Eurythmy Performance

GA 277d/1923-04-08/p008 ·1923-04-08 · 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.

Now, when one comes to eurythmy, this happens because the intellectual element is completely suppressed in the human form of expression, because what is merely of a volitional nature is removed from what wants to enter the flow of speech. So that, just as a child learns to speak, one can draw out of one's organism, through the art of eurythmy, that which is of a volitional nature in speech, but which is mixed and connected there with the element of thought. And this volitional element of speech can be processed in such a way that for every sound, for every word formation, some part of the human body, the arm, the hand, which are indeed the most expressive parts, or something else in the human being, is brought into those forms of movement, into that sound formation, which the sound itself makes in the air stream when one thinks away the intellectual element.

Read this passage in another edition
DEoriginalENEnglish
Raw JSON: /v1/steiner/en/ga/277d/1923-04-08/p008.json
Cite: GA 277d/1923-04-08/p008 · edition English