Introductions to eurythmy performances, 1913-1924
This volume features introductory addresses given by Rudolf Steiner to the first audiences of the newly minted art of eurythmy. Before each eurythmy performance at which he was present, Steiner gave such an introduction. His intention, as he remarked on several occasions, was not to elucidate the meaning of eurythmy intellectually--a vain and inartistic endeavor--but rather to orient the audience to this new undertaking in the realm of art. Steiner took many approaches to this end, describing in his introductions a range of themes, from the origins of eurythmy as a Goethean art form to its role in pedagogy and therapy. As this volume gathers a large collection of these introductions, repetition is inevitable but not without value. A slight nuance of expression can awaken new insight.
From its inception, Steiner emphasized that eurythmy would be "a matter of the word, not [of dancing to] music." Later, he called eurythmy "the art that has grown entirely from the soil of anthroposophy." In these introductions, he stresses the connection of this new art form with Goethe's concept of metamorphosis:
"We need only recall how it was that Goethe rose up to the idea that each individual organ of the plant should be viewed as a transformation of the other organs that manifest within the same plant.... If we permeate ourselves with the intuitive insights latent within this view of nature, then it is possible to transpose this insight into artistic feeling and artistic form. That is what our art of eurythmy has attempted to accomplish with regard to certain artistically formed movements of the human body itself. And our way of attaining that ideal is by here transposing into movement what Goethe initially intuited within the realm of form." (Feb. 24, 1919)
This is just one of the many keys to unlocking the open secret of this new art form--inaugurated a century ago but still in its infancy--with applications in the fields of education and therapy. Given as they were to a broad range of audiences, these introductions speak to everyone interested in expanding the possibilities of artistic expression through the greatest instrument of all: the human being.
"Here nothing is a spontaneous expression; rather, everything has been submitted to an inner lawfulness...the heart of the matter is that everything subjective, everything arbitrary has been excluded from our art of eurythmy." (Feb. 24, 1919)
This volume is a translation from German of portions of the following volumes: GA 36, Der Goetheanumgedanke inmitten der Kulturkrisis der Gegenwart: Gesammelte Aufsätze aus der Wochenschrift "Das Goetheanum" 1921-1925; GA 260a, Die Konstitution der Allgemeinen Anthroposophischen Gesellschaft und der Freien Hochschule für Geisteswissenschaft: Der Wiederaufbau des Goetheanum; GA 277, Eurythmie: Die Offenbarung der sprechenden Seele: Eine Fortbildung der Goetheschen Metamorphosenanschauung im Bereich der menschlichen Bewegung: Ansprachen zu Eurythmie-Aufführungen aus den Jahren 1918 bis 1924 mit Notizbucheintragungen und dazugehörigen Programmen; GA 277a, Die Entstehung und Entwickelung der Eurythmie; GA 301, Die Erneuerung der pädagogisch-didaktischen Kunst durch Geisteswissenschaft
