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The Rudolf Steiner Archive

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277c. The Development of Eurythmy 1920–1922: Eurythmy Address 03 Oct 1920, Dornach

I am not doing this to explain the artistic aspect of the performance, which would be an inartistic undertaking in itself. Art must make an immediate impression and be understood in the immediate sensation; otherwise it would not be true art.
One does not notice this because one does not have the underlying organ that is based on something moving in the whole organism. One understands what is meant here if one starts, for example, from Goethe's theory of metamorphosis, this theory of metamorphosis, which will only be properly appreciated in the future for knowledge and for life as a whole.
Goethe applies this in his morphology in order to understand the living in its becoming, in its weaving. If one transfers this to artistic feeling, artistic creation and if one comes to understand through sensual-supernatural contemplation: what movements the larynx and the other speech organs actually want to carry out?
277c. The Development of Eurythmy 1920–1922: Question and Answer Session 04 Oct 1920, Dornach

Steiner playing cards in a Hungarian border town, themselves fall under the tables, or only their etheric bodies? Was this a process that could only be observed in the etheric body? Rudolf Steiner: Please understand me correctly: eurythmy is such that it can be performed in the physical body and through the physical body, which today only the etheric body of the human being performs.
The etheric body has the inherent possibility of moving in all directions, and in addition, in the waking state, it is under the constant influence of the mobile astral, which now follows all soul activity. So the etheric body itself is something completely mobile.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 09 Oct 1920, Dornach

Not to explain the content of these eurythmy performances, that would be an inartistic undertaking. Art, in whatever form, must work through itself; it must speak for the immediate impression of what it has to reveal as art.
Rather, the issue is that movement tendencies are present in all speech organs, which, as it were, by moving the speech organs, stir the air, which then translates into the vibrations of the air, these underlying movement tendencies of the speech organs can be observed through sensory-supersensory vision. This can certainly happen, just as something else can be observed sensually and supernaturally, so too can that which simply eludes ordinary attention when listening, because it is based on hearing and seeing, it can be observed sensually and supernaturally.
What I would still like to say on this occasion is the following. In all our undertakings here – I ask you to take note of this in particular and to be patient, since everything here with us is in its beginnings, including this eurythmy: We know very well where this and that is still, what is missing here and there.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 16 Oct 1920, Dornach

In particular, these movements are such that – to use a Goethean expression – through sensual and supersensual observation, one can see which movements underlie the larynx and the other speech organs when a person speaks. I do not mean the movements that are then carried out in the air and that convey the sound, the speech, but I mean deep, internal movements in the speech organism itself, which of course cannot be observed externally.
During our college course, which was held in the last few weeks, the two lecturers who spoke about language emphasized how one only begins to understand the actual essence of language when one observes how speech emerges from human movements, which always underlie it invisibly and supersensibly.
After all, human beings actually want to accompany speech with movements – so we also learn to understand languages better when we have this eurythmy. And especially when reciting and declaiming has to be done at the same time as a eurythmic performance, one notices how one cannot recite and declaim as it is often done today, where one actually only speaks prose, when what is actually to be revealed in terms of rhythm, meter, and the poet's entire use of forms.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 17 Oct 1920, Dornach

Now, eurythmy is such an inner strengthening of the human being, and in order to show this, I will have to put this eurythmy in the series of the other arts with a few words. For example, we have sculpture. One understands it only, the sculpture, the art of sculpture, if one understands the shaping of the physical human body from its form. Because basically, everything else we sculpt can only be modeled three-dimensionally if we understand the sculpture of the human body. Architecture is an art that initially appears to have no real model.
It must be said that gymnastics may be a good thing; it is based on an understanding of the physiological laws of the human body, and what it achieves relates only to the training of the human body.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 24 Oct 1920, Dornach

This is not done to explain the performance – that would be an unartistic undertaking. Artistic work must make an immediate impression and must make this impression naturally without explanation.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 30 Oct 1920, Dornach

Therefore, if I want to express myself in a somewhat trivial way, it can be said that poetry becomes increasingly difficult in civilized languages unless other elements of expression are used to help. We can already imagine something under what I call a visible language here, when I refer you, I would like to say, to the other pole, to the abstract, inartistic pole of language development, the other pole in relation to eurythmy, which we will talk about in a moment.
Because the human will expresses itself through the human instrumentality, we can say: when we see the human being in motion — but who acts as if he were the soul-content expressing itself in speech — we have before us something that we can see directly, that we do not need to understand first. Of course, people are not yet accustomed to eurythmy. That is why they say that much of it is incomprehensible to them.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 31 Oct 1920, Dornach

Admittedly, at first one has the impression that this silent language cannot be readily and obviously understood. But, dear assembled, we must be clear about the fact that we do not immediately understand ordinary spoken language either, in any form; we have to learn it.
The writing that emerged from pictographic writing or from sign writing can no longer be understood today in such a way that one sees great similarities between it and language. But this is only the case with writing that has already been developed in more advanced civilizations, writing that has already completely transitioned into abstract signs.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 19 Nov 1920, Freiburg

Eurythmy was created, to use this Goethean expression, through the sensory and supersensory observation of the underlying movement tendencies of the larynx when singing or even when speaking. I am not saying that the movements that are the basis for eurythmy are those that are expressed in speech or in the sound of air and that convey hearing, but rather that they are the movements to which the larynx merely sets out, so to speak, which it does not actually carry out, which it wants to carry out, so to speak, which can be observed and which can then be transferred to the whole person.
– [they can be told:] anyone who truly loves art understands that it strives for new means of expression, for means of expression that present the supersensible and spiritual, which is to be presented sensually through art, in ever new forms.
277c. The Development of Eurythmy 1920–1922: Eurythmy Address 05 Dec 1920, Dornach

We have introduced eurythmy as a compulsory subject at the Waldorf School in Stuttgart, which was founded by Emil Molt and is now under my direction. We have seen that in the one year since the school has had eurythmy, it has been able to achieve something very significant for children by including it.

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