The Rudolf Steiner Archive

First public performance in Bern at the Kursaal Schänzli. The program was the same as that of the performance in Zurich on October 31, 1919, see p.194.

Dear attendees, Among the endeavors in the field of spiritual science, as outwardly represented by the Goetheanum, which is being built as a Free University for Spiritual Science in Dornach near Basel, there are also scientific and artistic endeavors in a wide variety of fields. Among the artistic endeavors, I would say that the endeavor that I call eurythmic art endeavor occupies a very specific place. This eurythmic art endeavor can very easily be confused with all kinds of neighboring arts, but actually should not be confused with them. We know very well that everything that appears today as spatial movement arts, dance arts or the like is sometimes so highly developed that what we are able to offer here would not want to compete with it. But here we are dealing with something quite different: it is a completely new artistic endeavour. And because we do not really have more to offer at present than a beginning, which certainly wants to be perfected but is still just a beginning, I would like to say a few words about the test that we want to offer you today – for the first time in this city – of our eurythmic art. Everything that we present as the eurythmic art has been thought out and worked out from the Goethean worldview and the Goethean spirit of art. It is self-evident that every art must work for immediate perception and aesthetic impression through itself, and that every interpretation, every explanation, every theoretical discussion is superfluous when it comes to art. This also applies to the art of eurythmy, of course. But because it is an art that is in its infancy, it will be necessary to say something about the sources from which this new art movement draws.

And here I may – not in order to present a theoretical discussion, but to make understandable the form of expression in which eurythmy appears – I may recall a few simple facts from Goethe's world view, namely from Goethe's theory of metamorphosis, from that theory of metamorphosis , which, despite being quite old, is still not fully appreciated, as it will be when we try to replace the science of the dead, the inanimate, which is all we really have, with a science of the living.

What is presented as the basic principle of Goethe's metamorphosis theory looks very simple and primitive today. Goethe thought that the whole plant - even if it were a complicated tree - is nothing more than an upturned single leaf, in all its complexity. And in turn, the leaf in its simplicity is an upturned whole plant. If one sees spiritually, as Goethe put it, or in terms of ideas, if one sees sensually and supernaturally, as he also said, then one sees in a single leaf a whole plant, in the whole plant only one more intricately endowed leaf - and in turn in every organ of any living being only the transformation of every other organ.

What Goethe thought about the form of living things can also be thought about the activity of living things. And if we apply this to the activity of the most highly developed living being, the human being, and to that which is a particular expression of human perfection – language and the speech organs – then we arrive at what we call the eurythmic arts.

When we listen to a person speaking, we first turn our attention from the sense of hearing to the audible. But while a person is speaking, the larynx and its neighboring organs are in mysterious motion. One could even depict it physically by saying: While I am speaking here, the air is in a perpetual motion, which is only an impression of the motion of the larynx and its neighboring organs. In our ordinary lives, we pay attention to what we hear, not to the movements that are only an imprint of the movements of the larynx and its neighboring organs. In our ordinary lives, we pay attention to what we hear, not to the movements that are only an imprint of the movements of the larynx and its neighboring organs, but to what we hear. But if one has the gift of supersensible vision, of seeing the invisible movements that underlie the audible, then one can project the movements of the larynx and its neighboring organs, which do not come to external manifestation, onto the human being as a whole. And in a sense, each limb of the human being can be moved in such a way that the movement is an imprint of the movement patterns that the larynx and its neighboring organs undergo when any sounds come to be revealed in speech.

If one then penetrates that which one lets one's limbs perform in terms of movement, just as artistically as it is penetrated in poetic language or song, that which the larynx accomplishes - in terms of rhythm, meter and so on - then an artistic instrument of the very first order arises in the moving human being himself.

And so what you are seeing this evening, dear audience, I would say the whole human being as a larynx moving, visible language, performed the linguistic sounds in motion by the whole person. This brings out of the human being that which is contained in his or her deeper nature.

We do justice to an artistic view such as Goethe's by creating such a new form of art from within the human being itself. Goethe says so beautifully, in expressing his view of art: When nature begins to reveal her secrets to someone, that person feels the greatest yearning for her most worthy interpreter: art. And the human being is indeed an imprint of the whole universe; he has the deepest secrets within him. If you try to get them out of him through special artistic design, by making the whole human being the expression of the moving larynx, just as the whole plant is a perfect, a complicated expression of the individual leaf, then the secrets of the world are expressed that would otherwise remain hidden.

But this also brings art closer to the real penetration of the secrets of the world, as it is in Goethe's sense when he says: Art is based on mysterious natural laws, on the essence of things, insofar as it allows us to represent this essence of things in tangible or visible forms. So that what the individual person presents on the stage is language that has become visible.

But in language, especially in artistic language and in song, in the musical, everything that our soul experiences as warmth, everything that our soul experiences as joy and suffering, is also effective. What the poet brings into language by shaping it into rhyme and rhythm can all be expressed in the spatial-movement art of eurythmy. We find that people initially work together in groups, expressing warmth of soul, joy and love. But what moves in the individual person is only a translation of the individual parts of the larynx movements into movements of the whole person.

In this way an art comes into being that is imitative, I might say, but endowed with its own inner laws, the inner laws of music itself. Just as in music it is not tone painting that is the actual artistry, so in the eurythmic art it is never mimicry, pantomime, the mere facial expression that is artistic. If you see pantomime, mimicry or mime in the so-called 'humorous' part of the performance, it is only because of the imperfection of our eurythmic art. This will gradually disappear. It is not that we are seeking some momentary connection between a movement, a gesture, and what passes in the soul, but rather, all this is inwardly lawful. And in the moving gesture, as in the moving tones, lies the connection, the lawful connection of the musical, in the succession of tones.

What is presented on stage through eurythmy is accompanied, on the one hand, by music, which is just another form of expression for the same thing that is expressed through the art of eurythmy, and on the other hand, by recitation and declamation. But here attention must be drawn to the fact that the art of recitation will in turn have to return to its old, good channels if it is to accompany eurythmy, which reveals the same thing as poetry but in a different form. For it must be emphasized that the art of recitation is in many cases decadent in the present day. We need only remember that today the most perfect art of recitation is considered to be that which emphasizes the prosaic, the literal content of the poem, I would say the novellistic, not the truly artistic aspect.

But what is in the background as rhythm, as the musicality of language, is the main thing in art, not the literal content. I need only remind you that Goethe, for example, rehearsed his “Iphigenia”, which is a dramatic poem, with a baton. This shows that it is the lawful progression that is important, not the emphasis of the prose content. Schiller did not have the literal content of the best of his poems in his mind at first, but rather something melodious, a kind of melody. And it was only by developing this that he found the literal content. It is the shaping of the content of the language that matters. We must go back to this with today's recitation and the art of declamation. For with today's art of recitation and declamation, it will not be possible to accompany what is to be expressed in the art of eurythmy. - So we will try to present to you on the one hand on stage a certain musical or poetic side, which will, however, be accompanied by the art of recitation and declamation, as it could be described here.

With these words I wanted to characterize the underlying sources. What is presented must make an impact through the aesthetic impression itself. For only that which leads not in some easy way but into the secrets of the existence of the world, without this leading to ideas or external concepts, is art.

If one attempts to approach human beings and their deeper secrets with such art, one fulfills what Goethe meant when he said, “When man is placed on the summit of nature, he beholds himself as a whole nature, but one that is in itself the source of all phenomena.” To repeat what he said, because everything we do want to do is supposed to be Goetheanism. —, one attains precisely all that he means when he says: When man is placed at the summit of nature, he sees himself again as a whole nature, which in turn has to produce a summit. To do this, he improves himself by permeating himself with all perfections and virtues, invoking choice, order, harmony and meaning, and finally elevating himself to the production of a work of art. He will be all the more uplifted when producing the work of art if he makes his own organism, with its inner possibilities of movement, into an instrument. This is the one side, the actual artistic side, that is most important to us in our eurythmy.

But we are also concerned with the pedagogical side, and we are convinced that what we call the pedagogical side of eurythmy will gradually find its way into schools when people begin to see the value of such things. What is presented today as gymnastics is more or less something that is significant in the physiological realm for outer physicality, outer corporeality. What is presented here as the art of movement is the human being's lived and spiritualized movement, and it will be able to stand alongside pedagogical gymnastics in the same way as it will be able to stand alongside other fully-fledged art forms. I would ask you to be lenient in this regard.

We are the strictest judges of ourselves, but we know very well that this eurythmic art is developing. And we ourselves will continue to develop it - if not through us, then through others, when our contemporaries turn their attention to this eurythmic art out of a certain culturally progressive interest. However much it is still in its infancy today, we believe, dear attendees, that it is so capable of perfection that it will one day be able to establish itself as a fully-fledged art alongside other fully-fledged arts. From this point of view, I ask you to take today's presentation with indulgence.

[After the break, for the second part of the public eurythmy performance]

Dear attendees!

We will now attempt to perform two short scenes from the second part of Goethe's “Faust”. In these representations of the second part of Goethe's “Faust” – we have already tried a whole series of these in other places – it has become clear to us how eurythmy can serve in the presentation of such dramatic creations as those in the second part of “Faust”. I believe that the esteemed audience will be aware of the major obstacles that arise when the second part of “Faust” is to be staged. Perhaps one recalls various attempts at staging this second part of “Faust” using a wide range of directorial skills. One need only think of the charming direction and staging by Wilbrandt or the mystery play staging by Devrient with Lassen's music and numerous other stagings, and one will always find that these performances do not bring out anything of what is in Goethe's “Faust”.

Nevertheless, one should still have the feeling that this poetry expresses precisely that which reveals itself as so powerful in the whole rich development of Goethe's life. - After all, one is dealing here with all phases of human artistry, from the age of youth to the highest maturity of old age. And anyone who is not prejudiced in any way will follow the development of this rich Goethean artistic life with great inner satisfaction.

Of course, even during his lifetime, Goethe had to experience some things that annoyed him, one might say. The first part of Faust, which is certainly easier to understand than the second part, in which Goethe, in his own words, has hidden much - much of what he has recognized and experienced through a rich life - the first part of Faust found a large audience even in Goethe's time. And Goethe himself thought that with his Iphigenia, his Tasso and later, as he believed, with his Natural Daughter, he had come far beyond the art form that he had carried out in the first part of Faust. Because in the second part, which was only published after Goethe's death, he certainly reached a very special level. But what annoyed him during his lifetime was that people kept saying: Yes, Goethe has grown old. In his “Tasso”, you no longer see the same bubbling youthful energy that is expressed in his youthful works – and so on. He became annoyed about it. And he would certainly have thought many a thing if he had been able to live to see that not only the common philistine, but, as they also say, higher daughters, higher philistines, were upset about the fact that the second part of “Faust” would only represent a decline in Goethe's art. For example, the Swabian Vischer, the so-called V-Vischer, not only felt compelled to write a large number

of treatises on the failed second part of “Faust”, he even tried to write something better, to write a second part of “Faust”. He also became ill afterwards. He repeatedly emphasized that the second part of Goethe's “Faust” was a cobbled-together, glued-together work of old age.

