The Origin and Development of Eurythmy 1923–1925

GA 277d — 7 April 1923, Dornach

Eurythmy Performance

Dear audience!

You will have heard these introductory words to our eurythmic performances many times before, so today I need only briefly mention that you are in for a very special treat: namely, if you are particularly interested in this eurythmic art, you will have the opportunity today to get to know it from two sides, so to speak. In the first part of the program, you will see accomplished eurythmists, so to speak, and in the second part of the program, you will see eurythmists who are still developing.

So you will see what you are used to seeing, the developed eurythmists, and after the break you will be able to see the eurythmists who are still developing. In the first part of the program, you will be able to see how the eurythmic form of expression has already become art, how the form has already matured into art. Then there will be an intermission, and then those who have only recently learned eurythmy will perform. You will then be able to see the difference in a subtle way. Those who are struggling, those who are still developing, in whom you can still see how the movements are taking shape, striving to become art — you will see that in the second part.

So we can say: today you will have the opportunity to see how eurythmy becomes part of the human being itself — how the human being progresses from eurythmic speech to eurythmic artistic creation. However, for easily understandable reasons, we will show you the finished product before the break and the struggling process after the break.

Now, I must say that those who take eurythmy very seriously are particularly keen to gain such an insight into the development of eurythmic art, and that it therefore seems particularly justified for me to express my great pleasure at the large number of visitors here today.