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The Rudolf Steiner Archive

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277b. The Development of Eurythmy 1918–1920: Eurythmy Address 23 Mar 1919, Dornach

What we want to develop as the eurythmic art is, as far as we can see, truly derived from Goetheanism. However, if one wants to understand this Goethean basis of the eurythmic art, one must consider the whole great and powerful way in which Goethe's artistic sense, how Goethe's whole artistic direction is based on the grandiose of Goethe's world view, which is completely unlike today's sober direction, which is usually taken as the basis of world views.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 24 Mar 1919, Dornach

To a certain extent, one can say that in eurythmy, as we understand it, the whole human being should act as a visible larynx, as if one were suddenly able to see what the air accomplishes in terms of inner mobility and movement when we hear a sound or a sequence of sounds.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 30 Mar 1919, Dornach

And we can only come to terms with living nature if we base our understanding of it on this kind of view, right up to the human being, if we follow how everything consists of living members that are actually only repetitions of the whole, of the whole organism, how the whole organism is only a complicated elaboration, transformation of the individual member.
Thus, if one enters into what this art is about – as we have once set it up – on the one hand one can see the human larynx embodied in the movements and forms of the whole person and groups of people, and on the other hand one can hear the poetry and the music, so that the two complement each other and unite to form a total work of art. And it should be understood, esteemed attendees, that the recitation that accompanies the eurythmic art must be held differently than what is usually understood by recitation today, precisely because it appears as a special artistic supplement to eurythmy.
If it is met with understanding, it will be able to develop further. And we are convinced that today we are still at the beginning of its development with this eurythmy.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 05 Apr 1919, Dornach

Eurythmy should be a visible speech. Indeed, art and artistic feeling must underlie the whole development of eurythmy. What you will see here has not been derived from dry theory or science, but from Goethe's concept of nature and art, directly translated into feeling.
We must look to shape the recitation here, which is to come together with eurythmy to form a Gesamtkunstwerk, by going back – just as our art of dance must also go back to the sacramental dance of antiquity in many ways – we must go back go back to older forms of recitation that are less understood today, but which can be understood again if something develops from the declining art culture of the 19th century that in turn contains elementary spiritual, super-sensible elements.
But with all this, I ask you, dear attendees, to consider what we have undertaken here as an attempt to arrive at some new art form, as a beginning. We ourselves think very modestly about what eurythmy is here for the time being; but we believe, on the other hand, that something perfect can really come out of this weak beginning.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 11 Aug 1919, Dornach

When you reflect later and remember what you have seen, and when you understand the word eurythmy, then hopefully this will be a beautiful memory, a beautiful thought. You know that man has the beautiful gift, the beautiful gift of God, of language.
And now I would like to say a few words to the adults above your heads about what you see and what you will understand better later. How what we call a eurythmic experiment, how this our eurythmy is an embodiment, one might say, of Goethe's world view and Goethe's view of art, how we have to think of it in the first third of the 20th century, not in Goethe's time itself.
What the soul bears within it is made manifest through the eurythmic presentation. You are not yet able to understand what it means to have a soul. But when something stirs in your breast later in life, you will also experience that you have a soul.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 16 Aug 1919, Dornach

And it is this Goethean artistic spirit that we would like to see permeate this art of spatial movement that we call eurythmy. In his understanding of the living world, Goethe goes far beyond what science already recognizes today. And it is to be hoped that precisely that which Goethe himself describes as his metamorphic view will acquire great significance for the future of humanity.
What Goethe wrote down in his magnificent essay on plants in 1790 can be applied to understanding all living things in nature. It can be applied in particular to understanding the human being.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 17 Aug 1919, Dornach

And in order to make clear how the artistic forms of expression brought about by the human limbs and by the movement of people or groups of people in space, in order to make understandable how these artistic forms of expression forms of artistic expression are used in eurythmy, I have to sketch in a few lines what underlies Goethe's world view, something that is still not sufficiently appreciated today.
This thought, the fruitfulness of which, as already mentioned, will only be fully recognized in the future, also by science, this thought underlies our eurythmic art. When we listen to a person speaking, our attention is naturally drawn first to the sequence of sounds, to what is expressed in speech in the tones.
And when man regards himself as the instrument of this reflection, then he is evidently fulfilling something that can be understood as a summary of the most diverse artistic motifs. But I ask you again to look at what we are able to offer with some leniency, because it is a beginning, and we are our own harshest critics, we are well aware of what is still imperfect, but we believe that this imperfection, if it is further developed by ourselves or by others, will become a fully-fledged art form alongside other art forms.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 14 Sep 1919, Berlin

And it is precisely this that is so special about Goethe: he understood how to bridge the gap between artistic attitude, artistic power and general world view for his own perspective.
It would not be possible to accompany eurythmy with this art of recitation, which only focuses on content. Therefore, we must return to what is little understood by our contemporaries as an art of recitation. But in this way we believe we can emphasize an element in the present that is as artistic as possible through this eurythmic art and thereby bring to life something of Goethe's artistic spirit.
With this in mind, I ask you to also take in today's presentation. If it finds understanding among our contemporaries, then it will lead to it being further perfected. For however convinced we are that it is still in its infancy today, we are equally convinced that it has such principles within it that it can be brought to such perfection, either by ourselves or by others, that this eurythmic art, among other things, will be able to present itself as fully justified.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 16 Sep 1919, Berlin

And these movements can be transferred to the whole human being, to the whole moving human being, who reveals the movements that otherwise underlie the larynx and its neighboring organs: speech that has become visible. The joy, suffering, etc. that resonates through the soul when speaking can be transferred to groups and expressed there.
It is particularly appealing when a person not only creates works of art but also turns themselves into a work of art. This is how eurythmy is to be understood.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 11 Oct 1919, Dornach

What we recognize here as the eurythmic art was conceived and born out of the Goethean worldview, out of Goetheanism. We shall only understand what we understand by Goetheanism here if we think not of Goethe, who died in 1832, but of the Goethean genius, which lives on and must be felt anew by each generation, and whose artistic and world-view intentions can be taken up by each generation and developed in one direction or another.
Otherwise, what you will see on stage and what you will hear through the art of recitation is one and the same. In this sense, I ask you to understand what we want to develop as a kind of Gesamtkunst, because if what is organically possible for a person to move can really be artistically developed, then it is truly the case that what can be applied to it is what is so beautifully expressed in Goethe's saying as a Goethean artistic attitude: When man has reached the summit of nature, he in turn produces an entire nature, taking order, harmony, measure and meaning together, in order to finally rise to the production of the work of art.
And I ask you to look at what you can already find developed in these intentions today with the same tolerance with which one looks at a beginning. Perhaps not everything has yet been understood in the way it should be understood. But if this artistic trend is taken into account by contemporaries, then there will certainly be the incentive to develop it.

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