VII. Musical Physiology; the Point of Departure; Intervals; Cadences

GA 278/1924-02-26/p045 ·1924-02-26 · 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.

From this, however, you see (and this is a point I would like to touch on at the end of this lecture) that eurythmy has to develop gradually in such a way that auxiliary subjects are studied, just as in other forms of art. [48] The painter and sculptor are obliged to acquaint themselves with sculptors' and painters' anatomy. They cannot get on without it. The eurythmist should endeavour to acquire a thorough knowledge of the human being, and should study such things as the physiology of the collar-bone, and so on, as an auxiliary study (or whatever you'd like to call it).

Read this passage in another edition
DEoriginalENEnglish
Raw JSON: /v1/steiner/en/ga/278/1924-02-26/p045.json
Cite: GA 278/1924-02-26/p045 · edition English