47. Eurythmy Performance

What is at issue now is that all arbitrariness is excluded from the development of our eurythmic art. If I may use Goethe's expression, I would like to say: through sensual and supersensory observation, it has first been investigated which movement systems – I say expressly movement systems – are present in the human larynx and its neighboring organs when the outer air is set in motion through this human larynx, palate, tongue and so on, and phonetic speech is created. Here we really make the remarkable discovery that everything that is attached to the larynx as an organ of expression for speech is, in a sense, a metamorphosed repetition of the organization of the whole human being, in the sense that Goethe developed his theory of metamorphosis, which is really still not properly appreciated today, as a method of understanding the living. He said: the whole plant is basically nothing more than a complex leaf, and each leaf is an elementary whole plant. So you can say: everything that is a function of the larynx is actually a metamorphosed function of the whole human organism.