The Origin and Development of Eurythmy 1918–1920
GA 277b — 31 January 1920, Dornach
44. Eurythmy Performance
Allow me, dear assembled guests, as always before these performances, to say a few words about the nature of our eurythmy art. It is certainly not my intention to give some kind of explanation of the eurythmic art as such; that would be an unartistic endeavor, because everything artistic must not work through some kind of theoretical view, but through the immediate impression, through that which is directly revealed in art. But our eurythmic art can very easily be confused with all kinds of neighboring arts. It would be a real mistake to equate it with the art of dance, the art of gestures and the like, because what you will see presented here as eurythmy is drawn from very specific new artistic sources. And like everything that is done here, for which this building - the Goetheanum - is intended to be the representative, like everything is imbued with what one can call the Goethean world view, so too is our eurythmic art imbued with a Goethean artistic attitude and a Goethean artistic concept.
Of course, Goethe should not be taken as the Goethegelchrten take him: as the personality who died in 1832 and whose lifetime can be studied externally. Rather, Goethe must be taken as a continuing cultural factor for humanity, which is becoming different with each passing year. When we speak of Goethe, of Goetheanism, we are not speaking of the Goetheanism of 1832, but of the Goetheanism of the 20th century, of the year 1920. And here it is a matter of the fact that Goethe wanted to replace the dead orientation towards the world, which still dominates our present-day view, with a living one. This living view, namely of the workings of living beings themselves up to and including human beings, as found in Goethe, is still far from being sufficiently appreciated, far from being understood in any way. It will have to become a shot in the whole spiritual development of humanity. Those who today believe they already understand Goetheanism in its direction misunderstand precisely the most intimate, the most important.
What is presented here as eurythmy art is taken from Goethean sensual-supersensory vision, from the whole human being. Just as Goethe, in accordance with his living view of the world, sees a more intricately designed leaf in the whole plant, so too is the human being, not only in form but also in all the movements he can make, only a more complicated more complicated form of one of his organs, and in particular a more complicated form of the most outstanding, truly human organ - the larynx and its neighboring organs, when they serve as the tools for speech.
But now the question is, firstly, in order to bring forth eurythmy through sensory-supersensory observation, one must first place oneself in a position - which is a lengthy soul-spiritual task - to recognize which movements, but especially which movement systems, underlie the larynx, lungs, palate, tongue and so on when they produce speech sounds. A certain movement underlies this – we can see this from the fact that the entire air mass in the room in which I am speaking is in motion. We do not pay attention to this movement when we listen to the sound, when we listen to the speech sounds.
But this movement can be recognized separately, and then it can be transferred to the movements of the whole human being. And so you will see how the whole person in front of you here on stage becomes, so to speak, a larynx and how, through this, a mute language actually arises in eurythmy, a mute language that is not arbitrarily interpreted in some way, but that is brought forth from the human organism's organ systems just as lawfully as spoken language. But the fact that what otherwise remains invisible is made visible when speaking - partly through the moving human being, partly through the groups of people in their mutual movements and positions - means that the artistic aspect of revealing oneself through language can be particularly emphasized.
For in our language, even when poetic art expresses itself through it, there is in fact only as much real art as there is musicality in this language on the one hand, and plastic form on the other. The literal content, which is usually what unartistic observers of poetry place the greatest value on, is not actually part of the real art. The works of real art are much rarer than one might think. Before Schiller visualized the literal content of a poem in his mind, there was always a kind of wordless melodious element at the base, a rhythmic, metrical, melodious element, and only then did he string the literal words on to it. Goethe, who was more of a plastic poet, had something formative in his language. And this formative quality can be seen if one can feel real Goethean poetry.
Thus what actually underlies poetry is itself a hidden eurhythmy. It is studied and transferred to the movements of the whole human being. There is nothing arbitrary about these movements. There is something in these movements that proceeds in such a lawful sequence, as the melodious lawfulness or the lawfulness of harmony next to each other in music itself reveal themselves. But this means that in eurythmy, in particular, one can achieve something especially artistic, because in our spoken language, much that is conventional and utilitarian is interwoven. We have our language for human communication. What adheres to it from this side is precisely what is inartistic, so that the more the unconscious of language emerges, the more the artistic comes to the fore.
We must not forget that language is actually born out of the unconscious and the world of dreams in the individual human being as well. The child has not yet awakened to full consciousness of itself while it is learning to speak. Just as the images of the dream enter into human consciousness as a darkness of this consciousness, so the consciousness of the child is still dark when it learns phonetic language. On the one hand, this indicates that spoken language contains something that wells up from the unconscious of the human being. This unconscious must be taken into account in all linguistic matters. I would just ask you to consider one thing above all: grammar, that is to say, the internal logical structure of language, which then becomes artistic when language is treated artistically. This is not more complete or developed in the so-called civilized languages, but rather the more complicated grammar is usually found in uncivilized languages.
Thus, that which runs through language as its inherent law does not come from what stems from civilized consciousness. This law-abiding, subconscious element is what is drawn out of the human being. In this way, however, eurythmy becomes the opposite of dreaming. While dreaming means a lowering of consciousness, above all a lowering of the will, in eurythmy the will, as it arises in speech, is brought out; it is shaped into speech as an element; through a mute speech, a self-revelation of the human being is willed. But in this way we enter into the unconscious creative process of the human being in a conscious way, and we come to use the human being himself in his entire organic formation and range of motion as an artistic tool.
