A Lecture on Eurythmy

The whole artistic conception of these models, both as regards their carving and their colouring, is based on the idea of separating the purely Eurythmic element in the human being from those elements which are not so definitely connected with Eurythmy. The moment a Eurythmist becomes conscious of possessing a charming face, in that moment something is introduced into Eurythmy which is completely foreign to its nature; on the other hand, the knowledge of how to make conscious use of the muscles of the face does form an essential part of Eurythmy. For this reason, the fact that many people prefer to see a beautiful Eurythmist on the stage, rather than one who is less beautiful, shows a lack of true artistic judgment. The outward appearance of a human being when not engaged in Eurythmy should not in any way be taken into consideration.