As I said, Goethe took artistic revenge, and not only on the second part of “Faust” but also on many other works that were still incomplete. One can say that he took revenge quite severely. There is a beautiful quatrain in his estate. He wrote it down precisely with such things in mind. It reads:

They praise my Faust,
And what else

— he means the “Faust” of the first part, which was finished.

They praise my Faust,
and what else
In my writings roars
in their favor.

The old Mick and Mack,
that is very pleased;
The pack of ragamuffins thinks:
They would no longer be!

Goethe would undoubtedly have said the same if he had been able to experience what great aesthetes like V-Vischer have said about the second part of his “Faust”. There is a great deal in the second part of 'Faust' where Goethe rises to truly transcendental, spiritual experiences of the human soul. And precisely those scenes in which Goethe has so much of what only he could experience in his rich life, that was presented to us in such a way that it can be extracted from the poem with the help of the art of eurythmy.

And so this evening we would also like to give you a small sample – the scene around 'midnight' – where the four forces that gnaw at human life appear before 'Faust': want, need, worry, guilt, and where 'Faust' experiences everything that one can feel, live and learn in the face of these four forces, which here call themselves worry, need and so on. What Goethe has put into the poem through the way it is presented is revealed precisely through this moving language, through this silent language, expressive language, through the possibilities of movement of the whole human being; it comes out precisely through this.

So perhaps a performance of this kind, where eurythmy is used, can be seen as a kind of experiment. What is human and everyday is, of course, presented in the ordinary sense; but what rises into the supersensible world should be presented with the help of eurythmy. In this way, something like this can be considered an experiment, and we believe that by using eurythmy to help us present something that cannot be presented by any kind of stage direction, we are able to present something in a narrower field that could not otherwise have been brought out.

Automated Translation

Dear ladies and gentlemen.

We would like to take the liberty of presenting a sample of our eurythmic art to you today. This eurythmic art is in the early stages of its development and is in great need of further refinement. So we will have to present a kind of experiment to you. Therefore, you will allow me to say a few words in advance.

Of course, the aim of the eurythmic art is not to be understood through any kind of theoretical prediction. Every artistic activity should be grasped directly through the aesthetic impression itself. However, I do not wish to speak these few introductory words in order to provide theoretical discussions about what is to be imagined, but rather to explain to you how an attempt is being made here to create a new art form from certain sources. This new art form should not be confused with all kinds of neighboring arts that seemingly want something similar - such as dance art and the like - but it is an art form that is taken entirely from the Goethean worldview, from the inner possibilities of movement of the human individual himself. If I am to express in a few words what this eurythmic art actually is, I would have to say: it attempts to reveal itself through the whole human being in a toneless language, in the same way as a person would otherwise speak through the larynx and its neighboring organs. The possibility for this is derived from a psychology, from a soul science, which is based entirely on the principle of Goethe's world view. Let us just consider, my dear audience, what human speech actually is. We still do not give sufficient account of this today. And that is why such attempts as the eurythmic art - which reveals a different artistic language from the other art forms - will be more difficult to understand because we are not yet accustomed to understanding.

Human speech is such that human will works together with the whole human organism. However, this human will is, as it were, toned down by what pours in from the other side of the human organization, from the side of the thought organization. In ordinary human speech, human volition, which mobilizes forces that we can describe as muscular and other forces, and everything that otherwise works in thinking, but which is discharged through organic transmission to the larynx and its neighboring organs, really do flow together. That which is the thought form of speech, that which pours out of the thought side into speech, brings us together with our fellow human beings in life, and brings us together with the outside world in general. This is also the element in which the outside world is mirrored.

Now, in this eurythmic art, an attempt is made to bring about such a metamorphosis of language that the sounding of the thought is eliminated and only that is brought out of the possibilities of movement of the human organism, which pulsates from the will into language. In this way, this silent language, which expresses itself through the limbs of the whole human being, this eurythmy, is made an expression of the human being himself in a much more intense sense than ordinary language, into which, because it is also the means of communication for the human being, much that is conventional must flow.

Thus it comes about that we are able to bring to manifestation in eurythmy, through the possibilities of movement given in the human organism, precisely that which is subject to language from the soul of man.

When man speaks, I would like to say that he is always willing to make the same movements that come to manifestation in eurythmy. Particularly when listening to something spoken, the human being would like to make these movements. He suppresses them because the thought element dulls and paralyzes that which lives in the whole human being. In this way, the thought element is completely suppressed. Then it no longer paralyzes that which comes from the will element: the whole human being becomes an expression of the will, which is suppressed in ordinary language. But through this, my dear audience, the bridge is created over to the musical element, which is also a kind of language that expresses the depths of life, and on the other side, but also to poetry.

In poetry, the main thing is not the content of the words, but rather what is actually suppressed in ordinary life when speaking: In poetry, the main thing is rhythm, meter, everything that underlies the spoken word as its form. Hence you will see how, on the one hand, in certain pieces, the eurythmic element - which is a silent language spoken by the whole human being - is accompanied by the musical element, which in this case expresses the same thing as that which is expressed in the movements of the human limbs on stage. On the other hand, you will see that the truly poetic in poetry must be expressed when poems are recited at the same time, which on the one hand work through the word itself, but on the other hand but also through the silent language, the language of the will, which is presented on the stage and says the same thing as is spoken from the mouth in poetry, through the spoken word.

The basis of the art of eurythmy is not an arbitrary movement of the human limbs. Anything that is merely a gesture, merely facial expression, merely pantomime, is avoided. There is an inner lawfulness, as in the melodious element of music itself, for example. It is all based on the sequence of human movements. What the human will does with one sound follows, one might say, a melody of movement, what the other sound does. And so the inner connection is a lawful one. When two groups or individuals perform the same piece in eurythmy, the individual conception is no more at issue than it is for two pianists playing one and the same piece of music, such as a Beethoven sonata. Nothing arbitrary remains in the eurythmic art. Everything is in accordance with inner law.

Therefore, in the accompanying recitation, it must also be taken into account that, in poetry, the main thing is not the content of the words - which is particularly emphasized today when reciting; in this respect today - but rather it is actually the main thing. It would not be possible to accompany eurythmy with recitation in any other way than by making this the main thing: the underlying rhythm, the beat. Everything that is the formal expression of poetry must also underlie the recitation. Both are still poorly understood today. However, both should be the beginning of a new art form. And in the interaction of poetry, music and eurythmy, something should be created that truly corresponds to what Goethe felt: Art is based on the insight and visualization of the work of art by the human being, in visible and tangible forms to represent what has been seen through. Goethe once said, when he was writing his book about Winckelmann, where he delved particularly deeply into the essence of artistry: “Because man is at the pinnacle of nature, he in turn feels like a whole nature. He takes measure, order, harmony and meaning together to finally rise to the production of the work of art.

Is it not right, dear assembled here, when the human being's own deep conformity to law, which lies in every possible movement of his limbs, is brought forth into a mute language, which is, however, a fully valid form of expression for that which can also be speech? Must we not say that when something so deeply mysterious is drawn from the human instrument – for there is an imprint of the whole world in human nature, a microcosm – must we not say that something eminently artistic must emerge? As I said, there is nothing arbitrary about this eurythmy; it is simply the possibilities for movement that the larynx itself makes when we speak: These are captured in supersensible vision, are transferred to arms and hands and the other limbs of the human body, so that one might say that the human being itself acts like a large larynx, in order to create possibilities for expression that work through the mute movements, but which can be much richer, namely much more inwardly soulful, than what is achieved through conventional phonetic language.

If it is to be justified that something like this is possible, then it must be said that a bridge between poetry and such an art of movement, which is drawn from the human organism itself, is already given by the fact that the true poet does not feel the literal as the actual content of his creation, but rather that which formally underlies the poetry. In the case of Schiller, for example, in the best of his poems it was not the literal content that was first in his soul, but rather he had something musical, something melodious in his soul; only then did he add the literal content.

And Goethe studied Iphigenia with his actors, which is even a dramatic poem, with a baton like a conductor, so as not to emphasize the literal content, but rather what is based on the rhythm, the inner musicality of the matter. This inner musicality, we say, which we can otherwise express in language only partially, should be brought out of the human organism through eurythmy.

But all this, ladies and gentlemen, is really only at the beginning, and it is very necessary that this attempt at a eurythmic art be perfected more and more. To do this, it is of course necessary to find the interest of our contemporaries. If this interest of contemporaries turns to the art of eurythmy, as it has already partly turned to it, then the beginnings that have been made today will be further perfected, either by ourselves or, probably better, by others. And we are convinced that eurythmy will be able to create something that can stand alongside other art forms as a fully fledged art.

We are our own harshest critics when it comes to what we are able to offer today. We are well aware that it is a beginning that will gradually grow, but that it can already be presented because this art form, born out of Goetheanism, is something different, something that can be introduced as something new in our overall spiritual development. Therefore, because it is a beginning, we ask you to take the performance with indulgence. As already mentioned, we are our own harshest critics, but we do believe that what we can give today is worth the interest of our contemporaries.

[Before the break:] Since a wish has been expressed in this regard, we will present a scene from Goethe's “Faust”, part one, the scene that takes place in the study [night], with the Easter scene that follows. We want to present this scene with the help of the eurythmic art.

The many attempts that have been made to bring Goethe's “Faust” to the stage are well known. The difficulties lie in the fact that Goethe not only depicted what takes place for people and around people here on earth, but that in many places Goethe raised the scenes into the spiritual and supersensible. This is where the art of directing, the ordinary art of directing, very often fails. Anyone who has seen a variety of different “Faust” performances, for example the charming production by Adolf Wilbrandt, or Devrient's mystery play, which broke with the customary style and tried to present the matter in a more mysterious way, knows how difficult it is, especially with “Faust”, to bring to the stage that which is the transference of the plot into the supersensible, to bring truly shaped forces onto the stage.

Now, of course, we will present everything that takes place in the ordinary world of the senses on the ordinary stage; but where the situation involves raising the whole situation into the supersensible, we will use eury thmy, which is particularly suitable for dealing with these scenes, as it has already been shown in certain scenes of the second part of “Faust”, the mysterious depths of which cannot otherwise be fully explored.

So I think you will be able to see, if you let this experiment take effect on you – because it can only be an experiment – this scene in the study with the subsequent Easter scene, you will be able to see how, with the help of eurythmy, the supersensible aspects of this first part of “Faust” can easily be revealed in a way that is appropriate to the scene. Note 129, 5.56

Archduke Eugene of Austria, who was staying in Basel at the “Hotel Des Trois Rois” and was affectionately known to the people of Basel as “Erzi”, attended this performance. From time to time he came to Dornach to watch a performance.

Dear attendees!

We would like to take the liberty of presenting a sample of our eurythmic art to you. Since this eurythmic art is still in its infancy and can easily be confused with all kinds of neighboring arts, please allow me to say a few words before the performance.

