# The Origin and Development of Eurythmy 1918–1920

## GA 277b — 27 April 1920, Dornach

### 62. Eurythmy Performance


*This performance was specially organized for visitors to the Swiss Trade Fair in Basel. Pastor H. Nidecker-Roos reported on it in the Christlicher Volksbote für Basel (No. 23/1920) on June 9, 1920: “On large posters, visitors to the Mustermesse in Basel were invited to visit the sanctuary of the so-called Anthroposophists, which was nearing completion, and to attend the subsequent ‘Eurhythmic Games’. [...] In front of the large main entrance, the approximately 300 visitors gathered around the striking figure of Dr. Steiner, who vividly resembled a priest. He had not only designed the building down to the last detail, but, to use his own words, had also “felt” it. The explanation of the building was at the same time an introduction to the main ideas of anthroposophy. [...] This was followed by the 'Eurhythmic Games' ('eurhythmic' can be translated as 'in well-measured time'). The idea is as follows: when speaking, the human larynx performs certain movements in which the will that is expressed in language is revealed. These movements are to be transferred to the whole body through a more serious form of individual dance, and so the whole person is to be a single expression of the spoken word. About thirty daughters, dressed in white and wearing colored veils, danced in this way, among other things, the first scene of the second part of Goethe's Faust, recited by Mrs. Steiner, as well as various poems by Goethe, Morgenstern and Steiner. The attempt was very successful in several numbers. There is nothing theatrical about the dances. They are serious attempts to express speech and soul processes through the movements of the body. The impression of the plays is one of seriousness, of a thoroughly spiritual nature.*

Dear guests!

As I always do before these eurythmy performances, I would like to say a few words by way of introduction. These introductory words should never be used to comment on or explain the art of eurythmy in any real sense; that would be unartistic from the outset. For everything that is truly artistic must justify itself through itself before the act of beholding it, before the direct impression. But with eurythmy, as it is cultivated here, something new is being attempted, both in terms of artistic sources and in terms of artistic formal language, which cannot be directly compared with any neighboring arts, dance arts and the like. And so it is necessary to say something in advance about the sources and the particular way of expression of this eurythmic artistic experiment.

You will see, ladies and gentlemen, all kinds of movements performed on stage by individual people through their limbs – mainly through arms and hands, but also with the other physical limbs – and you will see movements of the individual human being in space, movements and mutual positioning of groups of people, and so on. These are not arbitrary gestures, invented in the moment out of some random fantasy. What underlies the eurythmic presentation always includes something poetic or musical, especially in what you encounter as eurythmy, where you are really dealing with a silent language, a language that uses only different means than our ordinary spoken language. Nothing arbitrary is expressed in it.

If I wish to characterize what has been attempted here, I may truly speak of Goetheanism, for everything that is connected with the spiritual current that is renewed by this structure is Goetheanism in its further development. For I need only recall a word that Goethe often used and that is particularly apt for the kind of artistic nature that underlies eurythmy: I would like to recall Goethe's words about sensuous-supernatural vision. It is through this sensuous-supernatural vision that the forms of movement of the mute language of eurythmy are gained.

You know that in our ordinary lives, even when enjoying poetry or song, we turn our attention to the tone and the sound of speech or song, and that we naturally have no idea of the movements that the larynx and the other speech organs carry out in order to produce speech. Now, the first thing to be considered is that, through sensory-supersensory observation, one can indeed obtain clear images of what takes place as movement while we turn our attention to the sound. But that is not what underlies eurythmy directly. Instead, all these movements, which are small vibrational movements that are transmitted through the special arrangement of the larynx and the other speech organs to the air, all these small vibrational movements are based on movement tendencies, and these movement tendencies can be observed. These tendencies, which are by no means arbitrary but are connected with our organism in a lawful way, in that it is a speech organism, these lawful movements can be transferred from the localized speech organ to the whole human being.

Goethe's principle of metamorphosis – although individual thinkers as early as the 19th century were trying to get to the bottom of this idea of metamorphosis, it is still not sufficiently incorporated into our intellectual life. For it will be seen that while it is still more or less accepted today as a formalistic principle, it will be seen how a true realization of the principle of metamorphosis opens up an understanding of the living world and how one can then transfer directly into the artistic that which underlies the principle of metamorphosis underlies the metamorphosis principle, which Goethe expressed not as a mere image but as a profound natural principle of formation, that the whole plant is an intricate leaf, that each plant is a transformed, a metamorphosed form of another form, the leaf form.

Transposing these forms into art shows that the whole person carries out movements that are otherwise movement tendencies in the individual organs of the larynx and its neighboring organs; in a sense, what you see on the stage would be the whole person as a moving larynx, I would say. Nothing arbitrary, nothing pantomimic, nothing mimetic - just as little as language itself is mimetic or pantomimic. Of course, in detail it passes over into one or other; but just as little as it is mimetic or pantomimic as a whole, so little is that which presents itself here as eurythmy something pantomimic or mimetic or consists in random gestures. Just as music, even in its melodious element, is a lawful succession of sounds and sound images, so here everything consists in the lawful succession of movements.

However, one must look a little into the artistic striving of the present, into the strange artistic search, if one wants to find what is being striven for with this eurythmy. In a sense, it goes back to the very origins of artistic creation, in that the human being himself - but the whole human being - is called upon as a means of artistic expression, a truly artistic means of expression. The human being himself becomes the artistic tool, and the movement possibilities inherent in him become the artistic language of form.

