# The Origin and Development of Eurythmy 1918–1920

## GA 277b — 12 September 1920, Dornach

### 79. Eurythmy Performance

> Saying from the Calendar of the Soul (24) by Rudolf Steiner  
> Saying from the Calendar of the Soul (25) by Rudolf Steiner  
> “Prooemion“ by J. W. v. Goethe  
> “l. Urtrieb” by Fercher von Steinwand  
> “Parabasc” by J. W. v. Goethe  
> “II. Urtrieb“ by Fercher von Steinwand  
> “Epirrhema” by J. W. v. Goethe  
> “III. Urtrieb“ by Fercher von Steinwand  
> “Antepirrhema” by J. W. v. Goethe  
> “]V. Urtrieb” by Fercher von Steinwand  
> “The Treasure-Digger” by J. W. v. Goethe  
> Evoe with music by Max Schuurman  
> A cheerful prelude with music by Leopold van der Pals  
> Humoresques by Christian Morgenstern: ‘The Lamb Cloud’; ‘The Stations’; ‘The Salm’ with music by Jan Stuten

Dear attendees! We are taking the liberty of showing you another sample of the eurythmic art today. This art is based on certain artistic sources that are to be newly opened and aims to become a kind of new artistic formal language. For this reason, you will allow me, as I usually do before these performances, to send a few words in advance today - not to explain the performance, but rather, artistic things must work through themselves in the immediate impression, but to suggest the formal language and sources from which what is presented to you here as the eurythmic art comes.

The basis of the art of eurythmy is a kind of visible language. The whole human being performs movements in his gestures, or: he performs movements in space or groups of people perform movements in space. All this could be understood as an ordinary, even representational, ordinary art of dance, but it is neither of these, but is based on a careful study of the ordinary language of the human being. This is what is perceived by the human ear. But at its basis lies a certain tendency of the larynx and other speech organs to move. These tendencies of movement are to be understood as what is communicated as a vibrating weaving of the air: It is not something more highly developed than thought, but something more deeply rooted, something that takes place in a seemingly simpler way than the vibrations of the air, but which is expressed through the vibrations of the air when the tone that underlies this movement tendency expresses itself.

We can study what the larynx and speech organs do when a sound is produced, how they behave in a whole word, in a sentence transition, how they behave when certain sound sequences play out, and so on. All this can be studied – allow me to use this Goethean expression – through sensory-supersensory observation. Then, what is otherwise only assessed – that is why I said: movement tendencies – what is otherwise only assessed in the larynx and the other speech organs, is transformed into small vibrations as it develops, and then transferred. And then what language describes, what the human being performs in his movements or in movements in space, or what groups of people perform, that means what can be experienced, can be experienced on the one hand through language, and on the other hand through the visible language of eurythmy. One can express through this eurythmy what musical creation is – you will also see rehearsals today – one can also express what poetic creation is.

But when the recitation, that is, the artistic reproduction of the poetic, accompanies the eurythmy, then, for example, the recitation must take up the eurythmic element. Today, our age is somewhat inartistic, and one does not have the feeling that the real artistry of a poem only begins when the prose-like, the mere content, the literal content of a poem has been overcome. It is never about what the poet says, but how he says it, how he shapes it in meter and rhythm or how he artistically shapes it and is able to give shape to the image through the word. In the case of a poet like Goethe, for example, we can see how his poetic language has a plastic character, how he imaginatively conceived the transformation of the pictorial. In the case of Schiller, we know that before he wrote any poem, he had a kind of melody living in his soul. At first, it was all the same to him what should arise from this melody as a poem – “The Diver” or “The Fight with the Dragon”: He had it living in his soul as a melody, and the other simply lined up in the poem. That is how you can shape with the melodic, with the plastic poem.

