The Origin and Development of Eurythmy 1918–1920

GA 277b — 27 July 1919, Mannheim

17. Eurythmy Performance

Newspaper article about the eurythmy performance in Mannheim, July 27, 1919

[...] This lecture on Saturday was followed yesterday, Sunday morning, in the Musensaal by a presentation of eurythmic art that originated at the School of Spiritual Science “Goetheanum” in Dornach and whose foundations were also explained by Dr. Steiner in a short address. The aim is to find physical expression of the soul's movement that is not a symbol of this movement but a direct transposition of it to the body, much as in a poem not only the content but also the sequence of words themselves, and further in the word not only the meaning but also the pure sound has its spiritual significance. Dr. Steiner, as the accompanying reciter, knew how to shape the verses perfectly in line with this intention. Dr. Steiner himself emphasized that what was seen in the Muses' Hall is only the beginning. However, one cannot share his view that it is an independent art form. A varied program with poems by Steiner, Hebbel, Goethe, with grotesques by Morgenstern and so on, as well as with musical works by Walter Abendroth, L. van der Pals, M. Schuurman and J. Stuten was presented. Some of it was deeply moving, especially when Natalie Papoff was in the foreground; one was never overcome. There is a lack of technique in many respects, and it is obvious that then the higher, spiritual can only show as if behind a curtain. The blue flower, will-o'-the-wisps and the aesthetic weasel were among the best. The audience was not exactly enthusiastic, but very friendly.