In what we call the eurythmic art, we do not want to compete with any dance-like arts or the like, which we know to be more perfect in their way than what we can already present as the eurythmic art today. But in this eurythmic art, something is being attempted that can stand on its own alongside all the other arts.

Just as basically everything that is to be connected to this structure, and for which this structure is to be the external representation, is taken from Goethe's world view - and I would like to point out how I would like to point out how this has been done, because it shows the sources from which this eurythmic art actually flows – in this way, this narrow field of eurythmy is also taken from the Goethean world view.

Of course, everything that is intended to have an artistic effect must be perceived directly through the eye or through the senses in general, and any theoretical explanation that is given about an artistic work would not only be superfluous, but it would also have to be fundamentally mistaken. I would therefore like to preface these words not in order to say something about the artistic formalities themselves, but to show the artistic sources from which this eurythmic art draws. And I may begin with a few words – truly not to give a theoretical explanation, but to point out something that is at the same time most eminently artistic and also a form of knowledge within the Goethean world view – I may begin by pointing out in a very elementary way what is known as Goethe's metamorphosis theory. It is something that has not yet been sufficiently appreciated in the present, but which will play a major role in the spiritual life of the future.

We basically only have a science of the dead. That which is grasped by our knowledge is only that which is dead in all world phenomena and world facts. Understanding the truly living will only be reserved for a time when the Goethean worldview will play a greater role than it already does in the present. Today it looks simple, but it is not so simple when one only understands it in its full depth, what Goethe says, for example, about the growth and structure of plants. Goethe is of the opinion that the whole plant - and even if it is the most complicated tree - is only a complicated leaf. And each leaf is in turn a whole plant, only simple and primitively formed. But it is not only so with plants; it is so with all living things. The most important links of each living thing are a repetition of the whole living being.

Goethe initially developed this view only with regard to the formation of living things. He also extended it to humans, but only in terms of form. If we extend what Goethe did for form in his own way to human activity, then we can gain from it what we call the eurythmic art here, when we transfer mere observation into artistic creation. However, one must approach it in such a way that one grasps what would otherwise remain hidden from external impressions, from sensory impressions, in a kind of supersensible vision.

You see, my dear audience, when a person speaks, we listen to him; we listen to him with our ears, we grasp the spoken language. But while the person is speaking, the larynx and its neighboring organs are in a state of constant internal movement, at least by nature. Physically speaking, everyone is aware that when I speak here, I cause the air to vibrate, to move in regular waves. What is being done by the larynx and its neighboring organs is not seen when we listen to a person. But the person who is able to see supersensibly is also able to see what potential movements are present in the human larynx when the person speaks, especially when he speaks artistically or when he sings or when he wants to express something musical at all.

These inner possibilities of movement of the larynx and its neighboring organs can be grasped, imagined and then transferred to the human being as a whole. Just as Goethe imagines that the large plant is only a more intricately designed leaf, so can the movements that otherwise remain invisible be transferred to the movements of the limbs of the whole human being. Thus, on the stage, you will see the human being in motion. And what is revealed in these movements is not arbitrary, it is not something invented, but it is exactly the same as what happens invisibly when a person speaks audible language.

What is presented is a mute language, but a visible one. There is so little arbitrariness in it that one can say: all pantomime, all mere facial expression, all gesturing with the eyes are absent from eurythmy. So that it cannot be compared with any of the now familiar dance arts, for example. Just as what is truly musical does not consist in the mere painting of colors, so our eurythmic does not consist in the mere external expression of what is going on in the soul, but in the lawful succession of movements performed by the human limbs.

I could therefore figuratively say: when you see the human being moving here on the stage, the whole human being has become the visible larynx. It is indeed part of Goethe's world view that the artistic consists in the fact that we do not see the secrets of the world through our ideas, through our concepts, but that we see the secrets of the world without concepts, without representations, through direct observation. Eurythmy seeks to bring the movement possibilities, the secrets of movement possibilities that lie in the human organism, into a visible language.

If two people in different places or two groups were to perform the same thing in eurythmy, they would have to perform exactly the same thing. The individual interpretation is given only as much leeway as when two people in two different places play one and the same Beethoven sonata in their own personal interpretation.

Just as the melodious element in music moves forward in a lawful manner, so the possibilities of movement of the human organism move forward in a lawful manner here. It is a melody of movement that one should actually observe. If what lies in the individual sounds of the word is expressed through the human limbs, through the movement of the individual limbs, then what is expressed through the outer movement in space or through the relationships and mutual movements of the eurythmists united in a group is that which lies in the soul warmth, in what is joy and suffering, joy and enthusiasm.

You will see that the silent language of eurythmy is accompanied on the one hand by the eurythmic through the musical element, which basically expresses the same thing in other words, and on the other hand by the art of recitation and declamation. And it is precisely in this recitation and declamation that it becomes clear how the artistic element of poetry must be expressed through eurythmy.

Today, we are convinced that the most highly regarded and well-liked art of recitation has gone astray. Today, when reciting, the same thing is emphasized that is the literal content, that is, not the truly poetic, but the prosaic. The truly poetic element in poetry lies in the underlying musical elements – in the rhythm, in the beat, in the formal structure, in the rhyme – and all these elements will be expressed here in the eurythmy that parallels the recitation.

That this is the case with real poetry can be seen if we go back to what was regarded in earlier times as the real art of recitation and as the basis of poetry. I would just like to remind you that Schiller, for example, did not first have the literal content in his mind when writing the best of his poems – not at all – but he did have a melodious element in his mind, an indeterminate melody or at least something melodious, and only then did he grasp the literal element, which he then clothed in. Goethe rehearsed his “Iphigenia”, which is a iambic drama, with his actors, with the baton, like a conductor. He did not place the main emphasis on the literal content, but placed the main emphasis on the art of verse, on the form of the poetry.

All of this must be brought out again – what underlies the poetry. It is precisely that which is actually artistic that is actually overlooked today, especially in the art of recitation. Those who still had the opportunity to see primitive recitation of simple folk poems, as they were practiced in villages in Central Europe until the last decades of the 19th century, for example, now increasingly less so, could, I would say, perceive a primitive eurythmy originating from the prehistory of mankind. The recitation was not just about the prose content of the poem, as it is today. Rather, to use a harsh expression, the ballad-monger who always recited his ballad went about gesticulating in very regular movements. So that one can study how the eurhythmic actually emerged from that deep element of the human soul, from which the art of poetry actually also emerged, in the development of mankind.

What underlies this is genuine Goethean psychology, Goethean soul teaching. When a person speaks, especially when they speak artistically, we can study this. Then, in speech, thoughts flow from one side, thoughts pour, so to speak – excuse me for putting it so crudely, but it could also be expressed in a very, very learned, scientific way – thoughts pour onto the larynx, and the will permeates from the whole human being that which lives in thoughts. Speech is the synthesis of what lies in man as will and of what emanates from the brain in thought forms. Both are synthesized in speech by the human mind. The human mind sends its waves through this element of thought, through the human mind. Here, we are attempting to omit that which can be conventional, that which serves to facilitate human communication in the external life, and which thus leads away from the artistic, and to make visible language only that which emerges from the whole human being as the element of will.

But as I said, what is being attempted here is only a beginning, and I therefore ask you to be lenient with this beginning. We are our own harshest critics. We know what this eurythmy art can become, but we also know that we are at the very beginning. And only that which is needed for art, my dear audience, is, I would say, the interest of contemporaries. Further perfection can grow out of the interest of contemporaries. And as much as we are fully convinced that we are now at the beginning of this eurythmic art, we ask for your forbearance. But on the other hand, we are fully convinced that something will develop from this eurythmic art - either through us or probably through others - that will one day be able to stand alongside the old, fully recognized art forms as a fully recognized art form in its own right.

The art of eurythmy, of which we would like to show you another example, is still in its infancy, and I would ask you to bear this in mind as we demonstrate it. It is the expression of the anthroposophical movement, born out of Goethe's world view. And so this narrow circle, for that is what it is in our overall work, has been brought out of the Goethean worldview and Goethean artistic ethos. This has made it possible to turn the human being himself, with his inner possibilities of movement, into a kind of artistic instrument. What you will see on stage is an attempt at a visible, seen language. The human limbs are used to express in the same way what is expressed by the human larynx in phonetic language, in the same way as a person otherwise expresses himself in his movements through gestures.

However, the fact that the human body produces these movements does not mean that they are in any arbitrary connection with what the human soul feels, or with what the human soul would otherwise express in words. Rather, that through a kind of sensory-supersensory seeing, the larynx and its neighboring organs have truly overheard the possibility of movement that becomes reality in them, revealing itself when they are spoken, when the sound is formed into speech. What we pay attention to when a person speaks is the audible. But the audible is based on an inner movement of the larynx and its neighboring organs, which is transmitted into the outer air, which we also set in vibrations, in wave-like movements. Those who, through a kind of seeing, are able to form an image of these movements that underlie spoken language can translate, in a lawful way, what would otherwise only express itself in audible sound, into the silent language that is eurythmy. This enables us to separate out everything in language that is based only on convention, only on the nature of human interaction, and which is therefore the inartistic part of language.

When we speak to one another as human beings, the formation of the sound and the content of the sound are based on the needs of human interaction. This is how prose enters our language. We must now study how language is actually based on two elements: soul and, as the soul expresses itself in the physical, body and physicality. When we speak, the expression of our thoughts, our ideas, first enters into speech. This expression connects with the expression of the will as we speak. The expression of the thought comes from the head, as we grasp the matter physically. But the expression of the will comes from the whole human being. When we speak, we actually draw out of our whole being that which then concentrates in the organs of will, which produce the audible sound.

Now this supersensible observation of the possibilities of movement of the larynx and its neighboring organs allows one to truly translate into that which is otherwise held back from the human being when speaking: the possibility of movement of the whole body, that which is otherwise heard. So for the eurythmic presentation, we start by leaving out what is the conceptual part of speech and only take up what comes from the human will element, but now take it up in the movements of the whole human being.

You see: in this way eurythmy, which is such a mute language, becomes the expression of something much more inward in the human being than can be revealed through speech. Through speech we transfer, as it were, what we experience inwardly more to the surface of the human body, indeed to the surface of the human being. Through the fact that we allow the whole human being to carry out the same movements, the same lawful movements that underlie spoken language, we involve the whole human being in what is otherwise the content of speech. And if you have a feeling for what is expressed and revealed through the inner possibilities of movement of the human body, you can truly present a silent but no less eloquent language as eurythmy.

This kind of soul science can certainly be derived from Goethe's world view. The whole human being becomes, as it were, a larynx and its neighboring organs on the stage in front of you. And what otherwise glows through speech as the soul's enthusiasm, as joy and suffering, as joy and pain, is expressed in the movement of the human being in space, in the movement of groups that relate to each other in such a way that the individual human being inner possibilities of movement, which are modeled on the movements of the larynx; while that which is presented to one in the group, or is revealed in the movements of the individual human being in space, expresses more the real soul content.

