Address on Eurythmy

If I may use Goethe's expression, one can learn through sensory-supersensory observation what movement tendencies are present in the entire human organism when a person sings or speaks. What a person expresses—musically through sound, linguistically through speech—can, in a sense, be sought out, since it is a revelation of the whole person, as it is predisposed in that whole person. We see that the whole person—with the exception of the gestures to which they are inclined—remains at rest while singing or speaking. But I would like to say that, in a certain intimate way, this remaining at rest is something that the human being imposes on themselves as a compulsion. The human being actually wants to participate with their entire organism in what is then concentrated in the movements that the larynx and its neighboring organs perform when singing or speaking. These movements, which are performed by a single organ system, are listened to and transferred to the whole person. So that, if I may use the paradoxical expression, you will have before you on stage the whole person as a moving larynx, or even groups of people in such a movement.