The Origin and Development of Eurythmy 1918–1920
GA 277b — 22 February 1920, Dornach
51. Eurythmy Performance
Dear ladies and gentlemen.
I do not wish to use these words as a preface to explain what we will attempt to present to you today in a rehearsal as the art of eurythmy; for an art that needs explaining would obviously not be an art at all. Art must work through direct impression and must also be understandable through direct impression. However, this is precisely what will be the case to a high degree with our eurythmic art, as I am convinced. This eurythmic art must not be confused with any of the seemingly related arts. It is not a dance art or something similar; it wants to be a completely new art form. And for this very reason, I would like to send these few words ahead as usual today during our performances.
[Eurythmy is] an art form that initially uses the human being as its means of expression and draws from very special sources. Like everything that is to come through the spiritual movement, of which this structure seeks to be a representative, the eurythmic art also arises from Goethe's view of art and, in particular, from his artistic ethos. You will see, ladies and gentlemen, all kinds of movements of the human organism itself, namely movements of the limbs of the human organism. But you will also see movements that the personalities, which are arranged in groups, perform against and with each other. All these movements, which in their totality should represent a kind of silent language, are acquired in a very special way, and I can perhaps only describe the nature, the laws by which this art is acquired, by pointing out that the basic impulse behind this eurythmic art is rooted in the endeavors of the most ambitious artistic elements of the present.
Anyone who familiarizes themselves a little with what is alive in every artistic endeavor today – which, incidentally, has been evident for decades – will have to say to themselves: Everywhere, one can see the conviction that it is no longer possible to continue in the old artistic ways in any field of art, that it is necessary everywhere to reach for new means of artistic expression, and that it is also necessary to seek the sources that represent the artistic in a new form. It was realized decades ago that painting, for example, could not continue in the old ways, even if they are Raphael's or Michelangelo's art. And why was that realized? Certainly, what emerged from Raphael, Michelangelo or any other epigone's time and was executed with their artistic means was something extraordinarily magnificent and powerful. But when any artistic direction, any artistic trend within human development lasts for a while, then the means of expression are somewhat depleted. Then, especially in artistic natures, the need arises for new means of expression. For the means of expression themselves are, after some time, thoroughly absorbed into the human world of thought, into the world of ideas.
Take painting, for example. The way certain painters painted in the 19th century, the use of colors, the way they handled the brush, and so on, was all embedded in ideas. They had the notion, the feeling that one had to paint in a certain way. All of that had already become conceptualized, intellectualized. Now, the conceptual is actually the death of any real art. One can say: the more thought, which always nuances something abstract, has penetrated the earthly into the artistic, the more unartistic there is in art. The artistic must be sought entirely by circumventing thought, by circumventing all abstract ideas and abstract notions. That is why, for example, in painting, the idea arose of capturing the immediate impression, as it was called, through color and form.
But now art has another requirement. If you want to express something through artistic means, it must be rounded off into a picture. Certainly, much that is extraordinarily meaningful has been achieved in so-called plein-air painting, in Impressionist painting. But on the other hand, it has been shown that when man places himself in such a way in relation to nature, as has been attempted there, nature does not ultimately surrender to the image. Namely, one has tried to capture the momentary impression, as one just said, the momentary vision, what the light flooding over the objects, the or the calm air, to capture that as an immediate impression, I would like to say to capture it so quickly that one does not have time to think about the matter, so that nothing of the thought flows into the artistic reproduction. - The difficulty arose, however, that the means of artistic expression, when one excludes the thought in this way, nevertheless fail. You can't get to grips with color and form so that color and form really come together to form a picture. And so Impressionism actually failed to achieve what it set out to achieve.
On the other hand, people have now tried to convey the immediate human inner experience, what one might call the inner human experience. Because I don't want to fall into false, fantastic mysticism, I don't want to say what a person experiences in a visionary way, but what a person always experiences emotionally, without processing it to the point of abstract clarity of thought. Something that can be called an expression has been tried to be rendered in color and form.
This has led to things that are extremely interesting for those who look at the matter artistically. For those who look at it in an amateurish or dilettantish way, or look at it according to the usual recipe with which unartistic natures often look at the artistic, by saying: What does this depict? What is the meaning of this? — which is the most unartistic way of looking at it —, in such people the feeling arose that with such newer attempts nothing was achieved, except that someone, let's say, wants to express an inner liberating, redeeming feeling through the medium of painting. And what he then brings onto the canvas, well, let's say it's somehow a rigged ship or it's pieces of laundry hung on ropes or something like that. As I said, the one who does not look at these things in the right light just asks: What does it mean? He does not let himself be carried by what is there into the inner experience. And so far, experience has shown that even the means of artistic expression, the treatment of colors in painting, for example, are not enough to immediately round off the inner experience into a picture, to present it as a picture.