But nothing is a mere gesture or a mere pantomime. Anything that is mere pantomime, anything that is merely gestural is excluded. What you see is based on an inner, lawful sequence of movements. When two people or groups of people in different places express one and the same thing through the silent language of eurythmy, there is no more personality in it than there is in the personal interpretation when two pianists in two different places play one and the same Beethoven sonata. Just as in music the truly artistic element lies in the conformity to law of the succession of notes, so here the truly artistic element lies in the conformity to law of the eurythmic movements. It may be said that the artistic element always excludes the directly imaginative through ideas, which otherwise play their great part in knowledge. Where concepts are involved, there is no artistic element.

You see, here we consciously exclude the imagination and bring out what - like a secret of the human organs themselves - can be guessed in a mute language, I would say, directly in looking at it. To penetrate into the secrets of existence in direct observation without the mediation of concepts is a true art. That which can be expressed musically from the soul life of the human being on the one hand, and that which poetic speech brings forth artistically from speech sounds, is expressed in a different way through the mute speech of eurythmy, which has been developed into an art form. Therefore, on stage today you will see on the one hand the mute eurythmic language, or that which can be expressed musically; on the other hand you will hear certain contents recited, although you will have to bear in mind that with the emergence of a new art such as eurythmy, which is a different kind of language, it places demands that recitation should also be returned to the old, good way of reciting.

Today, in the art of recitation, more attention is paid to the prose element, to the purely content-related element of language; to bring out, by reciting, from the content of a poem that which corresponds more to the prose content of the poem. That is not the truly artistic element. What is truly artistic is the underlying meter, rhythm, rhyme, and so on. These, in turn, must be sought out and brought out. And so, the art of recitation must be led back to its good, old forms, away from the wrong path it has taken today. Goethe, who knew a great deal about these good old forms, took a conductor's baton and rehearsed his “Iphigenia” with the actors himself, in order to show how the real rhythm was at the core, not what is actually the prose in the artistic elements within.

Today we will present you with a piece from the first part of Goethe's “Faust”, the study scene. You may know how hard people have tried to bring Goethe's “Faust” to the stage, and what directing skills and the like have been used to create a worthy performance of Goethe's “Faust”. When one thinks of a stage production of Goethe's Faust, there are two things to be considered above all: first, that Goethe, in writing his Faust (he worked on the poem for sixty years), first wanted to express through this world poem the deepest things that can take place in the soul of a striving human being. Goethe wanted to express the experiences of the human breast, from the most oppressive, tied to ordinary life on earth, to the highest spiritual striving. All this, as Goethe felt it at times in his younger years – often still immaturely – he put into the first parts; what he felt later, he put into the later parts of the first part of “Faust”. He then put the most mature into the second part.

How little Goethe himself initially thought of presenting “Faust” as a stage play can be seen from the following. When at the end of the 1820s a deputation headed by the actor La Roche went to see Goethe after they had decided to stage the first part of “Faust” in its entirety - parts had, however, already been performed earlier - Goethe himself thought it was somewhat impossible. And yet, with a number of esteemed gentlemen standing before him, he leapt from his seat after the matter had been explained to him, shouting angrily: “You fools!” Thus he had spoken to those who wanted to undertake the first part of his “Faust” on the stage. He saw best the difficulties that arise when one wants to present on the stage not what is sensual, earthly-physical in nature, but what is spiritual in nature. But the presentation of Faust has been recognized, and rightly so, as something that, one might say, meets the deepest artistic needs. And so a wide variety of approaches have been used to bring Faust to the stage, from Devrient's mystery plays to Wilbrandt's charming direction. But certain parts, which rise directly from the earthly into the supernatural, can, in our opinion, only be presented if the silent language of eurythmy is used. And so, in this little piece of “Faust” that we are presenting to you, we have called upon the eurythmic art for those parts where the spiritual world enters into the human.

After the break, we will also present a number of Goethe's poems, and it will be shown that where Goethe, in his magnificent “Cloud Poems”, describes wonderful cloud formations with wonderful natural intimacy, following the instructions of Howard, can be perceived in nature itself in accordance with his artistic and ideological view, can also be poetically realized, so that one can naturally feel what is otherwise shown by the transformation of cloud forms in nature itself in the forms that are performed, which are very similar to those in the poem. This inner transformative power, which Goethe describes as the metamorphosis of natural phenomena, which he observed in all living things, was revealed to him by observing the formation of clouds. And in these transformations of cloud formations, he saw something artistic, something that works like the power that the ancient Indian worldview perceived in the cosmos and called Kama Rupa. That is what he wanted to express in his beautiful cloud poems, which can best be recreated in the silent language of eurythmy.

With this, I wanted to show you the sources from which the forms actually arise that you will see as eurythmy. Once again, I would like to emphasize that everything that is intended with eurythmy is actually only just beginning and that further development will take place, either through ourselves or through others, if it meets with the interest of our contemporaries. However, we are thoroughly convinced that if this art can continue to develop, it will one day be able to establish itself as a fully-fledged art form alongside other art forms.

Dear attendees!

We will attempt to give you a sample of our eurythmic art. Please allow me to precede this presentation with a few words about what our eurythmic art actually seeks to achieve. It is, after all, only at the beginning of its development, and we can only hope that, when what is inherent in this eurythmic art has been developed, it will be able to stand alongside the other art forms as something that is truly drawn from the highest artistic sources. But I would ask you always to bear in mind that we are only at the beginning of this artistic development.

Like everything that is done here as an anthroposophical movement, and of which this building, when it is finished, is intended to be the representative, the representation, so too, even if in a very limited area, this eurythmic art is drawn from a spiritual teaching based on Goethe's world view and his view of art. What Goethe's world view is, what Goethe's attitude towards art is, has not yet been sufficiently appreciated, and it will probably play a much greater role in the future spiritual development of humanity than today's humanity can even dream of.

What is being attempted here can invoke a beautiful saying of Goethe's, used by Goethe when he begins to glorify the great, art-loving Winckelmann, to bring him to full recognition. Goethe says: When man is placed at the summit of nature, he feels himself in turn as a whole nature, and he brings together in his own soul life measure, harmony, meaning, in order to rise to the production of the work of art. - If one now tries to make the whole human being, with his inner possibilities of movement, into an instrument of the work of art, then something like a summary of the secrets of the world must indeed come out of such art. For in the human being himself, as in a great context, all the secrets of the world are expressed.

What we want to try through eurythmy, my dear audience, is to help the whole person to express a silent language, a language that arises from making the whole person a larynx, so to speak. You know that when we listen to a person speaking, we first of all exercise our sense of hearing. We turn our attention to what can be heard. But the one who – to use this Goethean expression – can see, sensually and super-sensually, what is hidden as the actual essential secrets behind the outer appearances of nature and the human being, knows that in the larynx and its neighboring organs, while the sound reaches our ear, movements are constantly taking place or at least movement systems are active.

We can also imagine the same thing physically by saying: when I speak here, for example, my speech organ sets the air in regular motion. These movements are basically the outward expression of the movement systems present in the larynx and its neighboring organs. If you observe this, learn to recognize it, in contrast to the way you tend to ignore it in your daily life, then you can transfer it to the movement of the arms and the movement of other limbs of the human organism, and then you can create a mute language in which the whole person brings to full expression, to full revelation, that which is otherwise hidden as movement patterns in the larynx and its neighboring organs.

The same thing can also be expressed differently. We can say: when we speak, two elements of the human being flow together. From the head, more visibly speaking, what we have in our thoughts flows into our speech. But combined with these thoughts is what comes from the human will. We can feel it if we have a predisposition for such feeling, that actually, when someone speaks, especially when we listen to artistic language, to poetry, our whole human being comes into a kind of inner resonance, a kind of inner coexistence, in a sense into a dancing movement. In ordinary life, we suppress this dancing movement. Only someone who is familiar with our speech organism knows that something is actually always resonating in our larynx and neighboring organs when we listen to another person.

This is something that science is now beginning to recognize: that more delicate vibrations and movements also take place in the speech organs of the person listening. There is something mysterious in the whole human being, especially when listening, but also when speaking. We only try to keep the human being himself calm and [gap in the text], that is, movements of the will and those organs that are connected with the larynx and its neighboring organs when we speak in ordinary life.

What is otherwise brought to rest by the will in ordinary life is particularly brought to expression in eurythmy. So that the whole human being expresses that which otherwise, I would say, is only expressed more on the surface of the body, at the larynx and its neighboring organs. In doing so, we suppress our thinking and imagining life of our own accord. We shut out ideas completely. So that a mute language is expressed through the whole human being, who, as it were, moves on the stage as an enlarged larynx,

If we create such a language, we must be clear about the fact that it must be different from what is otherwise effective as pantomime, as mimicry, as representations by any gestures. Everything that is arbitrary movement, mere facial expression, mere pantomime, must actually be excluded in this eurythmic art. Just as the actual artistic quality of musical art does not lie in tone painting, but in the lawful succession of melody [and other elements], so too in eurythmy everything rests on the lawful succession of those movements that the whole human being expresses. Everything arbitrary is eliminated. Everything that is based on the laws of eurythmy can be seen in the movements of the human speech organism itself.

Therefore, when two people or two groups of people in different places present the same thing, there is no greater scope for personal interpretation than when two pianists in different places play the same Beethoven sonata in their own way and with their own personal interpretation.

On one side you see the actors, and with them what is taking place on the stage, for certain parts of it the musical element – for the musical element is only another way of expressing what lives in the soul than eurythmy – and again other parts you will find accompanied by recitation, by the artistically formed language of poetry. What is expressed audibly in poetry and recitation is made visible in eurythmy, albeit silently. But the recitation must be taken back to its good old forms. Today recitation has gone astray. In modern life, it is actually the prosaic element that underlies poetry that is given special consideration, not the metrical, rhythmic, or artistic-formal element that underlies the actual poetry. It would not be possible to accompany eurythmy with today's art of recitation.

This is only possible if one goes back to the true art of recitation, as Goethe, for example, also had in mind when he did not rehearse his “Iphigenia” - that is, even a a dramatic work - with his actors: He rehearsed it with the baton in his hand like a conductor, in order to place the main emphasis on the rhythmic, on the actual artistic design. Today, we do not have a very clear idea of how Goethe actually wanted a drama to be staged. But if we look into the soul of the poet, then, ladies and gentlemen, we will also find that the actual artistry of the poetry does not lie in the literal content. Schiller did not initially have the literal content in mind for many of his best poems, but rather a melodious element. At first, the meaning of the poem was unimportant to him; the melodious content was what mattered to him, and only then did he seek out the literal content to go with it. As a companion to eurythmy, we too must lead the art of recitation back to the truly artistic.

In eurythmy itself, you will see everything that is otherwise expressed in spoken language through the laws of spoken language, in the silent language of eurythmy itself. But you will find everything that otherwise glows through speech with inner warmth of soul, with joy and suffering, with delight and pain, represented in the movements of the eurythmists in space, in the relative movements of the groups in relation to each other. Everything that can be represented by spoken language can also be represented by eurythmic silent language.

