47. Eurythmy Performance

GA 277b/1920-02-08/p008 ·1920-02-08 · 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.

What can be shaped as the movement system that, when excited, moves the air in the speech sounds, can be transferred to the whole person. So here on stage, you have, as it were, the individual person or whole groups of people with everything that goes with them, like a large walking larynx in the silent language that this eurythmy speaks. Eurythmy is therefore a silent language that is formed according to the same laws as spoken language. However, it must be taken into account that when the movements of the larynx and its neighboring organs are transmitted to the air, the movement impulses are converted into movements at the lowest speed, so that the individual movement is not perceived. Strangely enough – one can, of course, find a more fortunate word for what I want to say – strangely enough, one can now find that the volitional element that works in man behaves in such an agitating way towards the movements of the individual limbs of the human organism, which of course naturally offer greater resistance, and therefore have to move more slowly – and not, in a manner imperceptible to the eyes, to cause only audible movements, but visible ones. of the human organism, which naturally offer greater resistance and therefore have to move more slowly – and not, as is imperceptible to the eyes, to evoke only audible movements, but to evoke visible movements. This transformation, this metamorphosis of what takes place in the human speech organs into movements of the whole human organism, that is our eurythmy.

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Cite: GA 277b/1920-02-08/p008 · edition English