You have to have felt all this at some point, this struggle for new artistic means and, above all, this struggle for access to the sources of art, for such access that represents something new in contrast to the old, well-trodden paths. Then you come to perhaps trying what we have tried here in the building, for example: to get out of the forms themselves and also out of the colors - without reproducing, without the idea of a model - what the picture should be. But I do believe that a kind of example, just one example of the use of particular artistic means, can achieve something that can express something that can possibly be expressed, and that this can be achieved through eurythmy, through this silent language that has emerged in the following way.
I may use Goethe's expression: sensual-transcendental vision. Those who are able to apply this sensual-transcendental vision can study the movement tendencies of the larynx and its neighboring organs - that is, a single organ system of the human organism - when hearing ordinary spoken language or singing. And then, just as Goethe sees only a complex leaf in the whole plant, one can see in the whole human being something that is only a metamorphosis, a metamorphosed larynx organ. Only one must not look at these things abstractly, ideationally, but one must permeate them with artistic feeling.
Then the following possibility emerges: in the tonal language we always have the confluence of thought with human will. Anyone who is familiar with these things knows that from one side, from the whole human being, the whole human being, human will, flows into the sound language, especially when it is artistically shaped by poetry; but that from the larynx, on the waves, I would say, of the will, thoughts flow, swim. In all our civilized languages, thoughts themselves have now taken on a rather conventional character and show in their nature that they are actually only there to enable people to communicate with each other in their prosaic lives by forming words. That is why everything that flows into poetry from the realm of thought must be felt as something unartistic by an artistic nature. And the question arises: how can one detach the pure element of will, which otherwise only permeates poetry in meter, rhythm, melodic form, and plastic pictorial form, how can one actually capture that?
The following comes to our aid: the larynx and its neighboring organs, with their various cartilaginous and so on organs, are directly related, in direct proportion to the external air. As a result, the disposition to move is transformed into the small trembling movements that then pass into the air, which we do not see with ordinary looking, but which underlie what is heard of speech. The movement patterns that become active in the larynx and its neighboring organs can be observed with sensory-supersensory vision. And then, if I may use this paradoxical expression, one can see the whole human being as a transformed, metamorphosed larynx. So that the people who will be performing eurythmy for you here on the stage will actually be performing for you as whole human beings, like larynxes. But if you then let the other human limbs carry out the movement patterns that are otherwise found in the larynx and its neighboring organs, the result is not the same as what comes out of the sound language. Then, you do not have the outer air as resistance, but rather the muscular system to begin with. As a result, the tendencies and dispositions of the movements do not transform into the vibratory movements of sound, but these movements are slowed down. The muscles offer the appropriate resistance, and one arrives at something that looks like a sign language, but which, in the way it is formed, is not a sign language.
If one were to base it on facial expressions or pantomime, then only prosaic elements would actually be possible; nothing truly artistic would be able to be expressed through this eurythmy. But that is not what we are aiming for. All that is mere pantomime is excluded here. Everything is based on an inner law, just as the melodic element in music is based on an inner law of succession in time. It is music in motion, music that expresses itself in movements instead of sounds. So that if one had two different presentations in two different places and the same thing were to be presented eurythmically, there would be no arbitrariness in it, but just as much difference in the individual presentation as one and the same sonata could be played individually differently in two different places.
Therefore, you must also accept what we can really only offer as a beginning with a certain amount of forbearance. Those who have seen our performances more often, perhaps months ago, will be able to see today what we can offer today and will be able to tell themselves how we have striven to make some progress in the last few months. So we are only just beginning with this eurythmic art. And at this beginning you will have to take into account that everywhere, when we try – namely where the form that we are now introducing into eurythmy already exists, where these forms have been tackled – you will see that everywhere the thinking element is excluded and the forms are felt directly. And not in the way they are felt as forms of gestures, but as they are felt as forms of expression for the inner rhythm, for the musical and plastic quality of the poetry itself.
As I said, I do not want to present this eurythmy as an art that can now shed light on all other arts, on painting and the like, but only as an example of where perhaps what is attempted in spiritual artistic endeavors can be achieved most fully. For with this eurythmy one can really shape an inner experience, an inner experience that one shapes according to the poetry - just as music, for example, also appears on the one hand as a companion to eurythmy - but this inner experience is directly transformed into movements of the human organism itself.
So there is an immediate movement of the element, which is first taken from the poem, and this is transformed into inner human movements that round into a picture. Such movements can then be taken as impressions when one cannot manage in natural treatment with the usual means of expression to round into a picture artistically in the immediate impression. When one rounds into the image that which comes to light as an inner experience, at the same time transformed into inner meaning, an expression that is experienced but that works directly through impression, that is what is directly sought through this eurythmy, what has been attempted today and which, of course, as I very much understand, will still be subject to numerous misunderstandings. But that cannot be helped when we present such an attempt as we have made in our eurythmy performance. While we see what we present on the stage as a silent language accompanied by music, we see what is presented accompanied by recitation and declamation.
