The Origin and Development of Eurythmy 1920–1922

GA 277c — 27 March 1921, Dornach

26. Eurythmy Address

The three gypsies“ by Nikolaus Lenau, with music by Jan Stuten
“The drunken song” by Friedrich Nietzsche
Evoe with music by Max Schuurman
“Merlin“ by Nikolaus Lenau
“Elfe” by Joseph von Eichendorff
Saying from the soul calendar (51.) by Rudolf Steiner
“The brittle” and ‘The convert’ by J. W. von Goethe
Saying from the soul calendar (52.) by Rudolf Steiner
“Primal words, Orphic ” by J. W. v. Goethe with music by Leopold van der Pals
From the “Chymischen Hochzeit” by Johann Valentin Andreae
“Meine Weisheit tat der Sonne gleich“ by Friedrich Nietzsche
“Mein Kind, wir waren Kinder” by Heinrich Heine
Satirical prelude with music by Leopold van der Pals
Humoresques by Christian Morgenstern: “Die Oste”;
“The Waistcoat“; ‘Bim-Bam-Bum’; ‘Northward Look’;
“The Corf Watch”; “Palmström's Clock”; “The Authority”
Humorous prelude by Jan Stuten

Dear ladies and gentlemen.

Allow me to say a few words by way of introduction to our eurythmy presentation. I do not wish to explain the presentation, but to say what eurythmy artistry generally seeks to achieve. This eurythmic art uses the human being and his movements as his tools. In its expression, it is a kind of language, visible language - and in the truest sense, a visible language. You will see the moving human being, also moving groups of people, forms of these moving groups of people in space and so on. What is performed there as movements of people is not to be understood in the sense of gestures that are invented to mean something, or in the sense of a mimic dance or the like, but these movements come about through sensual and supersensible observations of what lies in the conditions of spoken language itself and, further, in the conditions of the musical in people, namely singing.

It is important to emphasise that these are not arbitrary movements, any more than they are in the musical expression of tones, their interrelations and their movements, or in human speech. And it is precisely these inner tendencies of movement that are present in these movements of the musical and in human speech that are carefully observed through sensory-supersensory observation and are then transferred to the whole person. In this way, one can see in the person or group of people doing eurythmy an embodiment of the human speech organism. Whereas this is otherwise expressed through tone or sound, here it is expressed through the whole human being or through groups of people. One can say that one thereby creates something which – as visible language artistically processed – has the possibility, initially, as it also happens here, of accompanying that which is given by the poetry on the one hand, and that which is given by the music on the other.

What is actually the poetic content of the poetry, which is already eurythmic - a movement in the theme, in the rhythm, in the beat and so on - can be expressed very succinctly through this visible language. But just as one can sing to a piece of music using the human vocal chords, one can also, I would say visibly sing, which can be done through the eurythmic. Now, however, it is precisely through this eurythmic art that one comes particularly close to the content of the poetry as well as to that which is expressed in music. And perhaps you will be able to agree with me about what this eurythmic art seeks to achieve when I say the following.

What is initially present in the human being as his highest characteristic, so to speak, is his thinking. And the fact that the human being is the bearer of thought distinguishes him from all other beings, to which he belongs as part of nature as a whole. Now, thought can be expressed in an abstract form in the communications of what the human being experiences inwardly, spiritually, in relation to the things of the world, as such a thought, as it lives in science, as it also lives in the communications that one person makes to another in everyday life. As such a thought, it is initially an inartistic element. And the more one strives towards the thought, the more one expresses oneself through the mere thought, the more one falls into an inartistic element.

The poet, who can only see the formation of thoughts, and also the formation of the sound as the expression of the thought, has to struggle with the thought. He must, as it were, lift what he experiences inwardly and emotionally out of the mere thought element. Otherwise he would become prosaic. He becomes poetic, that is, artistic, only by making use of thought, but in a certain sense overcoming thought. Thought is not just the abstract element that lives in our soul when we communicate, but thought is an active element in the whole of the world. And in poetry, in particular, we can see how thought is an active element.

