The Origin and Development of Eurythmy 1918–1920

GA 277b — 17 January 1920, Dornach

40. Eurythmy Performance

“May Song” by J. W. v. Goethe
“The Fairy Tale of Loving and Hating“ from
The Portal of Initiation by Rudolf Steiner
“Swallows” by Christian Morgenstern
“To the New Year” by Eduard Mörike with a musical prelude by Leopold van der Pals
“The Fairy Tale of Imagination“ by Rudolf Steiner
“The Plants are Sprouting” saying by Rudolf Steiner
“The Metamorphosis of Plants“ by J. W. v. Goethe
“The Forgotten Thunder” by Christian Morgenstern Wave opener with music by Leopold van der Pals
“The Lark” by Robert Hamerling
“Ecce Homo“ by Rudolf Steiner
Saying from the Soul Calendar (40.) by Rudolf Steiner
Saying from the Soul Calendar (41.) by Rudolf Steiner
“Schwellengang” Bertha von Polzer-Hoditz
“Hellas“ by Manfred Kyber
“Salome” by Manfred Kyber

Dear attendees!

Before we begin with this eurythmic presentation, please allow me, as always, to say a few words in advance, not so much to explain what you are about to be presented with as a eurythmic art form, but rather to point out the sources of this new eurythmic art.

This eurythmic art has indeed been created out of different artistic sources than some of the neighboring arts, which could easily be confused with it. This eurythmic art is a kind of silent language. But this has nothing to do with a reproduction of random gestures or with any kind of ordinary pantomime or similar representation, let alone with a dance art. Rather, it is about tapping into special artistic sources by making particular use of the human being himself, with his inner possibilities of movement, as a means of artistic expression. The underlying view that is used here is based entirely on what I would like to call Goetheanism, on Goethe's view of art and Goethe's artistic attitude. Only one will have to admit more than is actually present, set, and existing, of which one would not like to admit such today.

So, my dear attendees, everything that is connected with the human vocal organs, the larynx and its neighboring organs, is basically a replica of the whole human being as a lawful organism in a remarkable way. One might say that all of the human organ systems are found in the larynx and its attachment organs, only in a cartilaginous form. The strange thing is that the organs of the larynx do not continue in muscle tissue like other human organs of movement, but that what arises from the human larynx in terms of movement possibilities, in terms of the beginnings of movement, passes directly into the surrounding air and thus produces sound and speech. But the person who has the opportunity to observe in a sensory and supersensory way, in which movements the human larynx produces that which becomes song for us, that which becomes language for us, becomes for us language, is able to transfer these movements, which are otherwise carried out by the larynx and its neighboring organs without our noticing them while we listen to speech, to the whole human being.

This transfer is interesting for the reason that it is clear to the sensory-supersensible observer to a certain extent how the entire relationship of a being to the surrounding nature and to its own form appears in the vocal cords of a being. Anyone with an intuitive mind will easily see in the roar of the predators a certain imitation of the shape of the predators and, in particular, of the movement of the predators, as this movement arises from the muscular system. And who would not see with a corresponding sensory-supernatural gift of observation how the song of birds, the sound change of the bird, is a wonderful expression of the movement of the bird on the waves of the air itself.

On the other hand, one can observe how certain bird species express their sound changes, their song structure, in accompanying movements. When one studies such things properly, one comes to be able to transfer what would otherwise remain invisible in the movements of the larynx and its neighboring organs to visible movements of the whole human organism, so that one can indeed evoke a kind of mute language through it. Only the organ of expression for this mute language is the whole human being. And so, as you then see the moved person in front of you in human movements that are carried out by the limbs of the person themselves, movements that are carried out by the person in space, movements that come about because people in a group in certain spatial relationships and the like – all this is no more arbitrary than the succession of melodies or the harmony of chords in music is arbitrary. It is music that takes place in space through movement. And if two people or two groups of people in different places were to perform one and the same thing in eurythmy, there would be no more individuality in these different performances than there is between two pianists playing one and the same sonata in their own way. So any arbitrariness in the play of gestures and so on is completely excluded here. What you will still see of this can only be attributed to the imperfections that still cling to our eurythmic art.

When we consider how the human being – especially the speaking human being – is actually an expression of an entire universe, it must be said that the very fact that we use the whole human being here as we would any other musical instrument, that we use the whole moving human being here as a means of expression for an art, In this way, the Goethean sense of what Goethe so beautifully says about man becoming artistic is fulfilled: when man is placed at the summit of nature, he in turn feels like a whole nature and brings forth a new nature from within. He takes order, measure, harmony and meaning together and ultimately rises to the fullness of the work of art. In order to produce a work of art, he must rise to the level of significance when he uses his own organism as an instrument, as a means of artistic expression. We believe that, although this eurythmic art is only a beginning, it can provide a starting point for a meaningful art form. What has been attempted here will develop more and more.

Now, on the stage, you will see this silent language of eurythmy accompanied on the one hand by music and on the other by recitation. For that which our speech expresses through poetry can be expressed through eurythmy, albeit more through the rhythmic arts. We must only be clear about the fact that through the movements that are otherwise shaped for the air when the larynx performs them – that these movements, which otherwise take place with greater speed, take place with a certain slowness, because these movements are transferred to the muscles and the whole human organism is used as a movement apparatus. So that even in the speed of the movements, what naturally results from transferring what would otherwise be carried out in one organ in the larynx to the whole human being must be taken into account.

In the recitation that will follow, you will notice a somewhat different approach to the art of recitation than you are otherwise accustomed to – especially in the present day. What can be brought out of poetry through the art of eurythmy is, after all, what is truly artistic. We need only recall how Goethe, even when he rehearsed his dramas, his Iphigenia, with his actors, did so with the baton in his hand – not as one today believes that the main thing lies in reciting the prosaic, in bringing out the content in particular. Rather, these still very artistic natures of Goethe's time – we find something similar in Schiller, something similar in Herder – they knew that the rhythmic, the formal, which underlies the shaping of speech, is the actual element of poetry and that this must be taken into account first and foremost when reciting.

Thus, in our art of recitation, we try to practise an invisible eurythmy in the way we speak, I would say, to treat language in such a way that the lines are contained in the sounds, which you would otherwise see visibly as the moving human being on the stage. But you also see, my dear audience, that it is precisely through the eurythmic, which is to be practiced here in particular, that it is necessary to go back to the elements of the artistic, which today, more or less, are given less consideration, especially in the art of the time. Sometimes today we believe we are being very artistic, but we are not artistic at all if we do not really base art on the formal as the spatial-temporal, the movement-related, if we do not take into account what but] that which also underlies prose to the fore in poetry as well and actually sets up the art of recitation as if one wanted to communicate a content, not an inner movement.

We believe that it is precisely through such performances that the artistic can be particularly pointed out to our time. Otherwise, I ask you to take this performance with a grain of salt, because I keep emphasizing that this eurythmic art is still in the early stages of its development. But we are also convinced that it can be perfected and that if it is driven by us or probably by others from its beginning, in which it now stands, to ever greater and greater perfection - there are many possibilities for development in it - then it will be able to present itself as a fully fledged art alongside other arts that are older.