60. Eurythmy Performance

But we have repeatedly tried with Goethe's “Faust” to use what we already have in eurythmy in such a way that where the poetry touches on the inner law of development, where the spiritual-supersensory in a dramatic poetry, in any drama, appears, we call on eurythmy for help. All scenes that take place, I might say, in the physical world, we have them presented like other scenes in the theater, but what points to the supersensible world is particularly suited to eurythmic presentation. You will see this in this first picture from the second part of Goethe's “Faust”. It is the one scene in which Goethe wanted to express himself by leading from the sensual into the supersensual. Faust has already lived through his life to the point that is presented to us at the end of the first part as a person who has incurred the most serious guilt. [...] [unclear passage, see notes]