemplated the animal creatures, and thus, at the summit of natural becoming and activity, he contemplated man himself.

Now, what Goethe has developed as a magnificent view of nature, as he has done in individual fields, can be transferred into artistic feeling. What I meant by the above is not a theoretical formulation of some thought, but the full realization of the feeling of metamorphosis in nature through the artistic sense. It is the full expression of what contemplation is through the power of artistic creation. Our eurythmic art is intended to bring Goethe's way of looking at things to artistic revelation in a special case, now transferred to another area. Only now we are not to go into the form, not to take something from the form, but from the activity.

And so, when we transfer Goethe's view to a certain higher area of human activity, the following emerges: When man unfolds, as he speaks, recites poetry, sings, in short, when he sets his larynx and neighboring organs in motion, that which man unfolds as the hidden activity that is only present in his larynx and neighboring organs, which he unfolds as such hidden activity, to which he does not turn his attention, man unfolds certain movements. He turns his attention to listening to what is spoken or sung. He does not turn his attention to these hidden movements. But he develops certain movements that, just as a single leaf is an entire plant, can express the activity of the whole human being. And the other way around: if you intuitively see what is mysteriously indicated in the movements of the larynx and its neighboring organs, through which human speech, human song comes about, you can translate what you can intuitively see into movements of the whole human being. In a certain way, one can bring the human being into such a movement and shaping of the movements that he becomes entirely larynx.

That is what our eurythmic art is striving for. Please do not misunderstand me. It is not meant that it should be shown in a crazy way how one thing or another can be expressed through movements of the human body, but rather that just as mysteriously as that which emerges from the depths of the human larynx can reveal itself artistically, so, if one makes the whole human being the expression of that which otherwise only the larynx and its neighboring organs express, that which comes to light in the shaping of the whole human being can be artistic.

That is our eurythmy, what the human being brings to contemplation when he represents through his entire body those movements that are otherwise only present in the larynx and that would be expressed, for example, when one would , the air movements that arise when a person artistically shapes sound in speech or song in the voice, in the tone, a source of a new artistic element is thereby obtained from the ground, because all that is truly artistic is based on the discovery of such a natural foundation.

Goethe must have felt this when he made the following statement, which is very meaningful for his view and perception: “To whom nature reveals its manifest secret, he feels a certain longing for its most worthy interpreter, art.” The secret that is hidden in human speech and singing can actually be transformed into movements of the whole human being. In this way, the eurythmic art fulfills what Goethe wanted again when he said: “Art is based on a certain recognition, on the essence of things, when it allows us to reveal their inner laws in visible and tangible forms.

That which lives in the human soul should be revealed in visible forms through the art of eurythmy. But our eurythmic art is also an art of movement in which everything arbitrary is excluded. Other similar art forms, which, as I said, achieve more perfection in their own way than we can achieve today in our field, express in their gestures, in some mimic movement, that which is momentarily added to an inner soul emotion or the like, to a feeling, to a sensation. All this is not the case with us. We do not seek to depict any of the connections that arise between a gesture, a movement and an inner soul process. Just as music itself is based on an inner lawfulness, so the movement of our eurythmy is based on an inner lawfulness, and what is continuous in a presentation is as lawfully inner — not arbitrary - as melody or harmony in music itself is subject to inner laws.

Thus, when two individuals with different personalities perform the same thing in eurythmy, they will always perform it in the same way. The only subjective difference is that it is different from the way a Beethoven sonata is performed by two pianists. Of course, each individual brings their own subjectivity to what they perform. But the art of eurythmy is completely objective, based on its own laws. And if you find something represented by one artist, another artist would represent the same thing in exactly the same way, only varied according to subjectivity in the way suggested to you. This art of movement can therefore depict everything that is initially revealed through sound, sound sequences, modulation of sound, etc., through the movement of the individual human being. What accompanies our speech, especially when it is artistically formed, what warms this speech, as feeling is warmed by soul content, what this speech brings in rhymes, in rhythms - that, in turn, is expressed in our group movements. Groups always represent that which plays into the larynx from the rest of the human being, so that speech can be warmed, illuminated, and soul-filled, or also given rhythm or rhyming alliteration. Anything is possible in this way of expressing it through the art of eurythmy.

In this way, an art of movement that has been brought forth by human beings themselves is presented to our contemporaries. A work of art is created in the human being. The movements that we want to bring to light rest in the human being itself. Of course, all that is fundamental is only necessary for such an art to arise. But just as the larynx is necessary for the presentation of song and speech, and just as, in this presentation of song and speech, the artistic element comes to life in direct contemplation, so too can life come to life in that which arises from the inner, essential law of things, here of the human being itself, can only live in what emerges from the inner essential

Goethe says so beautifully: when man is placed at the summit of nature, he feels himself to be a complete nature, in order to bring forth a summit in turn. He absorbs symmetry, order and harmony in order to finally rise to the production of the work of art. In this way, the human being should not rise to the summit of the work of art, but create a work of art from his own inner possibilities of movement in this eurythmic performance. The important thing, dear audience, is that what is otherwise heard can be seen. Today we still present it in such a way that poems are recited or music is played on one side, so that one can hear and see at the same time on the stage the movements of the human being, which are carried out, so to speak, by the larynx that has become visible in the whole human being. That is the peculiar thing, that is also the more Goethean aspect of our eurythmic art.

As I said, everything we are able to present today is only the beginning. Pantomime and mime are completely excluded. Everything is based on an inner lawfulness. And if you do notice pantomime and mime, it is only because of an imperfection that must be eradicated later. Therefore, I ask you to also in this sense, what we can offer you today, to take. We are aware that everything is just a beginning, that everything is still quite imperfect. But we are convinced that, despite all the imperfections, the beginning of a new art movement, a new art activity has been created. Perhaps the principle still needs to be changed a lot. But we are convinced that something has been created that can become the seed of a future art. And we believe that what we can offer today as a beginning can, if fate permits, either be brought to an ever greater perfection by ourselves or by others, as with other arts. That is what I took the liberty of saying about today's performance. I would also like to add that we are very pleased that so many members of the audience have come today. In fact, so many people wanted to come that we had to turn some away. As a result, we will repeat today's performance next Sunday so that those who were unable to attend today can also get what is rightfully theirs. But that doesn't mean that there won't be another performance tomorrow at 8 a.m.