In the second part, after the break, we will now give a sample of how poetry can be presented through eurythmy. However, we are convinced, my dear attendees, that we can also bring spiritual sources of expression to the dramatic arts, especially to a dramatic art that rises from the merely realistic human, from the mere physical earthly existence to the supersensible spiritual existence, through eurythmy. This is particularly the case in Goethe's “Faust” poetry.

Goethe has his Faust, namely [in] the first part – you know, Goethe worked on his “Faust” for 60 years – he has secreted into this “Faust” all the inner experiences of a sensual and supersensory nature that he has experienced in his long life. In its first part, he did not even consider shaping the “Faust” poem in such a way that it should be staged. As he himself says, when he was a youth and was working on the first part of his Faust, Goethe had only the secret of what lived in his soul in mind when he was working on this great poem. It was far from his mind to think of any theatrical representation.

Individual parts were indeed soon presented, with or without music. But Goethe was never quite in agreement – my dear audience, you know that the second part, which he then conceived in a completely theatrical way, was only published after his death – Goethe was never in agreement when the first part was to be brought to the stage. And how little he was inclined to bring what he had only in his mind's eye to the stage, is evident from a fact that is truly characteristic of this matter.

One of the greatest German actors, Laroche, was a contemporary of Goethe and a friend of Goethe's in Weimar. I myself knew a good acquaintance of Laroche through my old teacher, Karl Julius Schröer. And Laroche told old Schröer how he, Laroche, as a respected actor, went with a deputation of respected gentlemen in Weimar to Goethe to present the plan of bringing “Faust” to the stage to Goethe - relatively late, at the end of the twenties. At that time, since only the first part was available, it could only be a matter of staging the first part. And Laroche described how he still had the old Goethe before him, as present, in his anger. Goethe's anger was so strong that they thought of staging the “Faust” play that was never intended for the stage, that in his anger, despite having a number of respected gentlemen in front of him, he hissed at them: “You fools!” This is how Goethe met the first deputation that wanted to stage his “Faust”.

Now, of course, no one would dream of excluding Faust from the stage. However, those who deal with such things know how difficult it is in the art of directing to really present this Faust in such a way that everything that lived in Goethe's soul comes out.

Now, with regard to those scenes in which, as is always the case in Goethe's “Faust”, supersensible processes intermingle with purely earthly processes – processes that reach into the spiritual world with regard to the life of the human soul – we have tried various things to make use of eurythmy. And so, in the first part before the break, we will show you the scene where Faust translates the Bible, sits in his study and meets Mephisto. We will show you this scene, where the supersensible world actually plays a part in Faust's life, where you have to look for ways to express in outwardly visible forms what plays a part there as the supersensible world.

This and other scenes have shown us how to present something that is not possible with other stage techniques with the help of eurythmy. So in the first part before the break, we will present you with a Goethean scene, a scene from Goethe's “Faust”, which will of course be presented in its other parts in the usual dramatic way. But where the plot takes a turn towards the supersensible, eurythmy is used to help with the presentation. We will therefore see a rehearsal of how eurythmy can be a great help in the theatrical presentation of poetry and dramatic poetry when they take on a supernatural element.

After the break, we will present poems that have been eurythmized from beginning to end. Before we begin with such performances, I would like to ask you to bear with us, as what I said at the beginning is meant seriously: we are only at the first attempt at this eurythmic art. We are, however, convinced that if our contemporaries show an interest in these attempts, eurythmy will develop to ever greater perfection, either through us or probably through others, the results of which will be presented today as a beginning, so that eurythmy can establish itself alongside other art forms as a fully-fledged new art form.

Dear Ladies and Gentlemen.

Allow me to say a few words in advance of the rehearsal of our eurythmic art that we will present to you.

Human speech, through which we communicate in life and which is used by poetry to express artistic things, is, as is well known, a product of the human larynx and its neighboring organs. Everything that we pay attention to in ordinary life with regard to human speech is the audible. In contrast to ordinary audible speech, eurythmy is conceived as a silent but visible language. But eurythmy is not conceived as a silent but visible language in the same way that ordinary human gestures or pantomime are conceived as a silent language. Rather, what is attempted in eurythmy is derived from the human being himself in a completely lawful way, derived from the human being himself in such a way that it is based on Goethe's world view and artistic attitude.

Just as Goethe tried to gain a lifelike understanding of nature by examining living beings to see how the individual organ expresses the whole organism, and how the whole organism is only a more complicated structure that represents a transformation of the individual organ , then we try to listen to an activity of the person that is produced by an organ system – in this case the larynx and its neighboring organs – in order to then apply it to the possibilities of movement of the whole person.

By means of a certain kind of – to use this Goethean expression – sensual-supersensible seeing, we can see what we do not see in ordinary life when we listen to the person speaking. You only need to remember how it is clear even from physics that, as I speak here, my speaking sets the air in motion, in wave-like motion, so you already have a concept of that movement, which is a concomitant of what we ourselves hear. But one can go further back, precisely through a kind of sensory-supersensory seeing. If one has this ability of sensory-supersensory seeing, one can convince oneself of the movements, and namely the movement structures, that are present in the human larynx and its neighboring organs when a person speaks.

These movement possibilities can then be transferred to the whole person. Just as, in Goethe's sense, the whole plant is only a more complicated leaf, so the whole person can move his limbs in the way that the larynx, tongue, palate and so on move when a person speaks. Visible language is therefore what is attempted through eurythmy.

But this is how you come particularly close to an artistic element. Isn't it true, my dear audience, that the artistic is based on our ability to delve into the essence of things, without abstract concepts and ideas. All that is mere knowledge, all that is developed imagination, disturbs what is actually artistic. We must delve into the riddles of existence, and you can take on the mediation of presentation and concept. It is precisely this that happens unconsciously through the eurythmy on the part of the spectator. It happens quite consciously on the part of those who are performing this eurythmy.

For in our ordinary language, two sides are confused: one is the element of thought that permeates our words from the soul. This is something that is lost from the artistic side of language; it is also something that is more closely aligned with the conventional way in which we communicate in life, and which is how the philistine, everyday, inartistic element of language comes about.

But the other aspect of the soul also works in language: the will element. In ordinary language, the thought element works together with the will element. Now, esteemed attendees, we omit precisely this thought element by bringing the will impulses out of the human being in the silent language of eurythmy. And we express these impulses of will through the entire world of the human limbs. So you see, as it were, the human being himself becoming a mute speech organ on the stage before you. And what he expresses through these movements of form, and also through his movements in space, is the same as what is otherwise expressed through audible speech.

By immersing ourselves in the human being itself, in order to allow ourselves to be revealed what is predisposed in the innermost part of the human being as possibilities of movement, we switch off the very element of language, and thus penetrate deeper into the essence of the human being without concepts and ideas, in direct contemplation. And in this way we achieve something that is fundamentally artistic. You can see that here we are attempting something that avoids mere gesture, pantomime, mimicry, and arbitrary connections – as is often the case in dance – between the content of the soul and the external impression.

In this way, eurythmy is something like the art of music itself. Just as musical art does not achieve its full value when it is merely tone painting, so eurythmic movements do not achieve what we are seeking artistically if they merely express in pantomime what is going on in the soul. They do not do this; but just as in music the essential lies in the lawful succession of the tones, in the melodious element, so here the essential lies not in the direct expression, but in the lawful sequence of the movements. Eurythmy is therefore music that is visible on the outside. And so it is that there is nothing arbitrary about two people or two groups of people in different places eurythmizing or performing the same thing, because the individual possibilities for expression are not allowed to differ any more than when two pianists play the same piece of music according to their personal interpretation.

And all the feelings that otherwise animate our speech, such as passion and sorrow, joy and enthusiasm, and so on, we can also express through the forms and especially through groups – whereby the individual personalities interact through the different movements of these groups. So it is a mute language of people in motion through which eurythmy seeks to work.

Of course, everything aesthetic must have an immediate effect, and I am only saying these few words to you in advance so that you can see the artistic sources from which this eurythmy is drawn. Just as in music there is an inner lawfulness of tones in the sequence of tones, of melody and so on, here we come to the lawfulness of human movement itself.

You will hear the silent language of eurythmy performed before you accompanied, on the one hand, by music, which is essentially just another expression, an expression with different means. You will also hear the recitation on the other hand. What is heard in the recitation becomes visible on the stage through the movements of the people there. The two will run in parallel. A piece of poetry, for example, will be recited, and the art of poetry will be presented in eurythmy at the same time – one and the same.

However, it must be taken into account that the art of recitation, as it is practiced today, is not well suited for eurythmy. For today, in the art of recitation – and it is precisely in this that the greatness of the art of recitation is seen – the prose content of the poems is actually taken into account, not the rhythmic, the metrical, the rhyming that underlies them. But this must be taken into account precisely in the art of recitation that is intended to serve the rhythmic presentation. So we have to go back to the good old forms of recitation – and [in doing so] we want to develop a feeling for the artistic again, a better feeling than our current, somewhat inartistic times. In the artistic, our present humanity also often seeks the prose content of a poem, the literal content in a poem.

One need only recall how Schiller, for example, before he had the literal content of some of his poems in mind, had a melody in mind; and it was only for this melody, which now lived in his soul in a certain way, that he then sought the literal content. This is how the best of Schiller's poems came into being. The real poet needs the formal element that underlies the prose element of life.

Now we will first have to perform a scene from the first part of Goethe's “Faust” for you. There we will, of course, present what are, so to speak, everyday events, in a manner appropriate to the stage. However, anyone who has seen many of the attempts that the directorial art of modern theater has made to bring Goethe's “Faust” to the stage in a dignified manner knows how difficult it is to that Goethe has put into Faust, to really bring it out in the presentation, when Goethe, as is the case in so many places in Faust, allows the supersensible, the spiritual, to play into his poetry. In many places, as you know - also in the first part, but especially in the second part of Faust - the spiritual and the supersensible play a role. One can go through the various directorial skills that have been applied: a great deal was really achieved in the 1880s, even in the 1880s. I myself got to know Wilbrandt in the 1880s, with his amiable directorial skills, who tried to bring the whole of “Faust” to the stage. It was also a kind of deepening for the interpretation of the mystery play that Devrient brought to the stage and so on. Much has been tried; but something unsatisfactory always remains, especially in the scenes where the spiritual and supersensible play a role and should be presented.

So now, while we present the rest of the scenes in a purely theatrical way, we are trying to bring out the “ghost scene” through eurythmy. Before the break, we will present the first scene of the first part of “Faust” in a purely theatrical way, as far as this can be considered. So the scene in the study, the poodle scene, where the poodle disturbs Faust while he is translating the Bible; and then the ghosts enter, and through the silent language of eurythmy we try to bring out what is in this world poem with regard to the ghost scene.

Goethe was aware that he had put so much inwardly human into his “Faust” poetry that he had not actually thought of staging the first part of “Faust” until the 1820s. He was then aware that he had adapted “Faust II” for the stage; but it was not performed until after Goethe's death. But you see, Faust was such a huge piece of world literature that other people came up with the idea of staging Faust, of actually bringing it to the stage. Goethe hadn't thought of that; for him, Faust was simply something portrayed from within, from the human perspective.

