Eurythmy Performance

This truly brings about what is an essential support, for example, for artistic recitation and declamation — in which the poet's struggle was actually to overcome language as something earthly and penetrate into the musical, rhythmic. However, this must be done in the way that Dr. Steiner has been attempting for years: to seek the eurythmic in language, not the abstract emphasis of content, of what is meaningful, but precisely the shaping of language, the musical, plastic, artistic. But then, when on the one hand one adds to declamation and recitation that which is musical, which is achieved through activity, through the overcoming of heaviness [overcomes] in human beings, who in a sense bid farewell to heaviness by putting their limbs into action, when one allows music and declamation to be accompanied by eurythmy, then an orchestral interaction arises which, in essence, can create the full inner beauty of artistry in language or in song or in music in general [and] bring it forth in a different way, thereby bringing out further depths of the artistic.