And if we consider that the human being is the most perfect being, we might say, that we know in this world, then something like an embodiment of the artistic expression that is otherwise possible must come out when one uses one's self as an artistic tool. Everything in this eurythmy is so completely derived from the laws of human nature that there is absolutely nothing arbitrary about it, no random gestures or the like. If two people or two groups of people in two completely different places were to perform the same thing in eurythmy, the performance would show no more differences than if the same sonata were performed according to a subjective interpretation. There is always a lawfulness in eurythmy, just as there is in music itself. Therefore, through this silent language of eurythmy, which has been brought forth from the same natural lawfulness as spoken language, a deep artistic experience can be achieved precisely because the mental aspect that otherwise works in language has been eliminated.
And so you will see how, on the one hand, poetry or even musical expressions are presented to you through the silent language of eurythmy. At the same time, in some cases you will see musical elements, which are only another form of expression of what eurythmy is. On the other hand, you will hear poetry recited in spoken language, and you will see that when you present the same poetry on stage in a plastic way through eurythmy , you will see that you are compelled to depart from the present-day inartistic nature of recitation, which is based on the particular emphasis of the content alone. Rather, the important thing here in recitation is to express what is already eurythmic in the poetry itself. What is the plastic form, rhythm, beat, musical element that underlies the actual poetry and what is the moving element in the poetry that lives in the beat, rhythm, what can be sensed in the form behind the words - this must be particularly developed in the recitation, which is especially intended to accompany this eurythmy. We must therefore go back to the form of the art of recitation that was practised when people still had a feeling for the art of recitation itself. Today this is very rarely the case; today one takes more the prose content, only the actually inartistic itself in the poetry and recites accordingly. So, of course, eurythmy itself will still be misunderstood today because it represents something completely new in the sources from which it has emerged, and the accompanying recitation will perhaps also be misunderstood. But that is not the point. Everything that presents itself as something original in the development of human civilization is usually viewed with suspicion. Nevertheless, I would ask you to bear in mind that we ourselves are our harshest critics and to see what we are not yet able to do today. We regard what we can already do today as nothing more than a beginning that is in great need of further development and refinement. You will see that poems which are themselves conceived as impressions, such as the 'Quellenwunder', which therefore already have eurythmy in them, can be translated into eurythmy particularly well, I would even say as a matter of course. But you will also see that where there is real inner mobility and plasticity in a poem, as in so many of Goethe's poems, eurythmy can indeed achieve a great deal.
In the humorous pieces that we will present to you today, you will see how one can follow them without resorting to pantomime and facial expressions, which are only random gestures, but how one follow these things through eurythmic-musical spatial forms, that is, through the musical element translated into space through eurythmy. This underlaying element is particularly emphasized.
I therefore ask you to take our performance with a grain of salt. Today we can only offer you the beginning, but we can still say that eurythmy – because it uses the human being, who is a real microcosm, as its instrument – perhaps allows the word with which Goethe wanted to characterize the truly artistic to be applied to it: When man is placed at the summit of nature, he regards himself as a complete nature, which must produce a summit within itself. To do so, he elevates himself by permeating himself with all perfection and virtue, invoking choice, order, harmony and meaning, and finally rising to the production of the work of art. Or the other beautiful word: “When man's healthy nature works as a whole, when he feels himself in the world as a great, beautiful, dignified and valuable whole, when harmonious comfort grants him a pure, free delight – then the universe, if it could feel itself, would exult as having attained its goal and would admire the summit of its own becoming and being.
In eurythmy, a language should be spoken by the human being not as in spoken language, where the individual human being speaks from their emotions, but rather it should be spoken as if the human being were included in the whole human being and spoke through and from it.
As I said, it is all still in its infancy, but we are also convinced that – precisely because we are our own harshest critics and although we ask for lenient judgment – we are convinced that this eurythmy will continue to be developed, by us or probably by others. And if it finds interest in the broadest circles, it will one day be able to stand alongside other, older, fully-fledged art forms as an art form in its own right.
[Before the break:]
After the break, we will be able to present you, dear attendees, with a scene of gnomes and sylphs. In this scene, we will attempt to reveal the mysterious forces of nature that can reveal themselves in the coexistence of humans and nature. This will be done through that aspect of the forces of nature that cannot be accessed by engaging with nature in purely abstract thought or in so-called natural phenomena. It will perhaps take a long time before it is admitted that there is a working and ruling, a weaving and living in nature that cannot be grasped through abstraction and natural laws, but that can only be grasped when our conception of nature is enlivened by real artistic forms. Nature tells us so much and so intensely that what it tells us must be told in more comprehensive and intense forms than can be done by abstract laws of nature.
Something like this has been attempted to be extracted from those laws of nature: What we experience when we really bring the human being into a pure, I would even say intimate picture with what flows and weaves through nature, something like this has been attempted in this gnome and sylph choir. And here too, Goethe's artistic philosophy is the basis. For Goethe has brought art and knowledge into a very close relationship, and he sees in art that which at the same time imparts a higher knowledge of the mystery of man and the world than mere knowledge of nature can. That is why Goethe says: “When nature begins to reveal her secrets to someone, they feel an irresistible longing for her most worthy interpreter, art.” And even if this is still regarded as something lay or dilettantish compared to so-called strict science, people will come to understand that the knowledge of what reigns as a secret in nature must be recognized in nature as a secret, namely, that one can recognize its secrets precisely by artistically responding to what nature reveals out of itself when one only engages with it.