41. Eurythmy Performance

GA 277b/1920-01-18/p006 ·1920-01-18 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

You are able to do this, dear attendees, because the lawful connection that exists between what is revealed in audible speech and the whole being of the human being can indeed be found, but only if one delves deeper into what I would like to call here: Goethe's view of art, Goethe's artistic attitude. The person who, to use this Goethean expression, can use sensuous-supersensuous observation to place himself in the essence of the human form and the movements that are inherent in the human form as an organism, can know that the organization of the larynx, and how this organization is connected with neighboring organs, contains, so to speak, a repetition of everything that is present in the other organs of the whole human being, so that this organization tends towards the movements.

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Cite: GA 277b/1920-01-18/p006 · edition English