Address on Eurythmy

GA 277c/1922-05-07/p020 ·1922-05-07 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

These are the three aspects of eurythmy, of which only one, the artistic aspect, will be shown here. Before such a performance, it is always necessary to ask the esteemed audience for their indulgence. We are our own harshest critics and know very well that what we are attempting with eurythmy is only in the early stages of development. We are aware of the shortcomings that still exist, but at the same time it must be emphasized that eurythmy has truly unlimited potential for development, because it makes use of the tool that most art forms can offer, namely the human organism itself. What is only possible to a limited extent in the dramatic arts, in the art of mime, namely the use of the human organism as a tool, is carried out in a wholly artistic manner in eurythmy, in that what manifests as movement and mobility is drawn out from the innermost laws of this organism.

Read this passage in another edition
DEoriginalENEnglish
Raw JSON: /v1/steiner/en/ga/277c/1922-05-07/p020.json
Cite: GA 277c/1922-05-07/p020 · edition English