50. Eurythmy Performance

But I would still ask you to be indulgent in your judgment of our performances. We are our own harshest critics, and we know very well what we are capable of at this early stage. This is a beginning, and we must strive to improve. But you will see on the other hand that when something is already conceived in eurythmy, something that is already formed with the exclusion of the thought element, as it is the one scene that I have tried to do in my mystery drama with the two opposing forces: where on the one hand the forces are presented that are active in the human being and that influence him in such a way that he actually wants more and more and more to rise above his head in mysticism, fantasy, enthusiasm, theosophy; and on the other hand, how it leads him into deceit, the other things that oppose him, that continually push him down below, where the spirit of heaviness would like to move, where the sober, prosaically sober is expressed, and so on. Where this becomes everyday [...] man is always in the realm of balance when something like this, which is in harmony with the life of the soul, is overheard, performed and realized in eurythmy. Of course, in the future our attempts to present dramatic works will also gradually be developed more and more in eurythmy. There is little of this today; but attempts will also be made to develop eurythmy for the actual drama.