54. Eurythmy Performance

I am not talking here about some kind of mimic or pantomimic or even dance art, but about the use of a real language, a language that has come about and, in a certain sense, is being further developed by trying to recognize through - let me use this Goethean expression - sensory-supersensory observation, which movement tendencies - I am not saying movements, but movement tendencies - assert themselves out of the human being when he sings or speaks. When a person sings or speaks, there are always certain underlying tendencies of movement - be it [in] singing or speaking - which already pass over at the moment of emergence, metamorphose into something else, into that which then transforms itself into the air intonation that conveys the tone or the sound.