Eurythmy Performance

When a poem is recited or declaimed, especially in declamation and recitation, as it must be, for there is no other way to do it, [than] to accompany eurythmy [with] recitation and declamation, then declamation and recitation in particular, which is not immediately understandable today in an age that is not very artistic – Dr. Steiner trained it for years, whereas otherwise the prosaic is simply pointed out, simply pointed out in declamation and recitation – the inner eurythmy is already emphasized in declamation and recitation here, as it were, as that which is present in the background of language [as] weaving. Then there is simply the other, the will and also the mind, which enters into the arms and hands, I would say, as if expressed through another instrument, that which the poet has alive within himself when he creates poetically, artistically. So there is an orchestral interaction between what is recited and declaimed and what comes to light on stage in eurythmy. What the poet must conceal in his treatment of language, I would say, is revealed through what comes to light in eurythmy.