The Origin and Development of Eurythmy 1918–1920

GA 277b — 11 October 1919, Dornach

24. Eurythmy Performance

“Symbolum” by J. W. v. Goethe with musical addition by Leopold van der Pals
“Zueignung“ by Novalis
“From the Song of Solomon” by an unknown poet from the Middle Ages
Opening “We want to search...” with music by Max Schuurman
“The last word” by Fercher von Steinwand with musical accompaniment by Max Schuurman
Prelude ‘We are looking for...’ with music by Leopold van der Pals ‘Reconciliation’ by J. W. v. Goethe
From ‘Chinese-German Years and Times of Day’ by J- W. v. Goethe
“Er ist's“ by Eduard Mörike From the collection of poems ‘Der Tag’ by Hans Reinhart Humorous prelude with music by Jan Stuten
“Der Tanz”, “Die beiden Esel”, “Philanthropisch”, “Die Wald geiss”, “Die Fingur”, from: “Die Galgenlieder ”by Christian Morgenstern
“Gretchen in the Cathedral” scene from ‘Faust I’ by J. W. v. Goethe

Dear attendees!

Allow me to say a few words to introduce our eurythmy presentation. This eurythmic art is not meant to be a dance art or any other art that could be considered a neighboring art. It should be something that presents itself as an independent art movement alongside that which currently exists as a dance art or similar. What we recognize here as the eurythmic art was conceived and born out of the Goethean worldview, out of Goetheanism. We shall only understand what we understand by Goetheanism here if we think not of Goethe, who died in 1832, but of the Goethean genius, which lives on and must be felt anew by each generation, and whose artistic and world-view intentions can be taken up by each generation and developed in one direction or another.

In a limited area - just as otherwise in the large the whole building and everything that we represent here comes from Goetheanism - in a limited area, our eurythmic art is also born out of a Goethean artistic and Goethean world-view attitude.

I do not wish to theorize, but to point out the source of this eurythmic art. Of course, everything that is artistic must make an aesthetic impression when seen directly. But the things make an aesthetic impression precisely because they have been brought forth from those sources of the existence of nature and the world, which the most rational mind does not penetrate, but which, as it were, come out of the infinite depths of the nature of things. And so, without becoming theoretical, I may point out how this eurythmic art is born out of the whole spirit of Goethe's world view. That is the significant thing about Goethe's artistic attitude: it does not present itself as something quite separate from the rest of human perception. Rather, Goethe is imbued with the conviction that what what is to be created artistically is connected with the most intimate powers of cognition, with nature and the essence of things, insofar as we are able to perceive them through the eye or through other organs. Goethe sees only a developed leaf in the individual plant, which is intricately designed. For Goethe, a single plant leaf is an entire plant, only in an elementary, primitive form. The whole plant is a more complicated leaf for Goethe.

This view, fully developed, will mean much, much more for the human world view than it does today. For in such a view we shall find the foundation for everything that can go out from our science of the dead to knowledge of the living. But what Goethe initially applied only to forms in terms of view can also be applied to movement.

Our eurythmy art should be a movement art that uses the whole human organism with its movements as its means. And so one can say: the human larynx with its neighboring organs is the organ of expression for audible speech. But for someone who can see the movement pattern in the human larynx, who can see what is not seen in ordinary life when we listen to someone speaking, for such a person there is a possibility of saying: a movement pattern of the human larynx and its neighboring organs is connected with every sound, with every sequence of sounds. What is present as a movement system in the human larynx and its neighboring organs can be transferred to the whole human organism. We can set the human limbs in motion in such a way that they precisely imitate what is present in the larynx for the purpose of human speech. Then, as the whole human being becomes a living, moving larynx on the stage before us, a visible language arises before us. And since the human being is an extract of the whole world, a real microcosm, this language, this visible language, is indeed an expression of the deepest secrets of the world.

What I am now going to explain, I would say in the abstract, must be felt aesthetically in the movements that come to view. And so what the individual person makes of the movement of his limbs becomes the expression of vocalization, of the sequence of sounds. While everything that flows against language, from inner warmth of soul, from joy and suffering, from enthusiasm and from everything else that vibrates in our language, while that is expressed in the movements that an individual makes in space or that a person makes in relation to other people in group movements. The movements thus become the expression of the soul in language, but at the same time they also express the artistic transformation of language: they become the expression of rhyme, the expression of rhythm, the expression of meter. So everything that lies in language is also expressed in this visible language. This is the art of eurythmy.

