Eurythmy Address

Now, when it comes to the presentation of eurythmy, a third element comes into play, and that is the element of will, the character. If you think of any sound and think that it should be presented in eurythmy, you will say to yourself: First of all, in movement, something like the general speech formation in recitation is presented. The way in which language is shaped pictorially or musically is expressed in the movement of eurythmy. The feeling that the reciter also puts into his recitation, the feeling that is expressed quite visibly, in that what the eurythmist himself must feel in his imagination — something presses, something pulls — causes him to behave quite differently in movement. This becomes quite involuntary, instinctively different in movement, as he feels in this way or in another way. This really enlivens and animates the whole thing. And it is good if the eurythmist not only masters the very external movement, but also has this feeling: when he makes an e, he has very specific quiet sensations here or there, when he surrenders himself to this quiet sensation in his imagination. But because he makes the movement, he will animate the movement in a completely different way than if he only makes the movement mechanically.