46. Eurythmy Performance

The opposite is the case with eurythmy. There, thoughts are suppressed and movements occur. Precisely the will element - in contrast to the thought element - occurs. Therefore, I would say that while everything that wants to delve more deeply into the spoken language leads back to the dream-like element, here in eurythmy there is a complete awakening, an over-awakening. Therefore, there is nothing more to be fought in this eurythmy than any tendency towards the mystical, the hazy, the dreamy. The opposite of the dreamy, the fully conscious movement in artistic forms is what is striven for here. There must be nothing arbitrary about it. So that you do not think, for example, that what you see as the silent language of eurythmy when a poem is recited here are randomly invented forms or gestures. When two groups or two individuals perform the same thing in eurythmy in different places, the individual differences cannot be any different than when the same sonata is performed in different places. Nothing is based on arbitrary pantomime, nothing on arbitrary gestures, but just as music has a lawful sequence in its melodic elements, so here everything is in the sequence of the movements. It is a silent, moving music, this eurythmy.