My old friend and teacher, Karl Julius Schröer, was very friendly with Laroche, who was still a famous actor at the time of Goethe. Laroche came to Goethe at the head of a deputation with the proposal – it was only at the end of the 1790s – to bring Faust to the stage. Laroche reported to Schröer: “Yes, Goethe gave us a good telling off! He was furious when he heard that we wanted to stage Faust. He said to us, 'You fools!' You see, with Goethe, a good deal of anger was needed – and surprise. Goethe, who had really become a well-mannered gentleman by that time, the “fat privy councillor with the double chin”, was not easily so naughty to such excellent people as, for example, Laroche, when he called them “donkeys”. He must have really believed that it was not possible to stage “Faust”. He also spoke about it more often later on.

But attempts were repeatedly made to bring Faust to the stage, and rightly so. We now believe that for certain scenes, the mystery that Goethe has woven into his Faust can be brought out by means of eurythmy in certain places. Of course, you, esteemed attendees, should consider this as just an experiment; and I would ask you to consider what we are able to present to you today as just the beginning of the art of eurythmy, which will be perfected later.

So, before the intermission, we will present the first part of the first scene from the first part of Faust, and then after the intermission we will present poems, poetry, and music, where we will do everything entirely in eurythmy. In the presentation of the scene from Faust, only a few parts are in eurythmy. But in the second part of our program, we will then present everything to you in full eurythmy. And so I ask you to please take the whole performance as an exercise in forbearance; for we are actually only at the beginning with the eurythmic art that seeks to achieve what I have presented.

However, we believe that if our contemporaries show the right interest in this new art, it can be perfected, either by us or by others – probably the latter – and that the time will come will come when this art, which uses the whole person as an instrument, thus the highest thing we have in existence, will be able to establish itself as a fully-fledged art alongside other older fully-fledged arts.

Dear Ladies and Gentlemen.

Before we take the liberty of presenting a small sample of our eurythmic art, allow me to say a few words about the source of this eurythmic art. It is this small area from the spiritual current that we represent here and for which our building is the external representation. Like everything else, this small piece actually originated from the whole world view. This world view also encompasses, in the broadest sense, a certain artistic attitude towards the world.

Now, of course, it is not immediately apparent how exactly what we call eurythmy here flows out of the whole world view; but I will be able to make myself understood in the following way.

What we express through our human language – whether in ordinary life, when we simply communicate with words and sentences in human interaction, or when we express ourselves artistically in poetry or recitation – what we express in these two ways through language, that flows together in the human being from two currents: From a stream that could be called the stream of thought, the stream of imagination - in a sense, from everything that pours out of the organs of our head into the larynx, palate and so on - everything that belongs to language. Into this, now, mingles, interpenetrating with the element of imagination, that which comes from the whole human being – the element of will. In speech, the elements of perception and will truly flow together. And the two are only permeated by the element of feeling, by the feelings, by pleasure and suffering, joy and pain, which we pour into what comes about as a perceptual and volitional movement in speaking, also in artistic speaking.

By listening to this speech, we naturally turn our attention to what we hear. But while the human being makes himself audible through speech, his speech organs – larynx, tongue, palate and so on – are in motion. And what is even stronger than this movement is the disposition to move. Furthermore, everyone can understand the connection between the movement in the tone – even in ordinary speech outside of music – if they realize that when I speak here, I set the air in motion, in vibration. And hearing is based precisely on that.

And if, through what Goethe calls sensory-supersensory perception, you focus your attention on what underlies speaking in the larynx and in the other speech organs, you can see precisely that through a certain supersensory spiritual recognition, to which you do not pay attention when you simply listen to what you hear. What we hear in terms of the possible movements of the larynx, tongue, palate and so on can be applied to the limbs of the whole human being. And the people you see here on stage doing eurythmy will then perform movements with their arms, hands and so on. These movements are not arbitrary. It is not like ordinary dance or ordinary pantomime. These are not momentary gestures, but rather what is brought out of the human being in accordance with the laws of nature, which is also the basis of the laws of movement in the larynx and its neighboring organs when speaking.

So in our eurythmy there is nothing invented, but everything is drawn from the secrets of human existence, of nature. In a sense, the whole human being becomes a larynx; only, of course, a mute language is produced by this. This silent language is what we call eurythmy. But in this silent language, the element of imagination that we have when we understand what we are saying is absent, and it is taken over by the limbs. When they move, only the will element is expressed, which is otherwise more or less even stimulated when speaking.

If you now consider that everything truly artistic actually consists in this, that you recognize everything truly artistic by letting the secrets that are in things reveal themselves in direct contemplation, to the exclusion of representations, ideas and thoughts, you will admit that precisely by using the secrets of the human being, which you yourself use like a musical instrument for your inner movements, that precisely by doing so, the artistic is taken into account to the highest degree through eurythmy — precisely by excluding the conceptual and including the mysterious will, which we can only sense. By seeing the movement, that which is most eminently artistic for the beholder is generated.

And so in this silent language, which we call eurythmy, the possibility of working artistically comes about in a very special way. You see, our ordinary everyday language, which the poet must also use, has increasingly deviated from its original character. If we go back to the early days of humanity, we find that the original languages were much more poetic, much more artistically shaped in themselves. Our language has become very abstract, very prosaic. As a result, we no longer feel in all cases where people write poetry that language can produce something truly artistic. Indeed, it would be no exaggeration to say that 99 percent of all poetry could just as well be left out of our intellectual culture. Perhaps only one percent of what is written today is truly worthy of being performed. For our language, and almost all European languages, with the exception of the eastern ones, is already beyond the stage where it can fully express the actual formal artistic aspect.

Therefore, it is precisely possible, through this silent language of eurythmy, to fulfill something that corresponds to Goethe's artistic ethos. Goethe said so beautifully in his book on Winckelmann: When man is placed at the summit of nature, he in turn sees himself as a whole of nature, and once again brings forth the one natural summit within himself, by taking up the order, measure, harmony and meaning of things and rising to the production of the work of art. And if we use the whole human being as an instrument – this most perfect instrument of our earthly existence – then we can certainly find secrets of the universe within him that can be shaped artistically much more than what we can get out of our conventional language today.

And so we can say that this eurythmy is - only that it is for the eyes and not for the ears - permeated by an inner lawfulness, just like music. Just as the artistic element in music does not consist in tone painting but in the lawful succession of tones, so too in eurythmy everything is built on the lawful sequence of movements; nothing is arbitrary - everything must be so. Just as it must be in music, as it is always formed according to law, it is no more arbitrary that when two groups or two individuals perform the same eurythmic action in two different places, their subjective perception cannot be more different than, for example, the subjective perception of two pianists playing the same piece of music.

All pantomime and all arbitrariness has been removed; if something still occurs, it is only because we are only at the beginning of our eurythmic art and some things are not as perfect as we would like them to be in our eurythmic performances.

But in eurythmy language we can also express everything that gives life to language, everything that streams out of our soul through human speech as enthusiasm, as passion and suffering, as joy and pain. We express this through what the individual does in space, what is done through the relationships of the group movement to one another. So on the one hand, what moves the soul is presented on stage. You will hear it accompanied in part by music, which is just another expression, an audible expression of what is expressed in silent language through eurythmy.

On the other hand, you will also hear it accompanied by recitation. We are essentially presenting poetry, but precisely when recitation or declamation is used on stage as an accompaniment to the silent language of eurythmy, we have to go back to the good old forms of recitation and declamation. We must go back to the times when people were not yet as abstract as they are today. Today, great importance is attached to emphasizing the prosaic content of language in poetry in the art of recitation. This achieves a certain refinement. But that was never what really mattered to the poet.

We need only recall how Schiller, when he wrote his most important poems, did not first have the literal content in his soul, but something melodious that hummed in his soul. And only when he had this melodious, musical element within him, still entirely without words, did he then add words, which are, so to speak, only of secondary importance to the inner meter and rhythm. If we go back to certain stages [of recitation] that we can hardly see or hear today, we can see, I would say — how a certain primitive eurythmy was already present. The people, balladeers mostly, as one could still hear them in our youth in the countryside, sing, could hear, they walked reciting, gesticulating up and down, in which they often presented their quite inferior poems.

The actual artistic element of human life has indeed been greatly reduced, and few people today still have any idea that in relatively recent times - at least for certain areas of the world - work was strongly connected with rhythm. When one did this or that work, one moved rhythmically. This actual rhythmic element was then also applied to what is actually artistic about spoken language.

We must go back to this artistic, rhythmic element in spoken language, in the art of recitation and declamation, and emphasize it again. Therefore, you will notice how we emphasize the rhythmic, the element of meter in recitation, which accompanies the eurythmy here. Otherwise, it would not be possible to accompany eurythmy with today's art of recitation and recitation, because eurythmy, which is essentially born of the element of will, demands that prose recitation, the emphasis of the literal content, recedes and the direct perception of what lies in rhyme, rhythm and so on comes to the fore, that this is expressed precisely through recitation and declamation.

Now, before the break, we will present a dramatic scene from the first part of Goethe's “Faust”, in the study, where he [Faust] is translating the Bible and is disturbed by the poodle. What we are presenting here is not, of course, done in a very eurythmic way, but is done as it is usually done, for the stage. But in Goethe, especially in this world poem of his, in Faust, we come across elemental moments that enter into the supersensible, into the spiritual. The spiritual world continually intrudes into the human world.

It is extremely difficult to present. And in the second part of Faust, Goethe always thought in terms of the stage – by then he had already somewhat modified his own artistic vision – but in the first part of Faust, he did not think of a performance at all. He simply wanted to infuse these works of art, on which he had been working for decades, with the kind of human soul-life, pleasure and suffering, the kind of oppression and sublimity that could be brought to bear on them.

And as I said, he really did not think of the first part of his “Faust” as a stage performance. The result was that parts were performed – and especially the music relatively soon – but that there was never a complete performance of the first part of “Faust”, that – the second part was not published until after Goethe's death – no one even tried. But in the 1820s, a group of respected people in Weimar put together a troupe, putting the great actor La Roche at its head. This deputation then went to Goethe to propose that his “Faust”, which had been around for decades, should now be staged.

Goethe had been a Weimar courtier for decades, had already become the “fat privy councilor with the double chin,” a well-mannered gentleman – really a well-mannered gentleman who knew how to behave otherwise. And lo and behold: when the esteemed La Roche, at the head of a petition of otherwise also esteemed Weimarers, suggested staging Faust, Goethe had one of his outbursts and shouted at them, these people: “You fools!” The actor La Roche still knew my revered friend and teacher Karl Julius Schröer, to whom he personally said: “Yes, yes, old Goethe, he still called us ‘donkeys’ back then!” He couldn't have imagined – not even himself – that “Faust” could be brought to the stage.

