46. Eurythmy Performance

If we gain knowledge in a suitable way, through, to use this Goethean expression, sensual-supersensible observation, provided, of course, that we can apply this sensual-supersensible observation, if we thereby gain knowledge of the movements, the movement tendencies that are present when speaking in sound and also when singing in the larynx and its neighboring organization, if one acquires knowledge of these, as I said, mainly movement tendencies through sensory-supersensible observation, then one can transfer these movement forms, which one can study in this way, to the whole human being. So that you will actually see how, in a sense, the whole human being, even the group of people in front of you, becomes a moving larynx. The movements that you see performed here are not arbitrarily invented, but are entirely modeled on the impulses of movement, the driving forces of movement, which can be found in the larynx and its neighboring organs when speaking in tones.