# The Origin and Development of Eurythmy 1918–1920

## GA 277b — 24 March 1919, Dornach

### 9. Eurythmy Performance


Dear attendees!

Please allow me to say a few words by way of introduction to our eurythmy performance. This will seem all the more justified given that what is presented will not be something that is complete in itself, but rather an attempt, or perhaps I could say the mere intention of an attempt. For it is obvious that this particular form of movement art, which is to be presented in eurythmy, is confused with all kinds of neighboring arts, dance-like and similar arts. These neighboring arts have, as we well know, achieved great perfection in the present day. And if there were any belief that we wanted to compete with these neighboring arts, then this would be a false belief. It is not about something that is to compete in this way, but about a special form of movement art that is based on its own laws and that is intended to be a beginning, initially just a beginning of something that can perhaps be achieved in its direction.

It is based, like everything that is to be presented here at the Goetheanum, on the foundations of Goethe's world view. However, it is not the case that we only want to reproduce what is in the finished form of Goethe's world view, but rather that we want to keep alive, almost a century after Goethe's death, that has been given to the world through Goethe's world and art view, that we would like to develop that which has been initiated through Goethe for the development of humanity, in the sense of modern human conceptions.

Goethe's unique quality is that everything that has been incorporated into his art, his conception of art, is based on his comprehensive world view, which had nothing merely soberly theoretical about it – and therefore does not have the same sobering effect on artistic creation and perception as dry, sober rationalistic world views. It is from Goethe's great and powerful view of nature that his whole conception of art emerged. And you will allow me to try to hint at something that is particularly important to us in the development of the eurythmic arts, starting with a single detail.

I must refer to what is known as Goethe's theory of metamorphosis. This is a magnificent conception of the nature of all living things. More than one might think lies in Goethe's view that the colored petal of a flower is only a transformation of the green leaf of the plant, that even the stamens, the pistil of the plant, which are not at all similar in appearance to the leaves, are transformed petals. For Goethe, everything about a plant is a leaf, a transformed leaf.

And so, in turn, the whole plant is only a correspondingly differentiated, developed leaf for him. And each individual leaf is a whole plant for him, only more simply formed. This is Goethe's basic view of all living things. Every single part of a living being is, in a sense, a repetition of the whole living thing. And in turn, the whole living thing is only a more complicatedly developed organism of precisely that which is present in the individual main parts. And this is especially the case with humans. That which a person is as a whole is present in his individual, essential parts.

What Goethe had incorporated into his way of thinking for the design of living beings up to and including humans can now be applied not only to the design of the individual parts of a living being and of the whole living being, but also to activity. For example, it can be said that the activity performed by the human larynx and its neighboring organs is a microcosmic repetition of the potential movements that are inherent in the human being as a whole. In turn, everything that can be brought out of the whole human being in the way of movement and creative possibilities can be a reflection of what is revealed in the larynx when speaking or singing in the sequence of sounds, the sequence of tones, in the lawful connection of the tones and so on. We turn, by listening to singing, to speaking, to artfully shaped speech, our attention first to the sound and the sequence of sounds; but the intuitive recognition, that which looks at what is merely is predisposed to as possibilities of movement in the larynx, or that intuitive imagination can gain an insight into what passes over into the air vibrations, into the air rhythm, when a person sings or speaks artfully, can be expressed by the whole human being.

This is the basis of our art of movement, our eurythmy. To a certain extent, one can say that in eurythmy, as we understand it, the whole human being should act as a visible larynx, as if one were suddenly able to see what the air accomplishes in terms of inner mobility and movement when we hear a sound or a sequence of sounds.

In expressing his view of art with the beautiful words: “He to whom nature reveals her manifest secret feels the longing for her best interpreter, art,” Goethe pointed to a secret of artistic feeling in general. And with regard to the human being itself, our eurythmy seeks to transform what is naturally present in the human being into art. I am only describing the elementary foundations of our eurythmy to you, dear audience. What is brought out of the natural essence of man is not transformed into artistic creation according to abstract knowledge, but according to artistic feelings. It must, however, be judged directly in contemplation. All artistic feeling is based on this alone, that something deeper in the essence of things is taken in by the human being in direct contemplation and is pleasing. Recognizing this, Goethe once said, “Style, artistic style, is based on the foundations of knowledge, on the essence of things, insofar as it is allowed to us to present it in visible and tangible forms.

The style of our eurythmy is based on the essence of the human being, insofar as it is permitted to depict this essence in movement as visibly as the sounds audibly represent what lives in the human soul.

This is how our art of movement came about. However, since not only that which is inherent in the movements of the larynx lives in the sound, but since the sound and the sequence of sounds in singing and artistic speech is illuminated by soul feelings, warmed through by soul moods , and in the artistic shaping of speech in rhythms, rhymes, alliterations, assonance and so on, then this must also be expressed when creating a kind of visible speech. In this sense, the individual person who performs eurythmy presents, in front of the larynx as such, what the neighboring organs of the larynx are; what pervades the spoken or sung word in the soul will be presented through groups and group movements, the mutual relationship of the persons in groups, and so on.

The essential thing here is that everything that is expressed through eurythmy never expresses — as is the case with neighboring arts — a mere momentary alignment of the gesture, of the facial expression, with that which lives in the soul. Rather, our eurythmy is an inwardly lawful art, like the musical art itself, which lives in melody and harmony. Nothing in any gesture is arbitrary. Much more important than the individual gesture is the succession of gestures. It is truly a musical art that is visibly expressed in our eurythmy.

And one can also say: when two eurythmists present one and the same thing, it is to be presented in the same way. Subjective differences can only arise because the perceptions are so different, as, for example, two pianists present a Beethoven sonata differently according to their different perceptions. But the subjective differences and arbitrariness in the field of eurythmy cannot be greater than in this field.

Anything that is merely pantomime or mimic is strictly excluded, and if you see any of this in our performance, it is because we have not yet achieved the perfection we are striving for. But such perfection must unfold over time from this eurythmic art.

What I have just presented to you has been done by me in order to show how this eurythmic art has been derived from the nature of the human being itself, how the human being, in accordance with the potentialities of movement that are present in him, becomes a work of art in eurythmy. This, too, is in the spirit of Goethe, as he so beautifully expresses it in his book on Winckelmann: “Man, placed at the summit of nature, beholds nature as a whole and brings forth a summit, taking order, harmony and measure together, in order to finally rise to the production of the work of art.

In this way, we try on the one hand to bring the artistic aspect of language to the ear through the musically designed, and at the same time, to a certain extent, to allow the whole person as a larynx to express what can be revealed in the sound and the sequence of sounds, in the tone and the sequence of tones.

In this sense, I ask you to take our still weak attempt. We are not at all presumptuous to think that what we can offer is more than a beginning in the indicated direction. But we are also convinced that it is a beginning of a truly new art form, which, however, may only be able to be developed over a long period of time. We believe that it will be possible – either through ourselves or, if we are unable to do so, through others – to develop this art form into something that can stand alongside the other arts that humankind has produced. With this in mind, I ask you once again to take note of our modest attempt.