In our work, it is accompanied on the one hand by recitation and on the other by music. For what music puts into the tones is expressed by us through the movements. And the two arts appear as parallel arts.

Likewise, what is presented in the recitation is also expressed through the eurythmic art. However, for this to happen, the art of recitation must return to what it once was. Today, the art of recitation is in decline. Even that which is most admired in the art of recitation today is actually the most inartistic. That which is prosaic in language, the content of language, the narrative, is what is attempted today in the emphasis on the form of expression of the art of recitation. What we must attempt here is what, behind the mere content, should only be recognizable as a kind of register, lies behind this content in the treatment of language, in the actual artistic aspect of language. That is what we are concerned with here. Therefore, those who particularly love the art of recitation today will find something paradoxical in the way that recitation sometimes has to be done, especially in the art of eurythmy. Recitation cannot be done differently for eurythmy. And anyone who knows what ancient recitation was will also perceive this return to true recitation as a renewal, a reinvigoration of the artistic.

I need only remind you that when Goethe rehearsed his “Iphigenia”, he rehearsed with a baton, as he says, so that he emphasized the musicality that lies behind the outwardly prosaic. Goethe would have been horrified by what is called recitation today. I need only remind you that Schiller, before he had the content, the word content of a poem in his soul, first had something melodious in his soul, something wordless and melodious, felt the musical aspect first, only then found the words for it.

All these things must be taken into account if we want to go back to what ultimately still came from the time in which we recreated in the dance movements, but also in the human poetic language, that which is a universal law. And we would like to point this out again with our eurythmic art.

I would only ask you to be lenient with the presentation itself. For everything I have discussed here is more of an ideal towards which we are striving. We are more or less only at the beginning with what we have developed. But I must add that nothing in this eurythmic art is arbitrary. If you were to believe, for example, that any movement has more than a momentary connection with the inner soul movement, then you would misunderstand the eurythmic art. Everything that appears in this eurythmic art has an inner lawfulness, just as the lawfulness of tones in music is itself. The succession of eurythmic movements is such as the succession in melodious song is inner lawfulness.

If you see some pantomime, some gestures, some facial expressions, it is because we have not yet achieved the full perfection of our art that it should have. There should be no pantomime, no facial expressions, no gestures. When two people or two groups of people in completely different places perform one and the same eurythmic content, it is only as different as when two pianists play one and the same Beethoven sonata. Otherwise, what you will see on stage and what you will hear through the art of recitation is one and the same.

In this sense, I ask you to understand what we want to develop as a kind of Gesamtkunst, because if what is organically possible for a person to move can really be artistically developed, then it is truly the case that what can be applied to it is what is so beautifully expressed in Goethe's saying as a Goethean artistic attitude: When man has reached the summit of nature, he in turn produces an entire nature, taking order, harmony, measure and meaning together, in order to finally rise to the production of the work of art. And if Goethe was of the opinion that art is a manifestation of secret natural laws that would never be revealed without it, then it must be said that if one artistically embodies and reveals what is inherent in man himself in terms of secret natural laws, then a kind of summary, a kind of synthesis of the various arts, is indeed given. In eurythmy, one can perhaps feel what is so beautifully expressed in another of Goethe's words: “When nature reveals her secrets, one feels a deep longing for her most worthy interpreter, art.” Those who want to penetrate the secrets of the human organism – that is how one could describe it – feel a certain inner yearning to artistically reshape the range of movements in the human body.

These are all intentions. And I ask you to look at what you can already find developed in these intentions today with the same tolerance with which one looks at a beginning. Perhaps not everything has yet been understood in the way it should be understood. But if this artistic trend is taken into account by contemporaries, then there will certainly be the incentive to develop it. And we hope – we are our own harshest critics and we know full well that what we can offer at present is not yet completely satisfactory – but we hope that this art can be developed, either by us or probably by others, to such an extent that it can one day stand alongside other fully-fledged art movements as something fully legitimate.