The Origin and Development of Eurythmy 1920–1922

GA 277c — 24 October 1920, Dornach

10. Address on Eurythmy

Dear attendees:

As always before these eurythmy performances, allow me to say a few words about the whole character and essence of our eurythmy. This is not done to explain the performance – that would be an unartistic undertaking. Artistic work must make an immediate impression and must make this impression naturally without explanation. But since our eurythmy is an art that draws from artistic sources, that is not drawn from forms of previous art, and that also makes use of an artistic formal language that was also not previously in use, it is possible to say a few words about the essence of eurythmy. What you will see on the stage is movements performed by individuals through their limbs or performed by groups of people who also change their mutual positions in relation to each other and so on.

None of this is meant to be pantomime or mime or even dance, but something completely different. It is based on a visible, mute language, but one that is just as much a human means of expression as the spoken word. [pause]

Now, nothing is arbitrarily chosen from these or those gestures. Rather, it is carefully investigated – to use this Goethean expression – through sensual and supersensory observation how the human larynx and the other speech organs want to move, what movement tendencies they have within them when sound language comes about. By this I do not mean movements that are carried out in the air, for example, when speech is conveyed or when I hear what happens through the movement of the air, but I mean what goes on in the larynx and its neighboring organs in order to set the air in vibration in the first place. This is something that one does not notice at all, of course, when one listens to speech, because there one is concerned with the sound, with the tone. But through sensory-supersensory observation, one can study what the speech organs want to carry out but hold back because the forces are to pass into the air waves that then convey the sound. Then, according to the principle of Goethe's theory of metamorphosis, one can expand what Goethe meant only for form, for example in plants or in the growth of animals, by translating it into the artistic, expanding it to the method. So that one can – just as Goethe saw a more complicated leaf in the whole plant and in the simple leaf plan a simply designed whole plant, which is what he meant by his metamorphosis, so one can expand what in ordinary speech is one-sidedly based on the speech organs as a law can be extended to the movement of the whole person [and] to the movement of whole groups of people, so that they will actually see on the stage the whole person or groups of people moving in the way that the speech organs want to carry out their movements, but only hold back.

This gives rise to a genuine mute language, which can then be formed and shaped artistically in the same way as spoken language, and in this way we achieve something that serious artists are striving for right now but cannot be achieved directly with the artistic means of the older arts. I do not want to present eurythmy as a special model art in this direction, but I just want to note that eurythmy, because it uses certain artistic means, wants to be a thoroughly artistic form of expression that achieves what one actually strives for in other arts. In our case, in our structure, there is nothing [conceptual] in painting, and even though the pictorial appears here according to [...][illegible passage], what should be achieved in art is manifested: that thought should be completely suppressed in the work of art above all else.

For to the extent that thought is effective in art, to that extent art is actually inartistic. But in our language, especially in civilized languages, it is at least not the case, as it is with more primitive peoples, that language is an expression of what a person feels as passion, what a person feels in general, and thus of his or her entire being. Our language has gradually developed into a means of expression, into a vehicle for the more abstract thoughts. Of course, that doesn't prevent good poetry from being written today, although – and this is a parenthesis – almost 99 percent of all the poetry that is written today, if it were only a matter of art, would not need to be written. But on the whole, one must say: the more language becomes civilized, the more it loses the character of the truly artistic because it can no longer be a means of expression for the whole human being.

In eurythmy, we have a means of returning to the most original sources of human expression in language and raising this means of expression to a higher level. In ordinary spoken language, I would like to say, thoughts flow from the human head, impulses from the whole human being, and what is in what is presented as eurythmy, but language remains silent. In this way, the thought is also more or less pronounced. But through this, eurythmy is led to the art, and through the fact that those forms are taken out of the whole human organization, which are carried out by the individual human being in his limbs, or are also moved by groups of people, the will mainly works into this movement, and we have a soul-inspired will that is directly seen and, in addition, through the instrument of the human being himself, becomes visible. In the highest degree, this serves that which Goethe expressed so beautifully: “When man is placed at the summit of nature, he perceives himself as a whole nature, taking in order, measure, harmony and meaning, and finally rises to create a work of art.

He rises in particular to create the work of art when he uses his own organism instead of a violin or a piano or a brush and paint. If, as a result, more of that which works so mysteriously in the speech organ is brought out, and is sometimes suppressed, that is brought out of the human being, this microcosm – that is, the human being – this small world really reveals the secrets of world existence. And here too we come close to Goethe, who said: “When nature begins to reveal her secrets, one feels an irresistible longing for her most worthy interpreter, art.” In the human being himself, the highest secrets of the existence of the world truly come to life through the human being in a way that corresponds to his or her entire organization. Then one encounters not only the secrets of humanity but also the secrets of the world in the movements of the human being.

And so one is able to follow the poet and also the musician with eurythmy, by achieving through this silent language of eurythmy what the truly poetic artist seeks to achieve through the revelation of language. On the one hand, you will see the eurythmic presentation often accompanied by music, which is just another form of expression, or also accompanied by recitation or declamation. In particular, you can see very clearly in the recitation or declamation [what peculiarity lies in art] /illegible passage]. With the inartfulness of what is practised today as the art of recitation, one could not accompany eurythmy at all. Today, [illegible word] is basically only recited in passing. But it is just a speaking of prose. This is particularly regarded as art today. What is actually artistic about poetry is suppressed: the rhythmic, the metrical, the musical or even the pictorial. Both the poet's intentions for language can be given greater expression in the silent language of eurythmy.

