46. Eurythmy Performance

But it is the same with all living things. One can say: precisely in the moving larynx - its movements are, after all, the basis of the movements of the air that occur here as I speak to you - in the moving larynx, one has, in miniature, everything that the will can conjure up from the moving human organism. By transferring these movements, which one obtains by studying the natural movements of the larynx and its neighboring organs, to the whole human being, one really does get something that corresponds much more to the artistic than our ordinary spoken language. Even when it is artistically shaped into poetry or song, two elements are mixed into our ordinary spoken language: one is the element of thought, I would even say that it comes from the head. In our civilized languages, this element of thought is something that is already inclined towards the conventional, something that has gradually lost more and more of its elementary origin in human nature and therefore has little artistic value left in it. For the artistic is based precisely on the exclusion of the rational, the conceptual, the imaginative, on immersing oneself directly in the secrets, in the riddles of the moving existence, without concepts, without ideas. This can be done by using the human being himself, as we are doing here, as an instrument, as a means of expression. This can be done if one has a language that strips away all thought and uses only the element of will for its revelation.