Eurythmy Performance

This essence of eurythmy now allows us to present the particularly lyrical and epic, which actually live in the soul of the artist, before the eye through the characterized art of movement. For the dramatic, however, it becomes apparent that where drama transitions from the representation of purely external, naturalistic events — in the broadest sense, of course — to the experience of something supersensible through the human soul, that higher sublimation made possible by eurythmy is particularly appropriate. We already made an attempt at this during the last performance here, where a fragment from Goethe's “Faust” — from the second part of Goethe's Faust, the Sorge scene — we attempted to illustrate how, on the one hand, in the figure of Faust, who stands naturalistically with both feet, I might say, on the ground, there is something naturalistic that can be portrayed in ordinary mimic art, but how the figures that can only be conceived spiritually — Sorge, distress, want, guilt—how these are declaimed from outside the stage and what they have to represent on stage is represented through the visible language of eurythmy.