52. Eurythmy Performance

And what comes into consideration above all is that, as soon as one moves into the dramatic, those scenes which deal with, let us say, some scenes in Goethe's second part of Faust, which in turn overcome scenic relationships, which are thus conceived in a naturalistic way, that one simply has to arrive at a certain style, that one cannot simply represent through naturalistic gestures that which is given by the poet. It is precisely where the supernatural is inserted into the course of the scene that you can see how eurythmy offers something that allows you to get away from that from which the poet also wants to get away in such cases: from that which can be exhausted merely in naturalistic renditions.