Today, because much that is artistic has become conventional, people are seeking to return to the original, elementary artistic sources. In poetry, there is a tendency – very, very much so, actually, can be felt already (?), and especially the civilized languages have to transfer the linguistic element more and more into the prosaic, we need the conventionality of language as a lingua franca, we need our other insights and so on – [there is a tendency] to express the forms of our technology. We need the conceptual and the ideational in language – precisely because language continues to develop, it becomes more and more the vehicle of ideas, thoughts, and conceptions, and in so doing, it distances itself from the artistic. For the death of everything artistic is the ideational, the conceptual. The artistic must be felt directly – admittedly as something profound, but not as something conceptual – from the image in human language. As it emerges from the larynx, the thought element and the will element unite out of the human being, but now, if I may use the trivial but apt expression, what shoots out of the whole human being is what the larynx accomplishes, there united as a will element with the thought element.

When we now turn to eurythmy, we leave the conceptual element, even of poetry, only as a companion. And in what is presented on stage, only the movements of the individual and the groups of people express the will element. The whole human being is transformed into movement. Anyone who has a sense of how our individuality must develop in language – I would say it becomes something rigid. We all feel, when we speak, if we have a sense for it, we all feel, when we speak, that we have to speak ourselves into a language that does not just come from our individuality. What arises individually from us must travel on the waves of the vernacular and so on. You feel that. You feel how the individual does not always want to be included. And anyone who does not feel that is not a whole person, at least not an artistic nature; because the artistic nature wants to shape the individual.

In a sense, by reproducing in eurythmy what is to be presented artistically, we stop what lives in the human being earlier than phonetic language can stop it. For example, Schiller always had a melody or an indefinite, nebulous sequence of melodies in mind first when writing his most significant poems, and only then did he add the actual words. This shows how he perceived the musical element, which is actually the artistic element of language. Or you could say: the plastic quality that lies behind speech is what is artistic.

Today, in an unartistic age, we actually place a great deal of value on the literal, including in poetry. In the age of German Romanticism, people liked to sit down together and listen to poems that had very precisely formed verses in languages that they did not understand, or at least found it difficult to understand, because in those days, in a more artistic age, people were more sensitive to rhythm, meter, to everything that is actually artistic in language. And Goethe was still there with the baton like a conductor when he rehearsed his “Iphigenia”, placing much more value on the correct speaking of the iambs and so on than on the literal content. These things are lost on us today.

In eurythmy, one seeks precisely this plastic and musical element behind the spoken word and thereby arrives precisely at the artistic element, thus going back, as it were, to the source of artistic creation, seeking particularly not into the abstract, into the abstract, watered-down, tonal, but seeks to enter into the rhythmic-tactile, into a way of speaking that we find more and more the more we penetrate to the original epochs of any language.

There is, of course, a great deal to be said about this. I will just add that, on the one hand, our eurythmy performances are accompanied by the musical element or, on the other hand, by the recitation element. And in the art of recitation, in particular, we are in the process – as you will hear – of once again moving away from what is cultivated in the art of recitation in today's unartistic age: the literal, the prosaic content. We are compelled to go back from the prosaic content and the literal to the rhythmic, the one that is actually artistic in poetry. And so it may well be said: there is so little arbitrariness in this eurythmic art that when two people or two groups of people present one and the same thing, the individual expression will not be more different than when a Beethoven sonata or something else is presented by two different performers.

You will see, dear attendees, that even drama can be supported by eurythmy today. You will find lyricism and epic, humor, satire and so on presented; everywhere, excluding pantomime, an attempt is made to recreate the content through artistic expression. Those who have visited us often will see how hard we have worked, especially in the last few months, to anticipate something in the formation of form.

Although we are our own harshest critics and we know that we may not even be at the beginning of an attempt today, but only at the beginning of an attempt, we still think that one day it will be possible - I have not yet been able to do so, but it is something we should work on. We should also be able to conquer the dramatic in an artistic eurythmic way, so that the dramatic forms themselves can one day be transformed into eurythmic forms. Until now, we have only tried to help the dramatic through the eurythmic in our recurring rehearsals of scenes from Goethe's “Faust” by depicting them in eurythmy. We do this wherever Goethe – as he does so often in his “Faust” and in his other poems, wherever he points to the supersensible in what takes place only in the physical realm — where he presents these scenes, which shows us the connection between the human soul and the supersensible, as is the case with this first scene from the second part of 'Faust', in which Goethe has indeed been attacked so often.

It would be interesting if I could explain – but there is not enough time – how much this particular scene from “Faust” has been misunderstood. It is indeed difficult to understand, when Faust – and this is the result of the first part – is standing there with the most severe pangs of conscience, apparently laden, with terrible guilt on his soul, he is supposed to live life, he is supposed to strive “to the highest existence forever”. Yes, it is necessary to point out in the most intimate way what can enter the human soul from the spiritual world and heal it. This is what Goethe attempted in this scene, which we want to present here with the help of eurythmy.

Until now, we have always presented the actual scenes taking place in physical life dramatically, as is usually the case. Where the sensual passes over into the supersensual, we must resort to the eurythmic art. We hope that we will eventually succeed in translating the drama, the actual dramatic form into eurythmy. But, as I said, the eurythmic art is still in its infancy, and I would ask you to consider what we have already rehearsed as a beginning. We are, however, convinced that this beginning can be perfected – probably by others, in part we ourselves will still be able to do it – but we are of the essence of this eurythmic art believe that this eurythmic art will one day be able to stand as a full-fledged art alongside the other full-fledged sister arts.