The Origin and Development of Eurythmy 1918–1920

GA 277b — 7 February 1920, Dornach

>46. Eurythmy Performance

“Song of the Spirits over the Waters” by J. W. v. Goethe
The Fairy Tale of the Miracle of the Spring by R. Steiner with music by Walther Abendroth
From the Davidsbündlertänzen by Schumann
Saying from Rudolf Steiner's Calendar of the Soul (44)
“To Brother-in-Law Cronos“ by J. W. v. Goethe
Saying from Rudolf Steiner's Calendar of the Soul (45)
“Poems” from “Parabolisch” by J. W. v. Goethe
“The Metamorphosis of Plants” by J. W. v. Goethe
“The Fisherman“ by J. W. v. Goethe, followed by a piece from ‘Poissons d'or’ by Claude Debussy
From ‘The Awakening of the Soul’ by Rudolf Steiner
“Professor Palmström” by Christian Morgenstern
“The Skirt“ by Christian Morgenstern
“The Mouse Trap” by Christian Morgenstern
“The Authority” by Christian Morgenstern
“The Oste“ by Christian Morgenstern
“A Modern Fairy Tale” by Christian Morgenstern

Dear Ladies and Gentlemen.

As I always do before these performances, allow me to say a few words today as well – certainly not to explain the performance, that would be a very unartistic undertaking. Artistic things must work through their own impression and need no explanation. But since this is a new art form, created from special new artistic sources, it may be permissible to say a few words about this new artistic source. What you will see on the stage will consist of all kinds of movements, which will be performed by the limbs of the human body itself, movements of individuals or movements in groups, which will then be in a certain relationship to the relationship of the individual persons in the groups, and so on. What is all this that appears as movement of the human being and of groups of people? Well, it is nothing other than a kind of silent language, a real language, but one that is not arbitrarily constructed, not constructed in such a way that random gestures or pantomime have been taken to form a more complicated kind of sign language. No, that is not the case. Rather, it is a matter of creating something that is completely in the character of the human inner movements, in the sense of Goethe's view of art and Goethe's artistic attitude. So that the eurythmy you are about to see here actually uses the whole human being, indeed groups of people, as a means of expression, just as spoken language is otherwise used as a means of expression by the larynx and its neighboring organs.

If we gain knowledge in a suitable way, through, to use this Goethean expression, sensual-supersensible observation, provided, of course, that we can apply this sensual-supersensible observation, if we thereby gain knowledge of the movements, the movement tendencies that are present when speaking in sound and also when singing in the larynx and its neighboring organization, if one acquires knowledge of these, as I said, mainly movement tendencies through sensory-supersensible observation, then one can transfer these movement forms, which one can study in this way, to the whole human being. So that you will actually see how, in a sense, the whole human being, even the group of people in front of you, becomes a moving larynx. The movements that you see performed here are not arbitrarily invented, but are entirely modeled on the impulses of movement, the driving forces of movement, which can be found in the larynx and its neighboring organs when speaking in tones.

It is the same as the great, powerful Goethean view of the metamorphosis of all living things, applied here to the artistic. Goethe rejects the notion that, for example, the whole plant is nothing more than a complex, developed leaf, so that anyone who understands the whole plant in its form sees in it a complex, developed leaf, and in the leaf only an elementary, simple plant, but a whole plant.

But it is the same with all living things. One can say: precisely in the moving larynx - its movements are, after all, the basis of the movements of the air that occur here as I speak to you - in the moving larynx, one has, in miniature, everything that the will can conjure up from the moving human organism. By transferring these movements, which one obtains by studying the natural movements of the larynx and its neighboring organs, to the whole human being, one really does get something that corresponds much more to the artistic than our ordinary spoken language. Even when it is artistically shaped into poetry or song, two elements are mixed into our ordinary spoken language: one is the element of thought, I would even say that it comes from the head. In our civilized languages, this element of thought is something that is already inclined towards the conventional, something that has gradually lost more and more of its elementary origin in human nature and therefore has little artistic value left in it. For the artistic is based precisely on the exclusion of the rational, the conceptual, the imaginative, on immersing oneself directly in the secrets, in the riddles of the moving existence, without concepts, without ideas. This can be done by using the human being himself, as we are doing here, as an instrument, as a means of expression. This can be done if one has a language that strips away all thought and uses only the element of will for its revelation.

But that is not the only thing we achieve. When do we learn our spoken language? We learn it in early childhood, that is, at a time when we are not yet fully aware of ourselves as human beings, at a time when we are, so to speak, still waking up to life. And in the same way, humanity learned its language at a time when consciousness was not yet as bright as it was in historical times. Learning to speak, insofar as language is interspersed with thoughts, definitely falls back into unconscious stages of human development, and as a result there is something dream-like, something unconscious, about spoken language. After all, the unconscious is popular today. But here in eurythmy we strive for the opposite: we strive for the fully conscious, indeed the superconscious, in human movement.

If you reflect on the dream, you will tell yourself, there are confused thought forms in the dream. But movements, at least when a person does not dream morbidly and rages in his dreams, movements in dreams are also only imagined. One imagines that one is making these or those movements, that one is moving; but one does not really move in dreams, one only has ideas in dreams, not real movements.