Poetry, right, is divided into epic poetry, or narrative poetry, lyric poetry, and dramatic poetry. Take dramatic poetry, for example. Even if you don't see a play on stage, but only read it, you have not grasped it artistically in life if you read it, I might say, in a certain way, abstractly, and merely familiarize yourself with its content. You have only really read the drama, that is, taken it in as a work of art, when you can transform in your creative imagination what lies in the words, in the moving human being, that is, in human form. So that only those who, when they read it, can see the drama in the form have a real idea of the content of a drama.

Or take poetry itself, which is relatively detached from the form: real, genuine poetry always leads us to the human being, and we cannot help but find the song or poem good when it presents us with a human being, albeit in his or her spiritual form, as a feeling human being, through a very mysterious inner being. , the human being, albeit in his or her emotional form, as a feeling human being. Only then can we really have an understanding of a song. There is no abstract understanding of a song if it presents us with an emotional figure of a human being.

In epic, in creative poetry, I need only remind you how the real, the folk, the great epic poet is always striving to add to what he presents, something that draws us out of mere thought and leads us to imagine the figure: “Hector, the hero with the flowing crest”; ‘the fleet-footed Achilles’. But then our perception of the whole ‘Iliad’ expands to include the figures of the country [?].

What we form from our thoughts into a figure is expressed in its highest element in the place where we can grasp this thought with the expression of the thought - but now in its artistic form, where we can get to the highest level with it: this is expressed in the human form itself. We may take any form in nature - which we want - we will see that everything we see in nature, that which we see in terms of form, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see in nature, that which we see For there is no thought, in any abstract form, ladies and gentlemen, that could grasp the human form. [We cannot only not reach it with thoughts, we can only grasp the human being as a creation when the thought first feels its powerlessness in the face of the form, before it can proceed to grasp the form.]

This is what shows us how, basically, poetry is worked out and worked towards in order to grasp what is formative in man.

On the other hand, we find that the other element in man is what continually wants to work its way up through him. But in ordinary life the will is not the pure will; in ordinary life the will follows instinct and even arises from the drives. And the ordinary acts of the will are entirely driven or instinct-driven. And so we come to the point where we say that if a person strives for that which expresses itself in him as will and which in its purity can only be grasped through movement – that is what the musical strives for, through which a person does not move, but in which is expressed that which, after all, lives only in its true form in human movement.

There is a remarkable relationship between human movement and musical movement, between the musical in harmony, melody and so on, and one can well believe that someone who has a feeling for this powerful relationship between nature, between human movement and that which lives in the musical, that such a person can delve tremendously deeply into that which, as an is so mysteriously at the basis of man.

Thus one comes, especially when one lives in the musical itself, to see how the purest expression of the will as movement strives to present itself musically in its purity, and how, on the other hand, in the human form itself, there is an external expression of the thought, which, however, is powerless because it is itself inartistic. I would say that when it passes over into the artistic, realizes itself as artistic in the human form.

All this is indicated in human speech, which permeates the will with the thought, the thought with the will. This is what the poet struggles with when he wants to form something artistic out of speech, seeks to overcome the prosaic, the inartistic.

Thus, we can only recite a poem correctly – and not as it may be done by others – if the recitation is to be accompanied by eurythmy. In this case, we must not place the main emphasis on the prose element of the poem, but rather on what lies at its basis as musical and plastic elements, and these must be brought out in the declamation and recitation. Therefore, it will sometimes not be possible to present what must be striven for in a true art of declamation, especially as an accompaniment to the artistic, and also [according to] the habits that prevail today, in a way that is satisfactory for the same. But it is a return to times when more was understood about declamation and recitation than is the case today. And this return is virtually demanded by the sensory-supersensible gaze. It is self-evident that the movements that are performed all appear to arise directly from the human form. Movements in our eurythmy only exist in such a way that one develops them in such a way that one can think of these movements as creative, as being created, and they bring about what is inherent in them.

