Eurythmy Performance

GA 277d/1923-06-09/p007 ·1923-06-09 · 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, however, everyone is aware that there is style in singing and also in artistically crafted language, that language is treated in a certain way by poets, for example. Something rhythmic and metrical is created, and melodious themes are also incorporated into the language. The sound design follows a certain imagination. All of this is something that underlies language, but which cannot constantly enter into language. Those who empathize intimately with human life feel how, when they transfer what lies in their soul to their larynx, they externalize it. One might say that what is handed over to the larynx is handed over to the objective spiritual realm. What the soul experiences more inwardly can now be expressed through stylized gestures. And in eurythmy, it is expressed through stylized gestures, so that a real, visible language or a real, visible song emerges. Everything that appears in the form of gestures in individual people or groups of people in this eurythmy is drawn out of the human organism in the same way as the individual sounds of speech, the vowels, consonants, sentence structures, and so on.

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Cite: GA 277d/1923-06-09/p007 · edition English