# The Origin and Development of Eurythmy 1923–1925

## GA 277d — 23 May 1924, Eisenach

### Eurythmy Performance


*From the address given at the General Meeting of the Anthroposophical Society in France, Paris, May 25, 1924*

And here I must mention the great enthusiasm and deep understanding with which our French friends have devoted themselves to our art of eurythmy for many years. It has always been a source of deep interest and involvement to see how, particularly in the field of eurythmy, the inner involvement with anthroposophy that lives here in Dornach has found expression. The fact is that, in many respects, eurythmy depends on the cooperation of people of different nationalities if it is to be understood correctly and thoroughly. For we will see how what is expressed through eurythmy draws on the special character of each language. It is a different experience to see a French poem expressed in eurythmy than a Russian poem. Eurythmy in particular depends on the different nationalities being in close contact with each other, because only through this universal character can the art of eurythmy reveal all that is its own. And this has led to the fact that, in such a grateful and beautiful way, a eurythmic performance was recently able to take place here thanks to the energetic, tireless, one might almost say superhuman, work of Mademoiselle Rihouät, to whom I would like to express my gratitude in the spirit of eurythmy.

*From a letter from Marie Steiner to Rudolf Steiner, Erfurt, May 26, 1924*

We did quite well in Nuremberg, except for Stute's illness. The members there have been quite active; the large hall of the cultural association — probably the largest in which I have spoken (with the exception of Vienna) — was full. Upstairs in a box, we even discovered an acoustic spot, and I think it sounded good. It was an absolute success — we have not yet received any reviews. A young medical student, Schenk, read quite well from the Goetheanum. [...] Eisenach has a very nice theater—twenty sleeping members who are quite touching in their seclusion. Mr. Pöttschacher said he had to do everything himself, and that his wife had been opposed to it for 20 years. I think he tried hard, but the people of Eisenach said that it had not been publicized enough. The reception was very good—the workers said that the people of Eisenach had never been so warm, but the theater was not even half full, perhaps only a third. The hotelier at the Rautenkranz, where we were all well accommodated, was very delighted and said that he had heard only good things from various sources; we should definitely come back; then it would surely be full. So today we start in Erfurt. The director is said to have staged the play with considerable reluctance. Rehearsals begin quite late, all in one day.

Thank you very much for the telegram and letter, which I received in Eisenach. I have not yet received the forms; where did Miss Bauer send them? I hope they don't tear you apart too much in Paris; I am so anxious about the “patron.”

The review in the right-wing newspaper in Eisenach was quite favorable. Another newspaper finds the tone eurythmy very beautiful. Tomorrow we are going to Naumburg. Mr. Ritter read in Eisenach and is reading here.

*From a letter from Rudolf Steiner to Marie Steiner, Paris, May 27, 1924*

My dear Maus!

Thank you very much for your letter from Nuremberg. I am glad that everything has gone well so far. I hope your health is holding up. I think about you a lot. If only frosty things like what you described on Monday at the Ulm performance don't happen too often!

*From a letter from Marie Steiner to Rudolf Steiner, Naumburg, May 28, 1924*

Dear E., now perhaps the difficult part of our tour is beginning. In Erfurt, where there was a beautiful large theater that was quite well filled (it is said to never be so full otherwise), we had a hiss when the first applause (after the second program number) began. He did this after every number, and when the audience continued to clap and demand encores, he whistled very loudly and artfully. Then he began to whistle when I announced a number. Now, that wouldn't have done so much harm, nor would the giggling of some of the actresses that joined in, if we had all remained clever in the second part and, as I wanted, had not given any encores except for the final number. For I assumed that the opponent would behave even more scandalously in the second part. We got through to “Nixe Binsenfuß” quite happily, where he whistled and the audience clapped so much that Schuurman thought he had to repeat it. It was unfortunate because the loud applause was more of a demonstration against the whistling, and the mood was no longer there. After the repeat, the man began to stamp his feet and the actresses began to squeal, and a lady shouted, “Can't this gang be thrown out?” Tartini, the final number, was then applauded particularly ostentatiously and repeated. But the newspapers can now speak of a scandal because of the penultimate scene, and that may continue to haunt us on this trip, as well as the whistler, which is quite horrible and God knows how it may end. I have not yet seen an Erfurt newspaper, but a “Mitteldeutsche Zeitung” is supposed to be published there, which is particularly hostile to us and is said to have been especially pleased about the fire at the Goetheanum. It would be fortunate if this toad's nest had been destroyed. Today, of course, I am not in a particularly good mood in anticipation of the performance. Most of it is directed against me. And now I have no mare if I cannot go on.