Eurythmy Performance

GA 277d/1923-02-11/p011 ·1923-02-11 · English HighHigh alignmentThis translation's paragraph count matches the German original — the locus maps cleanly to the same paragraph in DE.
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.

One comes to realize that just as a certain sound that is heard is the expression of something that the soul feels but is no longer aware of, so too can a movement of the human organism express the same thing that is felt, for example, when a person feels compelled to express something through the sound of “i” or “a.” Or, conversely, one can find certain forms of movement that can parallel the sensation, the feeling, when speaking consonants. In this way, just as the small child consciously and unconsciously develops articulated speech through imitation and singing, so too can visible speech and visible singing be developed, as is the case in eurythmy. Then, in the same artistic-human sense as the tonal-phonetic in singing or speech signifies the inner life of the soul, not in an abstract intellectual way, but in an artistic-human way, any movement means exactly the same as what is experienced in the ;, in the a, and so on, as the tone or sound means, and one obtains a truly visible language or a truly visible singing.

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Cite: GA 277d/1923-02-11/p011 · edition English