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The Rudolf Steiner Archive

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277b. The Development of Eurythmy 1918–1920: Eurythmy Address 22 Aug 1920, Dornach

We have to infuse our words with that which thoughts have as a thought content or conventional content, which is necessary for people to understand each other. Both are elements that destroy the artistic. In particular, the fact that the content of thought - all thought as such is unartistic - is pushed into the sounds, thereby giving spoken language a particularly unartistic element.
This is also the reason why in the most difficult art of all, in poetry, everyone believes they are a poet if they can just make verses, while what is essential is to see how, in true the literal is not the main thing at all, but rather that which is formal about poetry, the beat, the rhythm, the musical, entirely pictorial, that which underlies it, not the literal. But what underlies poetry as a kind of eurythmy is then poured into visibly moving forms when one moves on to eurythmy.
Rather, one can only accompany the eurythmic art in a recitative if one sees perfection in the recitation as emphasizing the underlying melody, harmony, rhythm, meter or imagery of the poetry, not the prose content. It must be mentioned again and again that Schiller did not first have the prose content in mind's eye when writing his most significant poems, but rather some indeterminate melody, something musical.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 05 Sep 1920, Dornach

But it is not this movement that is important here, but rather the tendency to move, which in turn underlies this vibratory movement. And this tendency of movement, which can be studied for every sound, for every inflection, and also for that which underlies the expression of speech in the soul, has all been studied and is transmitted from a single organ or a group of organs, such as the larynx and its neighboring organs, to the movements of the whole person.
Of course, from today's point of view, it is very easy to say: Yes, what movements are performed, that cannot be understood. My dear audience, a new-born child does not understand language either. Language must first be listened to.
When reciting, this does not have to be taken back by reciting according to the content of prose, according to the pure logic that underlies it. This is considered a sincere, soulful recitation. However, it has become an unartistic recitation.
277b. The Development of Eurythmy 1918–1920: Eurythmy Address 12 Sep 1920, Dornach

The whole human being performs movements in his gestures, or: he performs movements in space or groups of people perform movements in space. All this could be understood as an ordinary, even representational, ordinary art of dance, but it is neither of these, but is based on a careful study of the ordinary language of the human being.
But at its basis lies a certain tendency of the larynx and other speech organs to move. These tendencies of movement are to be understood as what is communicated as a vibrating weaving of the air: It is not something more highly developed than thought, but something more deeply rooted, something that takes place in a seemingly simpler way than the vibrations of the air, but which is expressed through the vibrations of the air when the tone that underlies this movement tendency expresses itself.
Likewise, an inner lawfulness in space and in the time of the eurythmy production underlies this. Those of you who have been here before will have noticed how, over the past few months, we have been working to develop this element of artistic form-giving more and more in eurythmy, and how we are getting closer to capturing in artfully designed forms what the poet has made of the literal content.
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.

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