And we know how much effort has been made, how much effort people like the amiable director Adolf Wilbrandt or Devrient with his mystery-like structure of “Faust” or others have put into it. They have tried to bring “Faust I” to the stage. And of course it is fully justified to perform that which Goethe himself did not yet think of.

But we are convinced that one can only succeed if one uses eurythmy movements, because the supersensible element in 'Faust', which is expressed, for example, in the appearance of spirits and sprites of various kinds in this scene in the 'study', can only be properly portrayed with the help of eurythmy movements. Because something comes into play that ordinary language and ordinary directorial skills cannot actually achieve.

And in this respect, it seems to me – although what we are doing here can also be seen as an experiment – that a way can be found with the help of eurythmy, in which, of course, everything else that is purely earthly dialogue is presented in a purely earthly sense. Only where the supersensible world plays a part, I believe that a way can be found, with the help of eurythmy, to present these scenes on the stage, because of the strange interplay of the sensual and the supersensible in a dramatic poem such as Faust. At least I have the feeling that we have sometimes succeeded in doing this. And eight days ago today, when it seemed that there was a good mood here on stage, I had the feeling that what was played into the study of ghostly scenes, that it was something that could express what Goethe had secretly put into this ghost play. I hope that today, too, we will be able to let the mood come to the fore. This, ladies and gentlemen, indicates how the dramatic arts can also be enlivened by the silent language of eurythmy.

After the break, we will then perform individual poems, rehearsed by eurythmists, which are also partly by Goethe, from which you will then see how the poems can be presented through eurythmic performance. We hope that our contemporaries will take an interest in the art of eurythmy and that it will be supported by people paying attention to this art of eurythmy – even if we still have to ask for their forbearance today because it is only just beginning to emerge. We hope that one day, either through ourselves or more likely through others, this eurythmic art can be so perfected that it can stand alongside the other, older arts as a fully realized new art.

Public eurythmy performance in the presence of English friends

Dear attendees,

We would like to take the liberty of presenting a sample of what we call the eurythmic arts here. However, the art we are able to practice here is only just beginning. It is the attempt at the beginning of a new art. And so, just as everything that is striven for here in connection with this building, which is intended to represent our efforts in a certain sense, how everything here wants to tie in with what I would like to call Goetheanism, so this eurythmic art also wants to tie in with Goethe's artistic and world-view attitude. Just by saying this, I ask not to be misunderstood. It is not, so to speak, that which is to be linked to what has already emerged through Goethe, who died in 1832, but rather Goetheanism, which has been thrown into the evolution of humanity like a seed and which can produce the most diverse blossoms and fruits. We are not talking here about the Goethe of 1832, we are talking about the Goethe of 1919, about an evolved Goetheanism.

And an attempt has been made to educate this eurythmic art from the same meaningful, deep sources from which Goethe drew his worldview and his artistic endeavors, in line with the progress that the human spirit has made since then. And it is not to explain this art that I would like to speak these introductory words, because that which is art must explain itself, must reveal everything that is in it in the direct gaze for the aesthetic impression. But I would like to speak to you about the sources of what we call eurythmic art here. This eurythmic art makes use of the whole human being as a means of expression. It attempts to express all the possibilities of movement that are inherent in the human organism.

On the stage here before you, you will see people moving, groups of people moving. What is it that these people are meant to present? It is also a language, an inaudible, mute language. But it is not just a comparison that I use when I say that eurythmy should be a language, but it is the expression of a reality. When people speak in such a way that our spoken words become audible, then, spiritually speaking, two elements of the human being flow together in what we speak: from one side - I would say from the head side - the element of thought; and from the whole human being, the will element encounters this element of thought, which works through its organs – today this can also be proven physiologically. In every single word we speak, there is a revelation of the confluence of the element of thought with the element of will.

Now, when we listen to a spoken word, we first turn our attention through the ear to the tone, the sound, the sound context, and so on. But behind what reaches us as sound, as tone, as tone and sound relationships, in the vocal, in the musical and in the literal, lie the underlying possibilities of movement of the larynx and its neighboring organs, the tongue, the palate and so on. We do not pay attention to these movements. We simply hear the sound. Through a certain kind of looking – in the Goethean sense, one could speak of a sensual-supersensory looking – the one who enables himself to do so can perceive which movements, in particular which movement tendencies, underlie the spoken word. These movement tendencies of the larynx and its neighboring organs are to be grasped.

And from this knowledge of what really happens in the human being, through movements, when he speaks, the art of eurythmy has arisen from observation of this. In the training of this eurythmy, too, we have proceeded, if I may say so, in a Goethean way. You are familiar with – I do not want to theorize, but I just want to briefly mention an important principle of knowledge and art of Goethe – you are familiar with what is called the Goethean theory of metamorphosis. It has not yet been sufficiently appreciated today, because once its foundations are recognized, it will be the gateway to a meaningful world view that leads into the living. Goethe's view, if I am to express myself in popular terms, is that in every living thing, for example in plants, a single organ, the green leaf, is the simpler expression, the simpler revelation of the whole plant. And again, the whole plant is only the complicated expression of the individual leaf. And what Goethe applied only to form can be applied to the movements that find expression in an organism.

And it becomes particularly meaningful when this view is applied in such a way that one artistically brings out of the human being what is present in the whole human being in the way of movement. Something very interesting comes to light here. It turns out that the movements that can be perceived through the characterized sensory-supersensory vision as underlying our language can be transferred to the whole person. Just as the whole plant is morphologically, formally, a complicated development of the individual leaf, so can the whole person be moved in his limbs so that he becomes a living larynx. Then the whole human being performs that which otherwise remains invisible and unnoticed to us when we listen to speech.

On the one hand, you create a tool for an art. You create the whole human being as a tool for this eurythmic art. And since the same movements that the larynx and its neighboring organs make can be extracted from the whole human being, the whole human being becomes a visible expression of speech. When you consider that the human being, as he stands before us in his organization - in fact, you only have to look through him to see this - is a summary of all that is otherwise spread out in the whole universe that is accessible to us , then one recognizes that eurythmy uses as its instrument of expression the most complicated tool, the tool that contains the most secrets of the universe. By turning the whole human being into a larynx, one comes very close to what Goethe so beautifully characterized as his view of the relationship between man, nature and art, when he says: “When man is placed at the top of nature and feels himself to be this summit, he in turn produces a higher nature within himself, so that he finally elevates himself to the production of the work of art by combining measure, order, harmony and meaning.

But at the same time, something else is achieved. The essence of art lies in the fact that, by immersing ourselves in the work of art, we silence all understanding, all intellectual activity, everything that lives only in concepts and ideas. The more art contains ideas and concepts, the less it is art. If you bypass everything conceptual and imaginative and immerse the whole person in the revelation of nature's secrets, you come closer to excluding ideas, to the true weaving and reign of nature's secrets. Then this perception, this perception without ideas or concepts, and this immersion in things is precisely the artistic.

And working with such secrets of the universe, which cannot be grasped conceptually but only by immersing the whole human being in them, excluding the conceptual and the imaginative, can be achieved to the highest degree through eurythmy. For I have told you: in ordinary speech, two elements flow together, the thought element and the will element. By transferring the movement tendencies of the larynx and its neighboring organs to the whole human being, so that one creates a mute language through this whole human being, one excludes precisely the thought element and the will element, which is rooted in the whole human being. This is then expressed through the movements that you see on stage. And so, on the one hand, you will see in the individual representations something like the whole human being as a moving larynx; you will see groups of people; you will also see movements of the individual human being in space, and the relationships of movement between the individual members of the groups.

If we shape the art of eurythmy as I have described, it becomes quite natural for us to want to express the warmth of soul, the enthusiasm, the joy and suffering, the delight and pain, the uplift and so on that flows through our words. Everything that flows and permeates the speech element more from the heart, so to speak, is expressed through the movements of the individual in space and through the movements of the groups, through the relationships of the groups among themselves, while the actual speech element, that is, that which lies in the sound and in the sequence of sounds, is expressed by the whole human being moving his limbs.

But this is what distinguishes what we are attempting here with eurythmy from all neighboring arts. We certainly do not want to compete with these neighboring arts, with the various types of dance. We are well aware that they are, of course, more perfect in their way than our eurythmy, which is only at the beginning of its endeavors. But it is something completely different. These arts create a connection between the gesture of movement and the soul, which is, so to speak, an instantaneous connection. But everything that can be expressed in this way through pantomime, through momentary gestures, is not what we strive for in our eurythmy. Just as speech itself is thoroughly lawful, just as the musical is lawful, so there is also a strict inner lawfulness in what we strive for in eurythmy. If something pantomime-like or mimic-like still comes through, it is still an imperfection and will be discarded later when the eurythmic art becomes more and more perfect.

Therefore, there is nothing arbitrary about it. If two people or two groups of people in different places were to present one and the same thing in eurythmy, no greater leeway would be allowed for individual interpretation than is allowed when two pianists present one and the same Beethoven sonata according to their own interpretation. Everything arbitrary is excluded. It is a lawful, silent language. Therefore, today, when of course not everyone can be present at the eurythmic as such, this eurythmic can be accompanied on the one hand by the musical, which is, after all, the expression of the same, but can also be accompanied by the recitation.

And it is precisely in recitation that it becomes clear how art finds its way to art when combined with eurythmy. You can't recite as it is popular to recite today. Today, when reciting, the unartistic element of poetry is particularly favored. Today, when reciting, a great deal of attention is paid to the fact that the content of the prose is expressed through the recitation. And that is also what one loves. This is the unartistic element. One feels this unartistic element when one remembers, firstly, how certain types, I would like to say of primitive recitation, have been emphasized in primitive cultures. Those of us who are older could still experience this in the countryside; we could see how the storytellers, as they traveled around, accompanied their tales with gestures that were very natural, not in the sense as one would call it today, but which were actually very similar to our eurythmic gestures, accompanied with such gestures, often with the whole body moving around, what they presented in the recitative.

And after all, it is not the content of prose that is the main basis of real poetry, but rather the rhythmic, the formal, the formal, the rhythmic, the lawful in the succession of the audible. When writing his most significant poems, Schiller did not begin with the literal content in mind, but rather had something vaguely melodious in his soul, and it was only later, when he added the literal content to this vaguely melodious quality, that the literal content was added. The formative process that underlies all real poetry should be felt everywhere. Most of the things we call poetry today are not really poetry. So much is written today that, in fact, ninety-nine percent too much is written. But eurythmy could not be used to accompany the art of recitation, which is so popular today and which pays particular attention to the literal content of prose.

So here we are trying to go back to the truly artistic in the art of recitation as well. Goethe, with the baton still in his hand like a conductor, rehearsed his “Iphigenia”, a dramatic poem, with his actors, looking at what lies at the heart of the truly artistic. The formal elements of the prose, the literal content, are not the basis for the truly artistic expression. And so it is particularly the case that what is otherwise expressed in poetry through the word, can be represented in its will element through the eurythmic art. You will therefore hear recitations of poems, and you will see these poems presented on stage in the silent eurythmic language.