Especially in relation to eurythmy, the art of recitation and declamation must take on a special position. It must be remembered again and again that what is considered the art of recitation and declamation today does not really stand up to the accompanying recitation of eurythmy. Today, the emphasis is actually placed on the literal content in recitation, but this is inartistic. It is artistic to try to bring to the fore the rhythmic, formative, plastic aspects of language that go beyond the literal content, even in the art of recitation. This is also an attempt to return to the old form of recitation. I would just like to remind you that Schiller, when he allowed his most significant poems to emerge from his soul, did not have the literal content at first. That was not important to him at first; instead, he had the melodious form first, to which he then added the words. Or Goethe, for example, studied his “Iphigenia” with his actors with a baton in his hand. One had a feeling that the underlying rhythmic, melodious element or the plastic-pictorial element was the main thing, as if it were a revelation when the poetic forms were presented.
You will now see that what is already conceived poetically, even if it is still imperfect, will appear here in a very imperfect presentation of what is taken from my 'Mysteriendramen', where the spiritual inner powers of the human being appear. [That this can already be presented quite well: On the one hand, those forces through which the human being wants to go beyond himself, the mystical, the fantastic, the enthusiastic, the theosophical, whereby he ceases to be human, where he would like to be an angel, which on the one hand means an urge beyond the human – when this is contrasted on the other hand with the earlier spiritism /?, the materialism. [You will see:] When contrasted with the already eurythmic thinking, and then, as a matter of course, it can be enclosed in a form that can be quite well represented. I have now succeeded in making the attempt.
One will have to admit that one can only grasp nature through imaginative images. Those who strive for the manifestation, the revelation of the deeper laws, the workings of nature, strive beyond the abstract to the imaginative shaping of the active imaginative forces present in nature and in the world, especially those forces in which human feeling is involved. I have attempted this in the scene in my “mystery dramas” where the soul forces appear – not as personifications, but as real people, but in such a way that the sensual-supersensible element is expressed directly in them. Here, too, nothing is symbolized, but rather, an attempt has been made to penetrate directly into the living.
Eurythmy is particularly suitable for that which underlies the living activity of all nature in the world. For the eurythmic art has the peculiarity that it can bring to view that which painting seeks when it wants to bring inner soul experiences to view, but for which there is still no means of expression today. I am not saying that this element cannot be found, but that it can be expressed well today by making the human being himself, with his movements and the whole structure of his organism, into a living larynx. In the silent language of the art of eurythmy, this is shown by the fact that the human being appears in their ensouled element, so that the sensory is also supersensory: the human being represents the sensory, but at the same time also the supersensory.
But it is not the case that we feel a dichotomy between content and form; because it is by investing it with inspiration that this inspiration is elevated, as is audibly expressed in the movements of the human being, which otherwise would be vocalized in speech. So one can say: Not something unnatural is evoked, but precisely what Goethe calls it: that one seeks out the higher in nature.
On the other hand, we will bring you children's performances after the break. Of course, it is not intended to polemicize [against ordinary gymnastics]; it has its significance for the physical body, but what comes into consideration is that this gymnastics is based solely on the physiological knowledge of the human organism and takes it into account, so that a certain strength is indeed , and a certain physical health is cultivated, but that the will can come out of the human being only if it is educated in such a way that not only the physiological but also the psychological movement is assessed in order to arrive at that which is soulful movement. Therefore, our pedagogy at the Stuttgart Waldorf School had to be supplemented by this soul-filled art for children, in addition to mere physical gymnastics. And we can already see that this soul-filled gymnastics, this soul-filled eurythmy, when applied to children's lives, because it is a soul-filled application of the body, also brings forth the initiative of the will. So that the body is not cultivated through gymnastics, but not the initiative of the will – this is only an illusion if you believe that. Through this soul-filled art, the art of education is truly greatly benefitted, and more and more can be shown.
It is true that we are only at the beginning of our eurythmy today. Those of our honored visitors who have been here often will be able to see for themselves that we have made good progress in recent weeks, particularly in the development of sentence structure, which is expressed here in terms of form - the artistic structure, rhythm, rhyme and so on, in the whole inner formation of the verses. We will make every effort to progress from month to month. But it is still in its early days. And so I ask you to bear with us as we present a sample of the eurythmic art today.
Nevertheless, we are convinced that what is emerging here as a sensory-supersensory art form is capable of a perfection that will come, either through us or, more likely, through others. And then this eurythmic art will present itself to the world as something that is truly artistic on the one hand, and has a very strong educational value on the other. And people will recognize that eurythmy has a certain task and will be able to stand alongside the other recognized sister arts and older arts as a worthy, fully-fledged art. — So I ask you, esteemed attendees, to take these few samples of eurythmic art today with indulgence.