# The Origin and Development of Eurythmy 1920–1922

## GA 277c — 17 April 1921, Dornach

### 30. Address on Eurythmy

*This performance took place in the Goetheanum building – including the last, cheerful part. This was the first complete eurythmy performance there; previously, only individual eurythmic performances had been shown there as part of larger celebrations. From the next performance on April 24, 1921, the first parts of the performance took place in the Goetheanum building, but during the break for the last, cheerful part, the audience moved to the carpentry workshop.*

> “Charming Region (Ariel Scene)” from “Faust II” by]. W. v. Goethe  
> “Proemion“ by J. W. v. Goethe  
> Saying from the Calendar of the Soul (2.) by Rudolf Steiner  
> “With a Painted Ribbon” by J. W. v. Goethe  
> Saying from the Calendar of the Soul (3rd) by Rudolf Steiner Music (with the curtain closed)  
> Second scene from the mystery drama “The Awakening of the Soul” by Rudolf Steiner  
> Humoresques by Christian Morgenstern: “Among Times”; “Twelve-Eleven”; “The Guineafowl”  
> Two presentations by the children's

Dear Ladies and Gentlemen!

I do not wish to use these introductory words to explain the presentation, for artistic matters must speak for themselves. But the art of eurythmy, as we practise it here, and of which we would like to give you a presentation today, draws on special artistic sources and expresses itself in a special artistic language of forms that is less familiar to the present day. What is being striven for here should not be confused with any kind of pantomime or facial expression or even dance-like performances. It may appear to you to be a representation of the moving human being, of the human being moving in his limbs, especially his arms and hands, and also the movements between groups of people in space and so on – an art of movement. But the movements are not meant to convey an immediate facial expression or other expression taken from the moment from something in the spiritual or psychological, but rather they are meant to convey something that is based in reality on a, I would like to say, visible language.

This visible language came about through the observation of human speech. The inner formation of movement that occurs when a person sings was also observed. It does not fully emerge, but it is present in the larynx and other speech organs, in everything that can be observed in speaking and singing in humans. And that which can be overheard through sensual and supersensual observation and research in the human organism in relation to one of its organ systems when speaking [for example], is then transferred and transformed into mere movement in the whole person. So that one has before one, so to speak, in a certain sense a kind of visible larynx, visible speech. Just as the soul-spiritual expresses itself through speech, so it can also do so through this visible speech. Of course, we have to bear in mind that what is initially the eurythmic language is just a form of expression, that it has to be transformed into something artistic, just as, depending on the treatment of language, on the shaping of language, on the forming of language, it depends on whether something that is pronounced succinctly becomes a real work of art, something artistic. So the artistic element must first be drawn out of what underlies this eurythmic language.

But now we can see that the artistic element can indeed be expanded if we try to translate the human form itself into movement; and we arrive at the sources of movements that are naturally and elementarily present in the human organism. One can see, as it were, how the human form moves out of its own forms into certain forms of movement. And one can perceive these forms of movement as a natural revelation of the human being, just as one perceives it as a natural revelation of the human being when he expresses what lies in the soul through the language of sounds or tones. On the other hand, however, one can also see how the artistic element in eurythmy lies not in the individual movement, but in the lawful sequence of movements, in the way one movement emerges from another, in the way the individual movement makes each of the others visible. individual movement. And so, as it were, what is essential and artistic in poems must be substantiated by the prose content of language, so it must also be the case with this eurythmy.

And it must be said in advance that what is expressed, in terms of its impression, in terms of its aesthetic impression, can be completely independent of the interpretation of the individual movement. In the artistic shaping of this visible language, there is a definite transformation into such movements that are immediately comprehensible for the sensory impression. In ordinary spoken language, the following actually work together as a human speech sound: the mental element, which, as it were, flows through the sound, and it works into the sound, which is particularly evident in artistic, poetic language; it works into the sound and into the sequence of sounds, into the inner sound formation, the feeling and the will element. And one can say: the more the intellectual element lives in the poetry, the less artistic the poetry becomes. The more formative-volitional element there is in the poetry, but which is expressed in the evenness of the form, the more artistic it is.

Now, when the whole human being is expressed through this eurythmically visible language, one appeals to the whole human being, to the full human being. In this way, the abstract element of the mere thought is overcome and what is revealed is more that is the will-feeling element. One also sees how in the eurythmic embodiment of a poem, those things come to light that express the actual formal artistic element in the poem. That which is first secreted into language by the real poet, but that is seen to be expressed in a eurythmic form.

Therefore, even if you have accompaniment, as is to be done here, you cannot recite in the way that is popular and considered good today, since one particularly emphasizes, so to speak, the prose side of poetry in recitation or declamation. This leads to a prosaic effect, and an unartistic age like the present will have much to object to in the way recitation and declamation are done in the way that is being challenged by eurythmy – that is, to bring out the rhythmic, the melodious, the sense of meter in the treatment of speech – and to bring this out in recitation as well, so that the recitation in the recitation eurythmic element contained in every true poem. So on the one hand you can see here how what can be recited and declaimed comes to light in this visible language. On the other hand, the musical element will accompany what then becomes visible language. Just as one can sing with the larynx and the other vocal organs, one can also sing visibly. This is what can be visibly presented as a singing revelation through the art of eurythmy.