All of this comes to light in a proper recitation. In our unartistic age, what is usually brought out is what is appropriate to the prose content, what is literal. What the poet has artistically done with the content is what is actually formally artistic in the recitation. And then what is offered in the poetry also coincides with what is offered in the visible language of eurythmy and in the recitation. You know how to shape this or that sound, this or that word formation and the like, so that something artistic comes about from the whole, and in particular, that the artistic element of the eurythmic performance is properly formed in parallel with the poetry, the artistic formation of a poem. That is a purely artistic activity. And we must distinguish between the elementary nature of the eurythmic language of form and what is artistically revealed in the process. But it is not the case that eurythmy is pantomime, mimicry or mere gesticulation or dance. Rather, everything is such that actually everything lies in the artistic sequence of movement forms, so that the melodious and musical lies in the sequence, in the interaction of the sounds. Likewise, an inner lawfulness in space and in the time of the eurythmy production underlies this.

Those of you who have been here before will have noticed how, over the past few months, we have been working to develop this element of artistic form-giving more and more in eurythmy, and how we are getting closer to capturing in artfully designed forms what the poet has made of the literal content. In this way one can adapt exactly to the humor or tragedy or ballad-like language or whatever characterizes a poem.

So this eurythmy initially offers something artistic. The human being is the instrument for their eurythmic performances. In the most eminent sense, this eurythmy achieves precisely what Goethe had in mind when he said: When man is placed at the summit of nature, he sees himself again as a whole nature, which in turn has to produce a summit. To achieve this, he elevates himself by permeating himself with all perfection and virtue, invoking number, order, harmony and meaning, and finally rising to the production of the work of art. We should bear in mind that the visible and invisible worlds converge in his being, that all the forces at work in the visible and invisible are reflected in him in some way, are formed in him in miniature. And when the human being makes himself an instrument of artistic expression through his organism, what is particularly expressed is what then strives in the human being's soul towards movement. Eurythmy is an art that, when it arises directly and immediately, truly works out of the movements of the human being.

That is the artistic side of eurythmy. On the other hand, there is something about eurythmy that – quite apart from many other things – can be addressed as a therapeutic-hygienic element, but which I do not want to talk about now. But another element of eurythmy is the pedagogical-didactic element that it contains. At our Freie Waldorfschule in Stuttgart, which was founded by Emil Molt and is run by myself, we have introduced eurythmy as a compulsory subject alongside gymnastics.

One will only appreciate eurythmy as a compulsory subject once one has overcome certain prejudices – which, from my point of view, I do not want to fight so much – regarding gymnastics. Gymnastics is purely physical. One may have one's own opinion about the movements that the physiologist derives from the physical make-up of the human being. I do not want to dispute them here, but it is nevertheless the case that ordinary gymnastics only has a physiological meaning for the harmonization of the physical body of man. Although I do not want to go as far as a naturalist who listened to my introductory words in this regard and who said: He would not even appreciate gymnastics as much as I do. He would not consider it to be something physiologically effective, but simply a barbarism. But the present, dear honored attendees, will object to that, especially if one has to evoke some hostility because of the other branches of one's activity, one would not want to go straight to such sentiments.

But this is what must be particularly emphasized, regardless of whether gymnastics merely trains the human body physiologically or whether it is also a barbarism: the powers of the soul, the initiative of the will, are in any case – and I emphasize this particularly – is trained in children through eurythmy, when the child, through this compulsory subject, becomes so immersed in these eurythmic movements, when they are performed in the right way, as a young child would otherwise naturally become immersed in spoken language. Eurythmy awakens activity in the human soul, so that the drowsiness in which the souls find themselves can be overcome. Otherwise it would get more and more out of hand in the most terrible way. If you imagine, let us say, the next generation, you have to admit that you can only get beyond these things by at least adding this soul-filled gymnastics to the usual external soulless gymnastics, in eurythmy.

Everything in eurythmy is still in its infancy, but you can be quite sure that we are our own harshest critics. We know what we lack and we are constantly striving to make more and more progress in this respect. I have often mentioned that we have made good progress, for example, in shaping the large forms. We will show you these large forms today in a Fercher poem, “Choir of Primordial Instincts”, which is being performed today and which really moves in a strange cosmic directing force, in that it - Fercher von Steinwand - poetically shapes you. When you see this 'Urtrieb' choir, you will perhaps notice how we have tried and are still trying to make good progress again and again. Over time, the art of eurythmy will be perfected more and more, either by ourselves or probably by others, so that it can establish itself as a fully-fledged newer art alongside the older fully-fledged arts.