Then, as a result, the human form comes about, I would like to say. If everything that you see in the eurythmic movements, scurrying across the stage, everything you see in the individual movements, whether concentrated or expressive, is brought together in a plastic way, you will find the human form, which contains everything that the eurythmic art points to as its goal.

Now, if you imagine that in the human being – the musical element, which wants to merge into dance, already expresses – [that] there is something in the human form itself that forms rudiments [of it] everywhere. You cannot imagine a human limb, especially not the hands, without realizing that you can study the human form itself to see how the desire to move is fundamentally there, and you can find out how it must actually transition into movements. All this forms, gives that visible language which is actually, fundamentally, what the human being can form out of his form in terms of movements, which can give that out of the movements at the same time - like the most beautiful result of the movements, which aims at the human form itself: moved form, human form, how undulating and surging, but also how resting on human movements that is what wants to be expressed artistically through the eurythmic art.

So that which actually lives in the poet as a fully human being — which does not merely speak out of thought and the desire to communicate, but which speaks out of the whole human being and nature — when the poet expresses this and when one listens to it in him: one can also express it through this visible language of eurythmy. And just as one can express what is alive in musical art through the singing voice, so one can also sing in the forms of the art of movement that is eurythmy.

All this basically gives us the opportunity to make of eurythmy what we have tried to do in our Waldorf school, where we have introduced eurythmy as a soul-filled form of exercise alongside gymnastics. From the very earliest stages of their teaching and education, children find that the eurythmic movements that can be produced come naturally from the human organization. Man's knowledge of his own form, if I may use the expression, not just his form but what is formed, is unconsciously artistic. No science could ever describe or encompass what lies in the human being's overall perception, which he has in life and which corresponds to his being shaped. But he also knows, this human being, that this being shaped in himself is actually basically only held-still movements. He knows, so to speak, that by feeling his hand, he is feeling the organ that receives its meaning through movement and that receives its form when one thinks of the movements, the manifold movements that the arm and hand can perform, crystallized, I would say, in the form of the arm and hand.

This feeling for eurythmic movements as a natural consequence of the human form, this feeling for the human form even in the child, is what expresses the diversity of movements. It is this that makes the child feel the eurythmic art so strongly as an educational tool. One can say that the child knows very well, if only it is pointed to the possibility, that when it romps around, this romping around is basically nothing other than the shape itself that has flowed out, and it feels the shape that it carries within itself. The child senses that which is the frozen movement as it now passes over into musical regularity in eurythmy as something that it can also feel at the moment when it becomes acquainted with it, when it is a healthy child in body, soul and spirit. And that is why it likes eurythmy as a means of education.

All that I have been able to describe – eurythmy also has a special hygienic-medical value. Eurythmy therapy has already been developed, and I will only mention it briefly here. All of this, ladies and gentlemen, is still in its infancy today. It is therefore absolutely necessary, again and again, to ask the esteemed audience to be lenient. We ourselves are our own harshest critics when it comes to everything we can already do. But those who are aware that what we can already do today is just a beginning, perhaps only the beginning of an attempt, also know what developmental possibilities lie within this eurythmy. And so we may believe that out of this beginning something will develop that is a fully developed art, which will be able to stand with truly artistic expressions alongside its older sister arts, which have been recognized for a long time and which, if understood with the right feeling, basically point to what will emerge in eurythmy, where not external instruments but the human being themselves are used as the instrument through which the artistic can be particularly enlivened.

And if Goethe says: When the human being is placed at the summit of nature, he takes harmony, measure and meaning together, produces a summit within himself and rises to the production of the work of art, then on the other hand it may be said: It is to be hoped that when man makes use of his own form and movement as a tool and means of expression for the artistic, then in the end that which can be placed as a younger sister art next to the older, fully-fledged sister arts must arise.