It must be constantly recalled how Schiller, before he had the literal content of a poem, had an indeterminate melody living in his soul, and this indeterminate melody was for him the actual artistic element. He could, so to speak, think of any content in connection with such an indeterminate melody, because the musical element that lies in the poem is the actual artistic element. In Goethe it is more pictorial. Therefore, when rehearsing his 'Iphigenia', Goethe himself worked with a baton like a conductor, seeing the main thing in the flowing of the iambus, not in the reciting of the literal words. These poems make it possible — precisely through eurythmy — to return to the sources of poetry in a higher sense. And to say this at all in our time, which is so unartistic, was the truly artistic.

In eurythmy, it seems particularly artistic that one has movements in front of one, so one sees something with the senses. Everything artistic must become such that it is, as it were, directly perceived in the physical world with the senses, not with thoughts. But everything artistic must also be shaped. We can observe that the human being itself is the tool for artistic representation, that soul is in each of its movements. What a real poet writes is elevated when, in addition to being recited, his poetry is presented eurythmically – which you will see here.

Now, those of you who have been here before will also see how we are trying to truly penetrate to the stylishness of the poems in the way we present them, how we are trying – for example, in particularly expressive forms in the humorous pieces – to express, through the way we present them, what lies in the artistic form itself, not in the prose content of the poem, which is actually not part of the content of the poem at all, in other words, to express the serious attempts in other forms, – thoroughly like attempts borne by seriousness in other forms, express that which lies precisely in the how of the artistic creation, not in the prose content of the poem, which actually, basically, does not belong to the content of the poem.

These are a few words about what is intended as art with eurythmy. But there are other sides to this eurythmy as well. First of all, I would like to mention what is to be added to the training: the hygienic-therapeutic side, since the movement that is performed comes entirely from the nature of the human organism itself. In this way, a kind of eurythmy therapy can also be developed. A eurythmy [healing] art will be developed and it will speak far more through the therapeutically trained [will], through the movement regained in the [through the trained] sensitivity of the will.

A few more words about the pedagogical-didactic side. I would like to point out that in the future, people will really start to think more objectively about all these things. A famous physiologist who had come to see eurythmy and had listened to my remarks] told me afterwards that gymnastics are not an educational tool at all, but a barbarism. As I said, I do not want to go that far. It is an otherwise very spiritually minded contemporary physiologist who has expressed this. I will just say that gymnastics is concerned with the physiological, with that which is intended to cultivate the body. And it is precisely this eurythmy, which can be practiced in this way, that has an effect on children as a special means of education [as] a soul-filled gymnastics. And precisely according to [our experiences] is yes / gap?] at the Stuttgart Waldorf [School], where eurythmy has been introduced as a compulsory educational offering and has been in effect for a year and one can really see can be seen in what a clearly defined way it can affect children - precisely because of this and [...] the Stuttgart Waldorf School has [already] provided the proof.

So this soul-inspired gymnastics can be applied. Firstly, the child experiences it as something that it naturally grows into, because it feels that the movements that are made belong to the whole organization of the human body. But then, it is not just seen physiologically, as the people are [in terms of their bodies], but every movement is animated. Therefore, the child's body, soul and spirit are educated at the same time, and this is something that the child feels and that is particularly effective as an educational tool. And once this eurythmy is used more extensively as an educational tool, which will certainly be the case in the future, it will be said that it is an important educational tool in other respects as well. I do not want to say that it can already be used as such for adults today; it does not need to be, but when it is used as an educational tool for children, it will be a tool for educating the sense of truth. As I said, it does not need to become that for adults. But it certainly does for children, because that is the dilemma of our civilized language, that it does not come from the whole human being, but only from a part of the human organs. And precisely by the fact that we then achieve the whole human organization expressing (gap), through this, the participation of the whole human being in what he speaks is gradually achieved. Movement comes about that stimulates questioning, that leads to the fact that through this mute language of eurythmy, the human being can participate with his entire organism in what, as meaning, emerges from the soul.

Then, with such a means of education, the sense of truth, if only it is started early enough, will receive very special care. Language is gradually perceived. What is really necessary for it today - that it be stripped of the phraseological - will be achieved by eurythmy: that it becomes a means of education for truth. So much for the pedagogical-didactic side.

Of course, we must ask for your indulgence, because however high the goals we have set ourselves with eurythmy may be, what has been achieved so far is only just the beginning. But it must also be further developed – perhaps by us, but more likely by others. And however much we ourselves are strict critics, however much we also know how imperfect everything still is today, we have already striven. In the near future, there will certainly also be [all kinds of] mere pantomime, mimic and gestural endeavors, and eurythmic movements will flow into them in such a sequence [of] laws, from such successive laws, [as those] that connect melody, the musical. But for that, a further development is needed. [Fragmentary final passage, see notes.]