Address on Eurythmy

For example, when performing something purely musical – instrumental music, I mean – it is possible, under certain circumstances, to use lighting effects to create parallel phenomena, parallel light phenomena, which in their sequence produce an impression similar to that of the musical form or musical content. But it is quite different to do something like this in an opera performance, for example, than to do it in our eurythmic performance. In opera, one always has the feeling that the lighting effects are really just something like an accompaniment to the work of art, something that is added to the work of art from outside, whereas here the lighting effects are strictly internal, connected with the work of art, namely with the eurythmic work of art. So that one also gets the feeling: just as the mood when singing emanates from the human being, so to speak, emanates to all sides of the room, and just as one could represent this emanating mood as light effects, so the whole mood that the stage design must bring about through lighting effects in a eurythmic performance this mood is like something that does not radiate from the eurythmic figures, but rather has the effect of the eurythmic figures absorbing these bodies of light, these masses of light, as if they were moving toward them, as if they needed them.