51. Eurythmy Performance

The following comes to our aid: the larynx and its neighboring organs, with their various cartilaginous and so on organs, are directly related, in direct proportion to the external air. As a result, the disposition to move is transformed into the small trembling movements that then pass into the air, which we do not see with ordinary looking, but which underlie what is heard of speech. The movement patterns that become active in the larynx and its neighboring organs can be observed with sensory-supersensory vision. And then, if I may use this paradoxical expression, one can see the whole human being as a transformed, metamorphosed larynx. So that the people who will be performing eurythmy for you here on the stage will actually be performing for you as whole human beings, like larynxes. But if you then let the other human limbs carry out the movement patterns that are otherwise found in the larynx and its neighboring organs, the result is not the same as what comes out of the sound language. Then, you do not have the outer air as resistance, but rather the muscular system to begin with. As a result, the tendencies and dispositions of the movements do not transform into the vibratory movements of sound, but these movements are slowed down. The muscles offer the appropriate resistance, and one arrives at something that looks like a sign language, but which, in the way it is formed, is not a sign language.