I believe that Goethe's poems in particular demonstrate the validity of this eurythmic art. Today we will show you, for example, eurythmy performances for Goethe's cloud poems. Goethe also applied his metamorphic view - more externalizing it, but thereby precisely translating it into art - to the transforming cloud formations stratus, cumulus, cirrus, nimbus. Goethe has illustrated in beautiful verses how these cloud formations transform into one another, an insight that came to him when he read the cloud observer Howard. He wrote a very beautiful poem “To Howard's Honorary Memory”, which we will also present to you today in eurythmy. But especially when one has such poems by Goethe, in which it is so important to follow a process in nature in poetry with such forms that the process in nature wells up and surges in the rhythm and shaping of language, then one can also follow the poetry with the forms of eurythmy. And that is why I believe that Goethe's Cloud Poems are particularly suitable for beautifully expressing how eurythmy can be found to be completely adequate for expressing what can also be expressed poetically.

Now there is a poem by Goethe in which Goethe himself has expressed the whole nature of his metamorphic thought, his metamorphic feeling, in the poem “The Metamorphosis of Plants”. The whole poem lives in the presentation of form observation. From line to line, we actually have the feeling that we must not cling to the abstract idea, but that we must show ourselves obedient with our whole soul to the forms that surge and swell in the poet's imagination. And that is why the eurythmic presentation can be fully adapted to this particular poem of Goethe's about metamorphosis. And for today's performance, we have also tried to cast this poem by Goethe about the metamorphosis of plants in eurythmic forms. Especially where the poetry itself becomes like an imprint of the secrets of nature, directly created by the soul, the artistic development of human feeling reveals itself on the one hand, on the other hand, the possibility of presenting this artistic element in the way it can be presented when the whole human being is used, as I have indicated, as a kind of musical-linguistic instrument. Thus we can indeed penetrate deeply into the secrets of nature if we seek these secrets in this formal language, which we strive to reveal in eurythmy.

I only ask you to consider everything that we can present today, everything that we can currently offer as a sample of our eurythmic art, as a beginning, perhaps as an attempt at a beginning. We are our own harshest critics, even in relation to what we can already do today. However, we are also convinced that if what is alive in the attempt at a new art is further developed, either by ourselves or probably by others – and there are many, many possibilities for development in this – then this eurythmic art will certainly be able to present itself as a fully-fledged art form alongside other fully-fledged art forms. As I said, we are being modest in what we can offer today, and I therefore ask you to also accept what we will present to you with indulgence as the beginning of a new art form.

Dear attendees!

As always before these performances, I would like to take the liberty of saying a few words today, first about our eurythmic art, for those of the honored audience who were not present at earlier performances.

Goethe said of his artistic sensibilities: When man is placed at the summit of nature, he feels himself to be a whole nature, bringing forth a higher nature from within himself by extracting order, measure, harmony and meaning from all phenomena and ultimately rising to the production of the work of art. It is out of this spirit, out of true Goetheanism, that our eurythmic art was born. I do not wish to give you a theoretical discussion in these few words, for it is self-evident that something truly artistic needs no explanation but must commend itself and be understood directly in the act of presentation. But the way in which an attempt is being made here to create an art form must be discussed in order to be understood.

They will show all kinds of movements performed by people and groups of people. You will see the way individuals within the groups relate to one another. All the movements that appear are born out of the human organism and the interaction between people. They are not contrived or arbitrary in any way, but are a real, silent language.

The development of this art is based on a deeper - to use Goethe's expression - [sensual-transcendental insight into the human being and its connection with the world. With such a sensory-supersensory insight into the human being, one can recognize which lawful movements the human larynx and its neighboring organs carry out when a person reveals the sounding, audible language or singing of himself. It is precisely those things to which we do not pay attention when we listen to spoken language, the internal movement and especially the movement patterns, that have been studied here according to Goethe's principle of metamorphosis, according to which what is formed or takes place in one organ system can be transferred to other organ systems or to the whole organism. According to this deeply significant law of Goethe's metamorphosis, what otherwise underlies movements or the potential for movement is quite naturally transferred to human speech, [via] the movements of the limbs of the human being in the world. And this is precisely how the possibility arises that the sight of such a mute language must have an artistic effect. For what is the artistic in human beings actually based on? It is based on the fact that we receive impressions of the life of nature and of human beings without the abstract imagination, or imagination at all, mixing into these impressions.

In ordinary language – even when expressed poetically – two elements of the human organism are embodied: on the one hand, the element of thought, which in more advanced, civilized language has already taken on a strongly conventional character, and on the other hand, the more subconscious will element, the emotional element, is at the root of it. If one can eliminate the thought element from speech, which crystallizes into the tone of the heard language and thus does not allow the heard language to be completely artistic, then one achieves something that can be believed to be particularly artistic. And so all the movements of speech are transferred to the human limbs; but only the will element is incorporated. The human being as a whole expresses itself, not through sharp gestures as in other dance or similar arts, but the human being as a whole expresses itself in a lawful way.

Therefore, there is nothing arbitrary, nothing merely pantomime or mimic in this eurythmy. If two people or groups of people in completely different places express one and the same piece of poetry or one and the same piece of music through this formal language of eurythmy, there is no more individuality in the two different performances than there is in the performance of one and the same Beethoven sonata by two different pianists. All arbitrariness is avoided. There are inner laws in the sequence of movements that could not be otherwise, because they are derived from the essence of nature itself. Just as the harmony and melody of music have an inner lawfulness, so here everything that is revealed in the movements has an inner, musical lawfulness. We are dealing here with a visible musical art.

Thus you will find many things presented in two ways, either at the same time through music and eurythmy or through recitation and eurythmy. In this, recitation must return to its old, good element, where it is not cultivated only for its prosaic, literal content, as it is today, but for the rhythmic, the measured quality of the sound, which is what actually constitutes the artistry of the poem. For what is felt today as poetry is not, in the first instance, the actual artistry of the poetry, but the prose content of the poem. It is the formal, the rhythmic, the metrical that underlies it, and an inner lawfulness of the essence of the world is revealed.

In the second part, we will present Christmas plays today and tomorrow, today a Paradise Play.

We resumed these plays several years ago. I can say that I myself have a very close connection with the revival of the plays in our family. It is now almost forty years since I became acquainted with these plays through one of the men who has rendered the greatest service to their collection, through my revered friend and teacher Karl Julius Schröer. Schröer was one of the first to collect these games together with Weinhold, Schröer in particular. While Weinhold collected them in Silesia, Karl Julius Schröer collected them in the Oberufer region near Pressburg [Bratislava], where Germans had advanced towards the parts of European territories where other languages were spoken as a result of emigration from more western European areas.

The Hungarian countryside is permeated by old German colonists: in Transylvania, where the Saxons settled, in the Banat, where the Swabians came from the areas around Lake Constance, in Alsace, in what is now southern Württemberg, in northern Switzerland – numerous colonists moved into the areas of northwestern Hungary. And they brought with them those Christmas plays, those Bible plays, which were performed in their original form in the German motherland until the 16th century, and later only remained in a few places, fairly unnoticed by the educated world. In the colonies, especially in the Oberufer region, near the island of Schütt, near Pressburg, the practice of playing these Christmas games in a dignified manner every year around Christmas time has become established and was preserved until the forties, fifties and even sixties of the last century. And when they began to disappear from the scene, Karl Julius Schröer collected these Christmas games in the Hungarian region of Oberufer.

It is extremely interesting to observe these Christmas plays. They provide cultural-historical evidence of the way in which Christianity was actually introduced in Europe in centuries past, and how it affected the entire spiritual life of the people. Schröer had still observed it himself, and we often talked about these things, and he told me with what dignity, with what inner participation the people celebrated these Christmas games. They were well preserved by particularly select farmers in the village concerned, by particularly respected people. They were passed down from father to son, from son to grandson, and were held sacred; they were not easily shared with outsiders. It took a great deal of effort for Karl Julius Schröer to get them out. But, as I said, it was already the dawn of this play for the German colonists in Hungary.

When October, the harvest season, approached, the person who was considered the master of the arts in these farming and working-class areas – these were mostly extremely poor communities even back then, these German communities in Hungary – he gathered the local boys he considered most worthy, and he rehearsed these Christmas plays with them. The dignity with which this was done may be gathered from the fact that, under strict disciplinary laws, those who were allowed to participate were not allowed to leave during the entire period of the play. This is expressly prescribed for those who were allowed to participate: that they are not allowed to go to the pub or indulge in any other debauchery during the entire time. During the whole time, that meant a lot: it was immediately after the grape harvest was over that one was not allowed to get drunk. Anyone who somehow violated these rules was immediately dismissed.

All the roles were played by young men. The old custom of not allowing women to participate in comedy plays, including sacred comedies, was still in place, although the educated world had long since abandoned it. However, it was still preserved and noticeable at these festival plays. And from this one can see how ancient and sacred customs have been preserved in the performance of these plays. So tomorrow, for example, we will perform a play for you, a pastoral play, in which the Rhine is mentioned, from which one can see how these plays were originally, at least as late as the sixteenth century, were performed near Lake Constance. These things take us back, I would say, to the sixth century, so that we have before us the living out of Christian life as if it were happening right in front of us.

To present something like this, I would say, as a directly revealing story to the contemporary world, that is what we would like to make our task. Now that everything that is cultural life has become so sober, so dry and so abstract, now is the time to go back to such things, which, in directly vivid imagery, by raising the old into the present, transport us back into the becoming, into the development of humanity.

Of course, since we are not dealing with trained actors, I would ask you to receive this performance, as well as the eurythmy performance itself, as one of our modest attempts. We ourselves believe that what our eurythmy art has become today is only a beginning. It is indeed a supreme artistic aspiration to apply the human being as an instrument in art, not the violin, not the piano, not the trumpet, but the human being. Especially when you consider how all the laws of nature are somehow in action in the speaking human being, then you will know how to appreciate the ideal on which eurythmy is based. But it is only just beginning. We are our own harshest critics, and so I ask you to please be very indulgent as you take it all in.

It should also be mentioned that the eurythmy performance will include not only individual pieces but also the Norwegian “Dream Song of Olaf Ästeson”. It comes from the oldest Nordic folk myth that can be expressed artistically; it was rediscovered when, alongside the Statsmäl [Riksmäl], the Landsmäl of the old Norwegian language, the popular Norwegian language, was cultivated. This dream song, this Traumlied, gave the impression of genuine Norwegian folklore, and with the help of friends in high places, I tried to express in our present language that which leads back to ancient European-Nordic times in this poem.

I would like to say that this “Dream Song” expresses a very popular worldview, a worldview that is particularly loved in those cultures that have developed on the one hand in the particularly shaped way of life in Norway and in the influence of the neighboring cultures. I would say that here, too, we can see into the depths of human feeling – especially in the way that the relationship between Nordic, clairvoyant paganism and the Christianity that was spreading there flows into one another here in the 'Dream Song'. What has emerged from the confluence of these two world currents, taken up as an elementary, original folklore and its worldviews, is actually enshrouded in mystery in this “Dream Song of Olaf Åsteson”.