# The Origin and Development of Eurythmy 1920–1922

## GA 277c — 21 November 1920, Cannstatt

### 15. Report of an Eurythmy Performance


*No notes of the speech given by Rudolf Steiner before the performance have been preserved, but the newspaper report gives some of its contents.*

*Report from the Cannstatter Zeitung, November 23, 1920*

Eurythmic Art

To come straight to the point; because the rush could not be met by far, today, Tuesday, the 23rd, there will be a repeat of the eurythmic art performance at the Wilhelmatheater. The performance on Sunday evening, which originated from the 'Freie Hochschule für Geisteswissenschaft', Goetheanum in Dornach-Switzerland, thus had a full house. Dr. Rudolf Steiner introduced the performance with a remarkable address, in which he emphasized the most essential aspects of the nature and aims of the eurythmic art. It is not some kind of dance, not some kind of mimicry, not gestures as a means of expression, but a real, visible language; the movements take place in strict accordance with the law. That which lies in the poem, in the song, in the piece of music, becomes visible to the eye through a different kind of expression, through a kind of formal language, just as the sounds of music become visible to the ear. In a poem or a piece of music, it is the 'how' that is art, not the 'what'. Before Schiller wrote a poem, he always had an indefinite melody in his soul, and that was the main thing. The actual artistic aspect of poetry only becomes a true revelation when the human being makes himself an artistic instrument, when the lawful movements are intended to express his soul life, his entire spiritual existence. This is the artistic side of eurythmy. However, this is juxtaposed with the pedagogical-didactic element. This is why the Freie Waldorf School in Stuttgart was founded. Here everything that has been developed from anthroposophically oriented spiritual science is to be cultivated. First and foremost, the will initiative that is so necessary for our time and the striving for truth. Eurythmy is still in its infancy, but it can be perfected and should ultimately place the human being at the pinnacle of nature, so that he makes himself a work of art. Then it will be able to stand alongside the older arts as a fully-fledged, younger art. These words, which were received with enthusiastic applause, were followed by 22 performances, which all went extremely well and were, in some cases, highly artistic. The simplicity, appropriateness, and functionality of the costumes were very pleasing, and yet the changing of the colored lights created very charming effects. From the wide range of performances, just a few were selected: the very first number, Forest Concert, with the soft, melodious singing of Ms. Olga Leinhas. Nietzsche's “The Sea's Ever-Changing Song” was vividly presented by Ms. L. Maier-Smits, as was “Autumn.” The renditions of “To the Cicada” by Miss Ilona Bögel, “To Brother Kronos” and “Mahomet's Song” by Miss Edith Röhrle, and “Song of the Night” by Miss Erika Schilbach were admirable. As teacher and at once champion, Ms. Baumann gave the masterpiece Salome in the final number, along with many others. Dr. Steiner, who presented the poems with great creativity, played a large part in the success. The children who participated were a source of great joy. The cute little ones had to be seen performing The Ducks Ice Skating. The older children also received plenty of applause after every number and had to repeat. Mr. Baumann accompanied them skillfully on the piano. We are sure that the theater will be full again on Tuesday.