The opposite is the case with eurythmy. There, thoughts are suppressed and movements occur. Precisely the will element - in contrast to the thought element - occurs. Therefore, I would say that while everything that wants to delve more deeply into the spoken language leads back to the dream-like element, here in eurythmy there is a complete awakening, an over-awakening. Therefore, there is nothing more to be fought in this eurythmy than any tendency towards the mystical, the hazy, the dreamy. The opposite of the dreamy, the fully conscious movement in artistic forms is what is striven for here. There must be nothing arbitrary about it. So that you do not think, for example, that what you see as the silent language of eurythmy when a poem is recited here are randomly invented forms or gestures. When two groups or two individuals perform the same thing in eurythmy in different places, the individual differences cannot be any different than when the same sonata is performed in different places. Nothing is based on arbitrary pantomime, nothing on arbitrary gestures, but just as music has a lawful sequence in its melodic elements, so here everything is in the sequence of the movements. It is a silent, moving music, this eurythmy.

Therefore, I ask you to pay particular attention to how we work our way out of the beginning. But today we are actually still at the beginning, even if we have come a little further than we were six months ago. At the beginning, there was still something mimic here or there in our performances. Now you will see for yourselves in the grotesques that we present how all mime in our performances is avoided, how the forms are actually found out of similar soul impulses as any text to harmonious or melodious music is even found.

I ask you to take this into account especially when reciting the words accompanying the eurythmy. On the one hand, you will see how one can accompany eurythmy musically. But mainly you will see how what you encounter in the silent language of eurythmy is simultaneously presented by us in recitation. Today, the art of recitation is actually in a state of decadence. We seek to lead the art of recitation back to Goethe's view of art. Goetheanism [and Goethean artistic attitude] is misunderstood in many ways today. Just yesterday I received another letter in which the writer, a lawyer, was annoyed about the expression Goetheanum. He claims that something like that is not German, and that at least this building should not be called Goetheanum because it is not German. It should be called the Goethe Building or the Goethe Temple – the Goethe Temple will be particularly German! This is the suggestion made by the gentleman in question. You come across the strangest things in the present day. But people act very self-confidently in the present day, especially if they have been a choir student or a reserve lieutenant. You see, my dear audience, the art of recitation must indeed become something again, something like it was when Goethe, for example, rehearsed his “Iphigenia” with his actors like a conductor with a baton. That is to say, it is not the literal that is important in recitation; the literal is not the actual artistic element in poetry. What is truly artistic is either the musical or the plastic, the formative. Schiller never had the literal content in his mind first when writing his most important poems; that came later, he had a melodious, indeterminate melodious structure from which he started. And there is actually only as much of the artistic in a poem as is there, apart from the literal content, as inner rhythm, inner beat and musicality. Or one could say: the musical element is more present in Schiller, the shaped, plastic element is more present in Goethe. Whereby one feels tempted to look through the words at very specific forms. When poetry is not oriented towards the literal, the literal content, but towards meter, rhythm, and form, then eurythmizing is particularly easy.

In the fairy tale poem 'Quellenwunder' you will see how a poem that is already conceived in eurythmic terms from its very origin - albeit in an inner soul rhythm that repeatedly returns to the same motif - inwardly forms each individual paragraph, so that the forms of eurythmy can then also be added to the matter as a matter of course. But it can also be done with something like Goethe's poem about the metamorphosis of plants and animals, where everything is based on the observation of plastic natural forms, and everything can be translated into eurythmy as a matter of course.

In the second part, after the break, we will show you an attempt I made to depict something pictorially in a choir of gnomes and sylphs, which is otherwise only found in nature through abstract concepts, through ideas. What we are dealing with is something that still seems paradoxical to humanity today: nature in its becoming and essence, in its weaving and being, is so inwardly rich that our concepts, as we express them in natural laws, are far too poor to express what nature's richness is. Only gradually will it be understood that we must move from concepts to images, to images that also take in the emotional element, where, in wanting to understand the becoming and weaving of nature, we must also take in what takes place in the human soul as humor, as comedy, alongside the serious. The abstract laws of nature, which are of course far from all comedy and humor, which do not even touch our innermost being, they only represent the poorest becoming and weaving of nature. But the upward surge to the artistic, to plasticity, the upward surge to the musical, also leads us deeper into the riddles of nature.

Of course, what you will see here is nothing more than a beginning, because the eurythmic art is still very much in its infancy. But we are convinced that if our contemporaries show a certain interest in this beginning, it will be capable of ever greater perfection. For indeed, the human arbitrariness that works through our speech ceases in eurythmy, and it can be that by using the human being himself, the movements inherent in his entire organism, as an instrument, it can be that thereby fulfill the Goethean artistic spirit in the way that Goethe expressed in the beautiful words with which he sought to characterize the great Winckelmann: “When the healthy nature of man works as a whole, when he feels in the world as in a great, beautiful, dignified worthy and valuable whole, when harmonious comfort gives him pure, free delight - then the universe, if it could feel itself, would exult as having reached its goal and would admire the summit of its own becoming and being.” Such an artistic attitude can best be fulfilled if one does not use the abstract, but the human being itself, who is a microcosm, as a means of expression, as a tool for the artistic. But, as I said, this is only the beginning. If our contemporaries and future generations take an interest, our conviction that our eurythmy can become more and more perfect will be fulfilled. At the moment I must ask you to be lenient with us in this area, because it is really only a beginning, perhaps only an attempt at a beginning. But this beginning will either be developed further by ourselves or probably by others, the latter probably more so, so that eurythmy can establish itself as a fully-fledged art form alongside the other fully-fledged, but older art forms.