It is important that this eurythmic art can also be used to present dramatic material, such as we are about to show you today. This dramatic element is initially revealed in such a way that eurythmy is particularly suited to depicting those parts and dramas where certain poets rise from the representation of the external physical-sensual into the supersensible, where the inner life of the human being is also depicted in an external visualization. And you will see in the one [representation] of a Goethe scene that is being presented today how that which, so to speak, plays into the sensual world from the supersensible, how it is brought out through the eurythmic element. Of course, today we still have the necessity that everything that is, so to speak, a realistic representation of human beings, that is, the actual realistic drama, must also be given in the ordinary theatrical form. But there is hope, and I give myself up to this hope in the expectation that, after we have already succeeded in eurythmically presenting the non-sensuous, we will also succeed in progressing to a dramatic stage style, again starting from the element of movement, for realistic scenes as well. However, further work needs to be done on this. Today we are not yet able to shape the eurythmic-dramatic in a eurythmic way. What it [gap in the shorthand]

made possible was to find a way, through eurythmy, to create a kind of [a] representation that truly corresponds to the subject. In the scene from my Mystery Dramas that is to be presented today, you will see the supersensible human element, that which works in people in such a way that it cannot be portrayed in such realism. This is where we are dealing with what a person from a soul-spiritual world does in actions, what lives in him from a soul-spiritual world. Then one must use eurythmy to reveal this soul and spiritual reality. That which is already working eurythmically, such as a scene from my “Mysteries Dramas”, can most easily be presented in a theatrical form, although what is realism in the presentation must also be taken into account. What is in people and what is the main thing that we form today.

In a scene like this, you will see in the eurythmic presentation, how it is from my “mystery dramas”, that it is indeed possible to present in full individual form that which, as it were, sees through the world of the senses as something supersensible, and that in this way one can enter into a certain working and essential nature of [nature], whereas today one does not really can see anything of the kind. Today, one only wants to have an abstract creation of natural events in natural laws. So we must say to ourselves: if nature does not want to give up her secrets to mere, abstract thought, if nature herself is a great artist whose secrets can only be surmised, if, when we shape, we must indeed resort to what we call knowledge of nature, then we must resort to what poets present dramatically. And it was from such a feeling that Goethe spoke the words: “To whom nature begins to reveal her open secret, he feels an irresistible longing for her most worthy interpreter: art.”

That is essentially what needs to be said about eurythmy as such, as art. You will see that even [introductions can be given before, without] accompanying words, which thus create the mood, can be formed eurythmically. [Incomprehensible sentence, see notes] Endings can be given where the mood is [represented] in a purely [eurythmic night act].

Another side of this eurythmy is – which I will only mention here – therapy and hygiene. Since the movements involved here are taken from the full human being and his creative powers, they can also be developed in such a way that they actually become a kind of eurythmy therapy, because they are healing movements. They are taken from the organization of the whole human being, which is fully formed. This is something I only want to mention.

I would like to point out a third element in this eurythmic endeavor. This is the pedagogical-didactic element: at the Waldorf School founded by Emil Molt in Stuttgart, which I run, eurythmy has been introduced as a kind of soulful gymnastics, as a kind of compulsory teaching subject, and one can clearly see how the children find it, the self-evident fact that the full human being is not only based on the external physical nature, this point of view but on body, soul and spirit [is based] on this expression as a full human being. I would say that even the child feels this as something quite natural. It grows into those healing forces that are particularly also healing forces during growth, namely in the transition from the human, resting form to the moving human form, which [demands] nature of the human form. The child demands such movements and such movement exercises in such a way that it has an inner, implicit idea of them. [Sentence difficult to read, see notes.] Initiatives of the will are thus trained in the right way through what the child can live out in these eurythmic movements, in this soul-filled gymnastics.

What needs to be said about artistic eurythmy to characterize it can be summed up by recalling what Goethe said about the artistic human being and their relationship to the world: “When man is placed at the summit [of nature, he perceives himself as a whole of nature again], takes measure of nature, harmony, meaning and sense together and finally rises to the production of the work of art work].” - There is now another: When man uses external instruments, he has to express what he experiences artistically within himself differently than when he has the tool in his own organism, the tool that is, firstly, an imprint of the whole world, really a kind of microcosm [gap in the shorthand, see notes], but that, on the other hand, is also something that man lives entirely within himself, so that in what he expresses he expresses his own innate tool, so that man, not only when he is placed at the summit of nature to produce a work of art, but that he tries to let the artistic experience within him be revealed through himself. In this respect, those who have a true artistic feeling can see the eurythmy experiment and the artistic endeavor. The artistic goal is certainly not to depict abstractions.

On the other hand, let me repeat once again, dear audience, that the new eurythmy art is still in its infancy, and that we must therefore always ask for the indulgence of our esteemed audience. It is the case that we are our own harshest critics, but we are also convinced that we will find opportunities for development in our artistic endeavors, and that we will be able to fully develop some of these opportunities, probably through others and no longer through ourselves. Then the time will come when this art of eurythmy, even if it is the youngest, will be able to stand alongside the older sister arts as a fully justified sister art.